IntroductionWelcome| 00:05 | Welcome, my name is Chris Orwig.
| | 00:07 | I'm a photographer, and I'm a teacher.
| | 00:09 | I'm on the faculty at the Brooks Institute in
Santa Barbara, California, where we are right now.
| | 00:13 | It's a beautiful morning.
| | 00:15 | Here in this course, we're going to focus
in our working on photographs of athletes.
| | 00:20 | What we'll be learning will be
applicable to many different types of
| | 00:23 | photographs as well.
| | 00:25 | So what exactly will we be
covering this training title?
| | 00:27 | Well, we'll start it off by taking a
look at those small details; how can we
| | 00:31 | clean up our photographs.
| | 00:33 | Then we'll into other topics, like
how can we enhance an image by working on
| | 00:37 | its color and tone, or sharpening the photograph.
| | 00:39 | Of course, we'll explore how we can
make some creative adjustments as well.
| | 00:43 | We're going to cover all
of these topics and more.
| | 00:47 | We've a lot of exciting content ahead of us.
| | 00:49 | So without further delay, let's begin!
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| Using the exercise files| 00:00 | If you are a premium member to the
lynda.com Online Training Library, or if
| | 00:04 | you're watching this on a disc, you
have access to the good old exercise files.
| | 00:09 | Once you've located the Exercise Files
folder on your desktop, you can go ahead
| | 00:13 | and double-click it in order to open it up.
| | 00:15 | Here, you'll discover that all of the
different exercise files are organized by
| | 00:20 | way of the different chapters.
| | 00:21 | For example, if you want to work on
chapter 4, you can go ahead and simply open
| | 00:25 | up that chapter 4 folder.
| | 00:27 | Here, you'll find all of the different
files that will be working on in that
| | 00:31 | chapter at their different stages, as
we progress throughout the project.
| | 00:35 | Now you can also view these
same files by way of Adobe Bridge.
| | 00:40 | Simply open up Adobe Bridge and then
point to a particular folder, and once again,
| | 00:45 | here you'll find all the files that we'll
start off with, and then you'll see the
| | 00:48 | overall progression, all the
way up to the finished file.
| | 00:52 | Now if you don't have access to
the exercise files, no big deal.
| | 00:55 | You can always simply follow along, or of
course, you can always work on your own images.
| | 01:00 | All right, let's begin!
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1. Outdoor PortraitCreating two exposures with Adobe Camera Raw| 00:00 | With retouching, I've always found
it to be helpful to watch other people
| | 00:04 | work on projects from start to finish, and
that's exactly what we're going to do here.
| | 00:09 | We'll take a pretty simple approach,
and we'll be working on this photograph of
| | 00:13 | world-class Ironman champion, Chris Lieto.
| | 00:16 | This is a RAW file.
| | 00:17 | It was captured with the Canon 5D Mark II.
| | 00:21 | So let's go ahead and start off by
opening this image up in Adobe Camera RAW.
| | 00:25 | Press Command+R or Ctrl+R to open the file up.
| | 00:29 | Now here you'll notice that I've
modified this image just slightly, added a
| | 00:33 | little bit of exposure, worked on
fill light, and made a few other really
| | 00:37 | simple adjustments.
| | 00:38 | Well, we want to do all of our RAW work
as needed, and then we want to go down
| | 00:43 | our Workflow Options.
| | 00:45 | Here, we're going to decide how big
of a file we actually want to work on.
| | 00:49 | Now let's say that we know this image
will be printed pretty small, or in my
| | 00:53 | case, I know this is a demo.
| | 00:55 | So to speed up my demo, I'm going to
go ahead and choose a smaller size here.
| | 00:59 | Now you don't have to do this step,
but again, just for demo purposes, it will
| | 01:03 | help things to run a little bit more quickly.
| | 01:06 | Next, we'll click OK, and then
from there, click Open image.
| | 01:10 | This will then open up this
RAW file inside of Photoshop.
| | 01:14 | Once this image is open in Photoshop,
we want to start to analyze things.
| | 01:18 | One of the things that I notice is I
like the overall image, but I wish I had
| | 01:23 | more light here in the eyes, and
whenever we see something like that, we always
| | 01:28 | want to ask ourselves this question:
| | 01:30 | is there something that we could do in Camera
RAW in order to bring out more of that detail?
| | 01:35 | Well, from a real simple perspective,
we could go back to Adobe Bridge.
| | 01:41 | We could reopen this image in Camera
RAW, press Command+R or Ctrl+R. We could
| | 01:45 | then change the exposure or change
the fill light or change the contrast -
| | 01:49 | whatever it is that we need to do - we
could do this really focusing in on the
| | 01:54 | problem area, or the area
that we want to enhance.
| | 01:57 | Next, if you hold down Option or
Alt, it changes Open to Open Copy.
| | 02:03 | Now when you click on Open Copy what
will happen is it'll open another version
| | 02:08 | of this file, so that in Photoshop
we'll have two documents open side-by-side.
| | 02:13 | Well, what about Adobe Bridge?
| | 02:15 | Well, if we go back there, we
just have that original RAW file.
| | 02:18 | Nothing is changed at all.
| | 02:21 | And this concept is actually really
quite important, and what the concept is is
| | 02:26 | that when you're processing your images
in Adobe Camera RAW, keep in mind that
| | 02:30 | what you can do is process a couple of
different ways, and then you can open up
| | 02:35 | different versions of your file and
then combine those together in Photoshop.
| | 02:39 | We let's jump over to Photoshop. Press
Command+Option+O on a Mac, Ctrl+Alt+O on Windows.
| | 02:47 | First thing we need to do is to hold
down the Shift key and click and drag
| | 02:50 | one image into another.
| | 02:52 | Next, press F to go to full screen
view mode, and then press the Spacebar key
| | 02:56 | and position the image
near the top of the screen.
| | 02:59 | That way you'll have good posture.
| | 03:01 | You won't be looking down -
rather, up or straightforward.
| | 03:05 | Now let's save this file.
| | 03:06 | We'll do that by going in
to File and choosing Save As.
| | 03:09 | What we want to do is save this as a
TIFF, save all the layers of course, and
| | 03:14 | embed our color profile. Click Save.
| | 03:17 | We'll go ahead and click OK there as well.
| | 03:20 | Well, now that we have this image here,
before we actually begin to work on an
| | 03:25 | issue or make enhancements,
I like to look at the file.
| | 03:29 | I'll do that without this top layer.
And I like to look at it at 100%.
| | 03:34 | To do that, double-click to Zoom tool.
Then press the Spacebar key and click
| | 03:38 | and drag to reposition.
| | 03:40 | All I want to do here is get
familiar with the detail that I have.
| | 03:44 | Is the image sharp?
| | 03:45 | Do I have enough good detail?
| | 03:47 | Yeah, I think we have
sharpness where we need it.
| | 03:49 | We have some good detail.
| | 03:50 | This gives us a feel for some of the
things that we might want to do when retouching.
| | 03:55 | Then we start to zoom out.
| | 03:56 | When we zoom out, we'll see more global problems.
| | 03:59 | In this case, I notice, I wish I
had some more light in the eyes here.
| | 04:04 | I also wish the forehead was a bit darker.
| | 04:07 | Well, first, let's work
on the light in the eyes.
| | 04:10 | In order to do that,
we'll turn on this top layer.
| | 04:13 | We'll go ahead and name this top layer brighten.
| | 04:16 | Next, we'll hold down Option or Alt and
click on the Add Layer Mask icon, which
| | 04:22 | creates a layer mask filled with black.
| | 04:24 | Well here, what I'm going to do that is
grab my brush, and I'll paint with white
| | 04:29 | with a real low opacity, 10% or
15% or so, and I'll zoom back in.
| | 04:34 | I will make my brush nice
and small, really small here.
| | 04:38 | I'm going to go ahead just to start
to paint really subtly over some of
| | 04:42 | these shadow areas.
| | 04:44 | Now as we start to do this, we're not
going to see anything dramatic,, initially.
| | 04:48 | So it's going to be some
little tiny adjustments here.
| | 04:51 | We'll go ahead and just start to
bring in some light into this area.
| | 04:56 | The nice thing about using Camera RAW
is that Camera RAW just taps into the
| | 05:01 | full power of the image.
| | 05:03 | I mean, there is so much information
there, and the way that Camera RAW processes
| | 05:07 | images is so strong that
this can really help out.
| | 05:11 | Well, we are bringing in some nice brightness
here, but we're also introducing a little issue.
| | 05:16 | No big deal.
We'll fix that in just a second.
| | 05:18 | I will zoom out a bit, and then I'm
going to go ahead and work on a couple of
| | 05:22 | these other little shadows here, just
diminishing some of the shadows that I'm
| | 05:25 | noticing that I think it'll be
nice to take back a little bit.
| | 05:29 | Then what I want to do is
look at my before and after.
| | 05:32 | Here we have before and then after.
| | 05:35 | One of the issues I'm
noticing is a bit of a color shift.
| | 05:39 | We can change this layer blending mode
to Luminosity, and sometimes that will
| | 05:43 | give us just what we need before and then after.
| | 05:46 | It gives us that brightening
effect without all of the color shift.
| | 05:49 | With a little bit bigger brush, I'm
just going to go ahead and add in even
| | 05:54 | more light to this area.
| | 05:55 | I am just looking to brighten up the eyes a bit.
| | 05:58 | I don't want to go overboard,
but just add a nice little effect.
| | 06:01 | I feather out my brush strokes there too, just
to soften things up a bit. Before and after.
| | 06:08 | Now that we've worked on the eyes there a
little bit, what else could use some brightening?
| | 06:12 | Well, how about the jacket.
| | 06:13 | Make the brush a little bit
bigger. Press 5 to get 50% Opacity.
| | 06:18 | I'm just going to go ahead and paint
around on hi jacket to bring in a little
| | 06:22 | bit more detail, also the neck there,
because the lower portion of the image is
| | 06:27 | just a bit too dark for me.
| | 06:29 | So again, I'm just painting in
some of these adjustments here.
| | 06:32 | I'm going pretty quickly.
| | 06:34 | You don't need to be too particular
about this. And as we paint this in, we can
| | 06:39 | bring in more of the effect into certain areas.
| | 06:42 | I think that's looking just fine.
| | 06:45 | Make my brush a little bit bigger.
Press 8 to go to 80%, just bring in a touch
| | 06:51 | more over here, and I think that's good.
| | 06:53 | Here we've our first step,
before and then after.
| | 06:57 | Just taking advantage of Camera RAW, and
looking at how we can use Camera RAW to
| | 07:03 | output two different versions of our
photograph, so that we can then combine
| | 07:07 | those together inside a Photoshop.
| | 07:10 | Stage one is complete.
| | 07:12 | Let's go ahead and save this file.
| | 07:14 | Press Command+S or Ctrl+S to save,
and then I'll catch up with you in the
| | 07:18 | next movie.
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| Cleaning up the small details| 00:00 | Now that we have done some really
basic tone work, what I want to do next is
| | 00:03 | clean up the small details.
| | 00:05 | So, let's create a new layer.
| | 00:07 | When we create this new layer,
let's name it along the way.
| | 00:10 | So, press Shift+Command+N on a Mac, Shift+Ctrl+
N on Windows, and we'll call this clean up-1.
| | 00:17 | From here, we'll grab one of our
cleanup tools, like the Spot Healing Brush
| | 00:20 | or the Healing Brush.
| | 00:21 | What I am going to do is actually clean up
some of these elements in the background.
| | 00:25 | I should also point out, with all of
these tools we almost always want Sample All
| | 00:29 | Layers turned on, and that way we can
do this retouching to a separate layer.
| | 00:33 | Now, because the background is out of
focus this isn't essential to do this
| | 00:37 | little retouch work here.
| | 00:39 | But nonetheless, I just want to reduce
and simplify as much as possible, because
| | 00:43 | we know that the eye goes to areas of
brightness and also areas of contrast.
| | 00:48 | We don't want anything competing,
really, with this area of the photograph.
| | 00:51 | Well, just again just retouching these
little background elements. I think that's fine.
| | 00:57 | Next, let's zoom in on the face.
| | 00:59 | We want to get really nice and close here.
| | 01:01 | First thing I am going to
work on is this little birthmark.
| | 01:04 | I'll go ahead and remove that.
| | 01:06 | I select the Healing Brush, Sample All
Layers, Option+Click or Alt+Click, and
| | 01:10 | we'll go ahead and just remove that out there.
| | 01:13 | Now, I mentioned before that we are
going to need to work on the overall tone.
| | 01:17 | We'll be doing that in just a minute,
but for starters I am going to work on
| | 01:20 | these little teeny details.
| | 01:22 | I'll just make my way through the image
with a nice, small brush looking to try
| | 01:27 | to reduce and simplify here, as much as possible.
| | 01:30 | So, let's go ahead and just work on
little teeny blemishes, anything that we
| | 01:36 | think is going to distract from
the overall intent of the image.
| | 01:39 | Now, one thing I should point out that
because this is a guy, and because this is
| | 01:44 | a person who is an athlete, we
don't want to soften this up too much.
| | 01:48 | You want to leave some blemishes here.
| | 01:50 | You want to make the person seem real,
because a lot of times athletes have that
| | 01:55 | edge to them, and we don't want to soften that.
| | 01:57 | So, again, as I reduce and simplify, I am
looking to create a stylized perspective
| | 02:02 | of this person, but I don't want
to create something that's surreal.
| | 02:06 | So, we'll just look at how we can
reduce and simplify here as much as possible
| | 02:11 | without going to overboard.
| | 02:14 | Whenever you're doing this detail work
it's always a good idea to put on some
| | 02:17 | good music, and also you may be
noticing that as I do this, I'm pressing the
| | 02:22 | Option key quite often to
sample from different areas.
| | 02:25 | I want to do that so that I don't
ever sample from the same area more than
| | 02:30 | just a couple of times, because in a
real workflow I need to be incredibly
| | 02:34 | careful that I'm not repeating any patterns or
textures that's going to become noticeable later.
| | 02:40 | So again, just doing a lot of little
teeny work, but trying to have my sample
| | 02:45 | area come from different areas, so
that we can hide this as much as possible.
| | 02:50 | The trick with this, of course, is that
right now we are zoomed way in.
| | 02:54 | What we need to do pretty soon is zoom
out, because sometimes you can zoom so
| | 02:59 | far in that you're really missing the
overall point, or that you focus too much
| | 03:04 | on little details that you
missed some of the bigger details.
| | 03:08 | We also want to be asking our self, as
we make these adjustments, are they
| | 03:12 | improving the image -
| | 03:13 | not are we doing them just because
Photoshop can, but rather, does this improve
| | 03:18 | our vision for the photograph?
| | 03:20 | Is this leading us somewhere?
| | 03:21 | I'll go ahead and just remove some of
these up here, and I am going to zoom out.
| | 03:26 | I want to see how we are doing so far.
| | 03:29 | I think we're doing pretty good.
| | 03:30 | If we look at our before, here's before,
and then there's after. It's not surreal.
| | 03:36 | It's not unrealistic, but it just
reducing and simplifying this a little bit.
| | 03:40 | It's creating a look that has
a little bit more soft light.
| | 03:43 | Now, I like that there are still some
skin variations here, and with this image
| | 03:47 | I'm not interested in softening the
skin out so that it looks like a beauty or
| | 03:52 | fashion shot or something like that.
| | 03:54 | I want to have a bit of grit.
| | 03:56 | Yet, it is nice how
we've reduced and simplified.
| | 03:59 | I think it's a little bit
more of a flattering look.
| | 04:02 | I think that Chris would actually like
this, knowing Chris. He is into looks that
| | 04:06 | are authentic, that are real,
that capture a bit of who he is.
| | 04:10 | So, let's zoom out just a touch
more here. We have our before and after.
| | 04:14 | Overall, here's our before and after.
| | 04:17 | Stage two is now complete.
| | 04:19 | I'll catch you in the next movie.
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| Reducing brightness on the skin| 00:00 | At this stage, what I want to begin to
focus in on is the overall tonal corrections.
| | 00:04 | In particular, I want to work on some of
the highlights and also some of the shadows.
| | 00:09 | Now, before we do that, one of the
things that you might've noticed is that we
| | 00:13 | haven't dealt with these
wrinkles here on the forehead.
| | 00:15 | Well, I want to deal with
those on a separate layer.
| | 00:18 | So I am going to go ahead and
click on the New Layer icon.
| | 00:20 | I'll name this new layer clean up - 2.
| | 00:22 | Next, press the J key to
select the Healing Brush.
| | 00:26 | We'll sample to all layers there.
Make sure All layers is turned on.
| | 00:30 | The reason I want to have these on a
separate layer is that I might, at some
| | 00:34 | point, need to lower the opacity of that,
| | 00:36 | because sometimes when you reduce
wrinkles altogether, it just loses a bit of
| | 00:41 | the dimension, or of the reality.
| | 00:43 | So, in this case, I'm just going to
soften those wrinkles up a little bit,
| | 00:47 | because we want just a bit of that there.
| | 00:49 | So, now we have that before and after, just
kind of taking the edge off of that area.
| | 00:54 | Well, that looks nice.
| | 00:56 | Next thing I want to do is work on
these highlights up in here, and I want
| | 00:59 | to darken those up.
| | 01:00 | To do that, we'll create a curves
adjustment. Click on the Adjustment Layer icon
| | 01:04 | and choose Curves, or in the
Adjustments panel, click on the Curves icon here.
| | 01:08 | Either way, what we want to do
is simply darken this up a bit.
| | 01:12 | We are going to make some
pretty significant darkening.
| | 01:15 | I'll lower my white point here a little
bit as well and bring this point down.
| | 01:19 | Now, I am really focusing in
on this part of the forehead.
| | 01:24 | I know it's darkening everything,
but we know how to limit this.
| | 01:27 | What we do is we press Command+I
or Ctrl+I. That will invert the mask.
| | 01:31 | We then grab a brush and paint with
white, and we are going to paint with
| | 01:34 | white with a low opacity.
| | 01:35 | Actually 10% will probably be good here.
| | 01:38 | I want to make sure I
have a nice, soft-edged brush.
| | 01:41 | I am just going to start to barely
paint over this area, and I'll change my
| | 01:46 | brush size, make it a little bigger,
a little smaller in certain areas.
| | 01:51 | I want to just slowly see if I can start
to tap out some of this bright area here.
| | 01:55 | I'll go ahead and work underneath
the eyes, a little bit on the nose there,
| | 02:00 | just bring that down just a bit as well, and
just look to darken up some of these areas.
| | 02:07 | The nice thing about this is because
this is a curves adjustment what we can do
| | 02:11 | is modify the color or tone as needed.
| | 02:14 | Make this a little bit bigger here, a
little bit broader brush strokes now up
| | 02:18 | here on the forehead, and just
bring this in a little bit at a time.
| | 02:22 | When you do this you want to think
about attacking this area incrementally.
| | 02:27 | Small steps here, small steps will almost
always save the day in situations like this.
| | 02:33 | Go ahead and darken up the ears a
little bit more and a couple other little
| | 02:38 | areas around there.
| | 02:39 | Well, let's see how we've done.
| | 02:41 | Here we have our before and then now, our after.
| | 02:45 | Well, for a first stage I think that's good.
| | 02:48 | The only other thing I want to
do here is go to that red channel.
| | 02:51 | I am going to click to set a point
here on this line, so I'll use the Target
| | 02:54 | Adjustment tool and click on the image.
| | 02:56 | Then I am just going to tap my arrow
key up, maybe one or two times there, just
| | 03:00 | adding a little bit of hue into that.
| | 03:02 | Now, when I add that hue, we can see it
brings some nice color so that it kind of
| | 03:07 | matches the skin there a
little bit more effectively.
| | 03:11 | Next thing we want to do is
darken this area up even more.
| | 03:14 | So the way I'll do that is create a
new curves adjustment. Click on the
| | 03:18 | Adjustment Layer icon, choose Curves.
| | 03:20 | Do one of these similar things
dragging down, except this time with the Target
| | 03:23 | Adjustment tool selected, we'll click
and drag down to really target that
| | 03:27 | particular area, because that's the
area now that we want to get even better.
| | 03:32 | So, I'll go ahead and darken that up,
and then invert the mask, Command+I or
| | 03:36 | Ctrl+I, grab my Brush tool and again,
painting with a real low opacity to start
| | 03:41 | to slowly bring in a little bit
of a darkening effect in this area.
| | 03:45 | Now, whenever you're working on one
area of the photograph, you want to travel
| | 03:48 | around to some of the surrounding
areas, just to try to tie it all together.
| | 03:52 | A lot of times what you'll want to do,
as well, as you want add a bit of feather
| | 03:56 | to your brush strokes, just so that
this looks nice and even and whatnot.
| | 04:00 | Now, what we are trying to do here is just
bring down some of the brightness that we
| | 04:04 | are seeing here on the forehead.
| | 04:06 | So, we'll go ahead and make
our way through, like this.
| | 04:09 | Here we have that before and
after, bringing that down even more.
| | 04:14 | Let's go to the Mask panel, and now
in the Mask panel, we'll increase that
| | 04:17 | feather amount to soften
out those brush strokes.
| | 04:19 | Same thing with that underlying layer.
| | 04:21 | Let's increase the feather. That just
gives us a little bit more of an even
| | 04:25 | brush stroke there.
| | 04:26 | Here we have before and then after, just
reducing those highlights in some nice ways.
| | 04:32 | Well, in this top layer, one of things
I'm noticing is that I like this, except
| | 04:36 | perhaps the color isn't perfect.
| | 04:39 | So, double-click the Curves icon and
go into the red channel, and then I am
| | 04:43 | going to click to set a point.
| | 04:44 | This time I'm actually going to click
and drag this down a little bit, just
| | 04:48 | removing a bit of the red.
| | 04:49 | I thought it was becoming too red.
| | 04:51 | I'll go into blue/yellow, click to set
a point and then again click to drag up
| | 04:56 | or down, just seeing how I can kind of
mix up the color there a little bit.
| | 05:00 | Here's before and after.
| | 05:02 | I think that's looking pretty nice actually.
| | 05:04 | Finally, the only other thing that we
might want to do here is just lower the
| | 05:08 | opacity just a little bit.
| | 05:10 | I like to do that just to soften my
adjustments and to blend them in, so that
| | 05:15 | everything looks good. So far, so good.
| | 05:18 | I grab my brush tool, and now I am
just going to extend this a little bit up
| | 05:22 | here to the top area of
the hair and the side area.
| | 05:25 | So, they all kind of have the same
color a little bit, so that this effect is
| | 05:29 | really blending into some of
the other areas of the skin.
| | 05:32 | Well, I think that's looking just fine.
| | 05:34 | What about some of the shadows now?
| | 05:36 | I want to work on the eyes some more,
and you also may notice that the eye
| | 05:40 | color isn't very good.
| | 05:42 | When we dodged out some of that detail,
or brightened up the eyes, we lost a little
| | 05:46 | bit of color in there.
| | 05:48 | So, before I actually work on the brightening
of the eyes, I am going to target this color.
| | 05:52 | I want to start to even out
some of the color variation.
| | 05:55 | I'll do that first, and
then I'll add some brightening.
| | 05:59 | Let's go ahead and take a look at how
we can brighten up some of those shadows
| | 06:03 | and also work on the color
variation in the next movie.
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| Enhancing color and tone| 00:00 | At this stage, we're going to focus in
on how we can reduce color variation, and
| | 00:04 | this is going to be a really subtle
adjustment, and then we'll take a look at
| | 00:07 | how we can brighten up the image.
| | 00:09 | In both situations, we'll be using
adjustment layers, and then we'll paint in the
| | 00:13 | adjustment with a mask.
| | 00:15 | Well first, let's work on the color.
| | 00:17 | If we go ahead and click on our
Adjustment Layer icon, we can choose Solid Color.
| | 00:22 | Now here just pick any old color.
| | 00:23 | It doesn't really matter, and click OK.
| | 00:25 | And we have this random color selected
to illustrate that we can target the mask
| | 00:31 | and press Command+I to
conceal whatever that color is.
| | 00:35 | Now, we can double-click this and then
sample a color in our image and choose
| | 00:39 | one of these interesting tones -
| | 00:41 | it doesn't have a lot of red in it -
and then go ahead and click OK.
| | 00:45 | Next step, target the mask.
| | 00:48 | Select your Brush tool.
| | 00:49 | We want to paint with a real low opacity,
say somewhere around 10%, or less even.
| | 00:54 | With a nice, soft-edged brush, we're
just going to paint over a few of these
| | 00:57 | areas that we're noticing
that have some red in them.
| | 01:00 | I'll go ahead and just paint over these
areas, trying to add a bit of color in a
| | 01:05 | couple of different ways. And all that
this will do for us is just reduce that
| | 01:09 | skin tone variation a bit, and I can
paint over a lot of these areas here.
| | 01:14 | I'm going to press 2 to
go to 20%, add a bit more.
| | 01:17 | I'm going to add a bit more, just so
you can see what's happening here.
| | 01:20 | Now it's a touch too strong for my
liking, but keep in mind that I'm doing this
| | 01:25 | to kind of point out how
this will actually work.
| | 01:28 | Okay, well, if we zoom in on the face
here, what we'll start to see is that in
| | 01:32 | this area where I've painted this
particular color, it's going to then reduce or
| | 01:36 | remove a lot of that skin tone variation.
| | 01:39 | Here we have it: our
before and then now our after.
| | 01:43 | Well, in this case that
is indeed way too strong.
| | 01:46 | So what we need to do then is take
this to a blending mode of Color.
| | 01:51 | Now, Color is really
where the magic will happen.
| | 01:53 | Having this layer on this Color blending
mode we can see now our before and after.
| | 01:58 | It's just reducing that variation.
| | 02:00 | If you zoom way in, you can see
that. Here's all that little red area.
| | 02:04 | Click on this layer, and you can see
that we've now removed that with this
| | 02:07 | particular tone here.
| | 02:08 | And if this color isn't right,
double-click the tool here,
| | 02:11 | we can choose a different color.
| | 02:12 | There you can see now I'm adding blue
just to illustrate it's affecting that
| | 02:16 | area, bringing color on top of the skin.
| | 02:19 | Well, that's not something we want, so
I'm going to go back and try to find a
| | 02:22 | nice brown there, just to mute some
of those red tones and then click OK.
| | 02:27 | Before and then after.
| | 02:30 | Now, this adjustment, as I mentioned, is
subtle, but sometimes it can really help
| | 02:33 | just bring in the skin to a better
place, and I think that looks pretty good.
| | 02:38 | Next thing I want to do is I want to
work on this bright area over here, and I
| | 02:43 | want to start to brighten up these eyes.
| | 02:46 | Well, in order to do that, we'll zoom
out a little bit, we'll click on our
| | 02:49 | Adjustment Layer icon and choose Curves,
and with Curves, we're just going to go
| | 02:53 | ahead and brighten this up and then
press Command+I or Ctrl+I to invert the
| | 02:58 | mask, grab our brush, again, a nice
soft-edged brush, and we're just going to
| | 03:03 | start to paint over these areas with
this tool, in order to brighten up a few
| | 03:08 | specific areas, bringing yet more
lights into this area of the photograph.
| | 03:14 | The great thing about using a curves
adjustment is that we can control the
| | 03:17 | color if we need to.
| | 03:19 | We can also paint this
exactly in where we need it.
| | 03:22 | So I'll go ahead and make my
way through these shadow areas.
| | 03:26 | Also, as a side note, we will
eventually be working on the eyes, so I'm not
| | 03:29 | going to spend too much time on those right now.
| | 03:32 | I just want to bring in a little bit
more light into this area, so I'll go ahead
| | 03:36 | and do that with a real low opacity,
just to start to add a bit of this
| | 03:40 | brightening effect to this area over here.
| | 03:43 | All right, well, let's see how we've done.
| | 03:46 | Here he have it: before and then after.
| | 03:49 | A pretty subtle adjustment.
| | 03:50 | If we want more, crank this up even higher.
| | 03:53 | You can see how we're bringing in more
light. And then as always, we're going to
| | 03:56 | need to go to that Mask panel, and
we're going to need to feather out our
| | 04:00 | brushstrokes, so that we can soften
all of these adjustments up nicely, and
| | 04:05 | we'll go ahead and do that by clicking
the mask, increase the feather amount.
| | 04:09 | That will just diffuse
all of those brushstrokes.
| | 04:12 | You want to get it to where it's just
a nice quality there. And then we have
| | 04:16 | that before and now after, adding
a bit more light to the eyes.
| | 04:22 | Now, when you add light, sometimes
you may need to change the color.
| | 04:26 | To do that, double-click your Curves
icon, go into these different channels.
| | 04:30 | We can then grab our Target Adjustment
tool and click and drag up just a little
| | 04:34 | bit, maybe adding just a touch of red
into that area, or go into the blue-yellow
| | 04:38 | channel, click and drag down, add a
little bit of yellow, and add whatever color
| | 04:42 | you find that you need in order to
get this to match the surrounding skin.
| | 04:47 | In this case, I think this is looking
pretty good, although it is a little bit high.
| | 04:52 | So finally, I'll go back to the RGB
channel and then just bring this down a bit.
| | 04:57 | I don't need to overdo it, but I just
want to add a little bit of vibrance there
| | 05:00 | to the eyes, and here you can see we
have that: before and after, and both of
| | 05:05 | these layers in this movie:
before and then after.
| | 05:09 | A couple of subtle adjustments, but
nonetheless important adjustments that are
| | 05:13 | helping us make this image even better.
| | Collapse this transcript |
| Using curves and blending modes for tone| 00:00 | In order to further work on the overall
tone, in this movie, we're going to take
| | 00:04 | a look at how we can use curves and
blending modes to either darken or brighten.
| | 00:10 | Here I'll go ahead and click on the
Adjustment Layer icon, and I'll choose
| | 00:13 | Curves, and this first curves
adjustment, I'm going to change to Multiply.
| | 00:17 | Now that darkening effect is way too intense.
| | 00:20 | No big deal. Simply press
Command+I or Ctrl+I to invert your mask.
| | 00:24 | Next, grab your Brush tool.
| | 00:26 | You want to paint with an opacity
| | 00:28 | that's really low, say 10%.
| | 00:29 | We're just going to start to paint across a
few areas that we would like to darken up.
| | 00:34 | So, go ahead and paint across the eyebrows,
just adding a little bit more of an accent there.
| | 00:38 | I think that's kind of nice.
| | 00:39 | I am also going to paint over the
ears just a little bit, bringing down
| | 00:42 | some of these highlights, so, not
quite so prominent, because we know that
| | 00:46 | our eye goes to areas of
brightness, and also areas of contrast.
| | 00:50 | So just reducing a bit of that in a
couple of different ways, and we'll go over
| | 00:55 | there and just make our way through this.
| | 00:57 | Next, I'll work on the nose as well,
that highlight there, and this is a small
| | 01:01 | adjustment, and it's also
an incremental adjustment.
| | 01:04 | You can see that we're just slowly building up
this work with light here, little by little.
| | 01:11 | All right, well, let's go ahead and
take a look at how this looks here so far.
| | 01:15 | Here we have it: before and then after.
| | 01:18 | Next step, go to the Mask panel,
increase the Feather, just save those
| | 01:21 | brushstrokes, and they're a little bit
more diffused, and that looks pretty good.
| | 01:25 | All right, one more adjustment layer,
except this time to brighten. Here we'll
| | 01:29 | go ahead and click on the
Adjustment Layer icon, choose Curves.
| | 01:33 | We're going to take this to a
blending mode of good old Screen.
| | 01:36 | Now, the Screen blending mode is really nice.
| | 01:39 | So let's press Command+I. Let's zoom
in, grab our Brush tool, with a really
| | 01:45 | nice and small brush.
| | 01:46 | What I want to do is start to paint in
some of this brightness here in the eye.
| | 01:50 | So, I'll go ahead and make my way
around the eye here, adding a little bit of
| | 01:55 | brightness to the eye. And one of the
things you want to keep in mind with
| | 01:58 | eyes is that you want the opposite side of the
highlight to be the brightest area of the eye.
| | 02:04 | So in that case that's going
to be the lower portion here.
| | 02:07 | Also, brighten up the whites there a
little bit and a couple of these other
| | 02:11 | little shadows that we can work on
while we're zoomed in really close, just
| | 02:16 | looking to add a bit of brightness
there, with some nice small brushstrokes.
| | 02:21 | I think that's turning out pretty well.
| | 02:23 | Add a little bit more there in the
bottom of each eye to really make that sing.
| | 02:28 | Here we have it: our before and then
after, more brightness to that area.
| | 02:33 | All right, well, let's zoom out and see
how these two adjustments help this out.
| | 02:37 | Here we have it: before and then after.
| | 02:41 | Yet again, some helpful
improvements on the photograph.
| | 02:44 | All right, well, right now we've
done a lot of adjustments, and we need
| | 02:48 | to organize things.
| | 02:49 | So, double-click the Adjustments
tab, and let's examine what we have.
| | 02:54 | If we click through our layers, we'll
see that what we have here is this first
| | 02:57 | adjustment, which brightened up the eyes,
some cleanup work, a little bit more
| | 03:01 | cleanup work, and then all of these
different tone layers, which helped us worked
| | 03:05 | on the overall tone in the photograph.
| | 03:08 | So, one of the things that we could
do is group these tone layers together.
| | 03:11 | Click in the topmost tone layer, hold
down the Shift key, and then the bottommost
| | 03:15 | layer, and I should say these
are really tone and color, right?
| | 03:18 | Here I'll press Command+G
on a Mac, Ctrl+G on Windows.
| | 03:22 | We'll name this "tone and color."
| | 03:25 | Next, we'll go ahead and click on these
two clean up layers, we'll hold down the
| | 03:28 | Shift key while we do that, press
Command+G. We'll name this group clean up, and
| | 03:34 | then finally, just for good measure,
I'm going to click in this layer.
| | 03:36 | Even though it's only one, I'll press
Command+G. I'll go ahead and name this one "tone."
| | 03:41 | All right, well, now that we've
done that, we have this really nice
| | 03:45 | organized Layers panel.
| | 03:46 | Here we can look at our
before and after really easily.
| | 03:49 | We can also examine how we're doing.
| | 03:51 | Sometimes, when you group things, it's
a nice idea to click in the group and
| | 03:55 | just lower the opacity just a
little bit to see what it will look like
| | 03:59 | if you scale back your overall effect.
And in this case, I think it does
| | 04:03 | actually look pretty nice
just taking that back just a bit.
| | 04:05 | All right, well, we are ready to
progress to our next step, and we'll do that
| | 04:10 | in the next movie.
| | Collapse this transcript |
| Improving the eyes| 00:00 | At this stage, let's go ahead and
take a look at how we can add a bit more
| | 00:03 | sparkle to the eyes.
| | 00:05 | We also though, want to keep in mind
that we've already brightened those eyes up
| | 00:08 | pretty significantly.
| | 00:10 | So, let's zoom in on the eyes here, and
what I want to do is I want to merge all
| | 00:15 | of my underlying layers to the very
topmost layer, so that I can apply some
| | 00:19 | sharpening to the eyes.
| | 00:21 | In order to do that, we'll use a shortcut.
| | 00:23 | On a Mac, it's Shift+Option+Command+E;
on Windows that's Shift+Alt+Ctrl+E.
| | 00:28 | Now, I know that that shortcut is a bit of a
mouthful, but nonetheless, it's really
| | 00:33 | helpful, because it allows us to
combine all that we've done to this top
| | 00:37 | layer, and that's pretty critical for
sharpening and for the effect that we
| | 00:41 | want to create here.
| | 00:42 | I'm going to zoom out for a moment,
in order just to evaluate what we have.
| | 00:45 | Well, we've increased our file size
significantly here, because we have all
| | 00:50 | of this information.
| | 00:51 | What I want to do is make a selection of
just the eyes and delete everything else.
| | 00:56 | Let's go ahead and use one of our
Selection tools, like the Elliptical Marquee
| | 01:00 | tool, click and drag around the eyes,
hold down the Shift key, click and drag
| | 01:04 | around the other eye, and this
selection doesn't need to be perfect;
| | 01:08 | it just needs to be pretty
generous around these two eyes here.
| | 01:12 | Next, we want to invert the selection,
navigate to Select here, and then choose Inverse.
| | 01:18 | Now we have everything
selected, except for those eyes.
| | 01:22 | In order to illustrate what's happening
here, let's turn off the eye icons for
| | 01:26 | the other layers, and then now when I
press Delete or Backspace, we can see that
| | 01:30 | yes, we did indeed delete
everything that we don't want. Perfect!
| | 01:35 | Now, we can choose Select and Deselect,
and then go ahead and turn back on
| | 01:39 | those other layers.
| | 01:41 | Let's name this top layer "eyes - sharpening."
| | 01:46 | Let's zoom in on the eyes.
| | 01:48 | You want to zoom way in here, and then
we'll go to our Filter pulldown menu.
| | 01:53 | We're going to select
Sharpen and then Smart Sharpen.
| | 01:56 | Now, in Smart Sharpen, what we're
interested in doing is bringing out some of
| | 02:00 | the little teeny details, so
you're going to have a real high amount.
| | 02:04 | You'll bring your radius up till you
see kind of that sparkle come into the
| | 02:07 | eyes, and you can see that as you click on
the image it shows you the before and after.
| | 02:12 | More Accurate is sometimes really
interesting because it can bring out the
| | 02:16 | small little texture, although with
certain images it doesn't work so well, so
| | 02:20 | you want to experiment which one
works best with your own photographs.
| | 02:24 | All right, well here what I'm going
to try to do is oversharpen the eyes.
| | 02:28 | I'm going to oversharpen the eyes,
because we'll have the flexibility to paint
| | 02:33 | in the sharpening effect just into
the exact area we want, and also at the
| | 02:38 | level that we want.
| | 02:39 | So, I'm going to increase this, but
I don't want to go too far with it.
| | 02:42 | Now I'm going to
actually turn More Accurate off.
| | 02:45 | I think that will look a little
bit better, and then I'll click OK.
| | 02:49 | Well, here we have a strange effect where
the entirety of our selected area is sharpened.
| | 02:54 | That's not what we want, right?
| | 02:56 | So, we need to create a
mask that conceals all of this.
| | 02:59 | So to do that, hold down Option on a
Mac, Alt on Windows, then click on the
| | 03:05 | Add Layer Mask icon.
| | 03:06 | Next step is going to be
to grab that Brush tool.
| | 03:09 | We want to paint with a pretty high
opacity, so I'm going to go to 70%.
| | 03:13 | You want to zoom way in, and a lot of
times when you do this effect, what you
| | 03:16 | want to do is start in the middle
of the eye and click and drag out.
| | 03:19 | You want to be really careful of those
highlights, to not over sharpen those.
| | 03:23 | You also want to be careful that you
don't sharpen the eyelids, because that
| | 03:28 | will just look strange.
| | 03:29 | Again, all we're doing here is just
adding a bit of sparkle into the eyes, and if
| | 03:34 | you look, here we have that before and after.
| | 03:37 | If we zoom in even closer, so you
can actually see what's happening here,
| | 03:41 | there we have that before and after,
just adding a little bit of interesting
| | 03:45 | sparkle or life to that area of the eyes.
| | 03:47 | All right, well, let's zoom out,
so we can evaluate this in a more
| | 03:51 | realistic perspective, before and
then after. And at least on my monitor,
| | 03:56 | the eyes look really nice.
| | 03:58 | They look like they have a
bit more of life inside of them.
| | 04:00 | All right, well the only other thing we
might want to do here is apply a curves
| | 04:05 | adjustment to the eyes.
| | 04:07 | We'll click on the Curves icon.
| | 04:09 | Then we'll go ahead and
brighten things up a little bit.
| | 04:13 | We can also, of course add, contrast if
we want, but in my case I just want a
| | 04:16 | little bit of a brightening effect
there, and then I'll press Command+I or
| | 04:19 | Ctrl+I to invert that layer.
| | 04:22 | Next, with my Brush tool, and with a
relatively low opacity, I'll paint with
| | 04:27 | white, and all that I'm going to do is
just add a touch of brightening here, a
| | 04:31 | little bit more brightness
to these eyes might be nice.
| | 04:34 | I want to be careful as I do this.
| | 04:37 | I also want to be willing to
let go of these adjustments.
| | 04:40 | Sometimes, it's really easy to get
excited about brightening up the eyes, but
| | 04:45 | it's so easy to overdo things that we
always need to be willing to let go.
| | 04:50 | So here we'll zoom out a little
bit and look at how we've done.
| | 04:53 | There is our before and then after.
| | 04:56 | Now of course, we do have to evaluate
the eyes with our previous adjustments.
| | 05:01 | So let's look at it this way:
| | 05:02 | here's original, and then now here's after.
| | 05:05 | Here's how far we've taken things.
| | 05:07 | All right, well, in this case I think
it's looking pretty good, although I do
| | 05:11 | know I'm going to want to back this
off just a touch, so I'll lower the
| | 05:14 | opacity just a little bit in there, but I
like how that just adds a little bit more snap.
| | 05:19 | Now at this stage, because we're really
focusing in on organizing our layers,
| | 05:24 | click in the topmost layer, hold down
the Shift key, click in that underlying
| | 05:28 | layer, so we can have both of these
grouped together, and then we'll press
| | 05:32 | Command+G or Ctrl+G to group those,
and we'll name this group "eyes."
| | Collapse this transcript |
| Modifying the jacket | 00:00 | At this stage of our project, we're
going to shift gears a little bit.
| | 00:03 | We're going to focus in on how we can
modify the color and tone of the jacket,
| | 00:08 | and also the background.
| | 00:10 | In order to do this, we'll be using
adjustment layers. We'll then make an
| | 00:14 | adjustment, create a mask and then mask
in the adjustment into a particular area.
| | 00:20 | Let's start off by working on the jacket.
| | 00:23 | In order to make a change on the
jacket, we could use a number of different
| | 00:26 | adjustment layers, yet to keep things
simple, let's use a really easy one,
| | 00:30 | which is hue/saturation.
| | 00:33 | Here I am going to go ahead and
make a really dramatic hue change.
| | 00:37 | Now I know this looks quite funny,
but we want to make a dramatic change,
| | 00:41 | because this will help us build up a good mask.
| | 00:44 | To now build the mask, we'll go to our
Mask panel, we'll click on Color Range,
| | 00:49 | and here we're going to go
ahead and click on the jacket.
| | 00:52 | Next, you hold on the Shift and you
simply click across the jacket, and what you
| | 00:55 | want to do is find just the right
amount of the Range and also the Fuzziness in
| | 01:00 | order to build up a really nice selection here.
| | 01:02 | We can also hold down Shift and click
and drag across the mask over here in the
| | 01:07 | preview, on this side.
| | 01:09 | As we do this, we'll see it'll update
both views, and in this case it will help
| | 01:14 | us to determine if we're
going in a good direction.
| | 01:16 | I am going to increase the Fuzziness
there a little bit more, decrease my Range
| | 01:21 | and just try to bring these two
together and then Shift+Click and drag across
| | 01:25 | the image in order to add
more of this to our selection.
| | 01:29 | The trick with this, of course, is that
what you want to do is just go through
| | 01:34 | this as much as possible.
| | 01:35 | If you make a mistake, hold down Option
or Alt to subtract from the selection.
| | 01:40 | All right, Shift clicking and dragging
across all of this area, trying to build
| | 01:45 | this out as much as we can, and what we
have to do, of course, is fix this up a
| | 01:50 | little bit more later.
| | 01:52 | We can decrease the Range in order to select
less of the background. Okay, that's nice.
| | 01:57 | Let's keep going with that.
| | 01:58 | How far can we take this?
| | 02:00 | Well, that's looking good, except we
lost a little bit up here, so Shift+Click
| | 02:04 | and add that back in.
| | 02:06 | I think we're going in a pretty healthy
direction, maybe just a little bit more
| | 02:09 | Fuzziness, and we're good to go.
| | 02:12 | Let's go ahead and just get that
right where we want it and click OK.
| | 02:16 | Well, at this juncture, we
have a pretty decent adjustment -
| | 02:19 | here is our before and then after -
except the problem is it's affecting the
| | 02:25 | background and some other areas.
| | 02:27 | Well, the best way to clean up
our mask is to view this in the
| | 02:31 | black-and-white view.
| | 02:33 | To do that, press Option or
Alt and click on this mask icon.
| | 02:37 | Well, here we can see that we have a
relatively decent selection of the jacket,
| | 02:41 | yet even that is a little bit
problematic, so here's how we'll fix things up
| | 02:46 | without a lot of effort.
| | 02:47 | We'll grab a selection tool, say like
the Magic Wand, and we'll select an area.
| | 02:51 | If you want to add more to it, we'll
hold down the Shift key and click around
| | 02:55 | here, adding a bit more to the selection,
if you notice that some of these areas
| | 02:58 | are quite selected enough.
| | 03:01 | Well, now that you have a pretty good
selection, what you want to do next is
| | 03:04 | fill this area with white.
| | 03:07 | The best way to fill this with
white is to press Shift+Delete.
| | 03:10 | This will open up our Fill dialog.
| | 03:13 | We'll select white and click OK.
| | 03:15 | That essentially just kind of
boosted this white area of the mask.
| | 03:19 | Well, now what we want to do
is clean up the background.
| | 03:22 | To do that, what we need
to do is look at our mask.
| | 03:25 | I notice there's a little
area right here of the bike.
| | 03:28 | I want to subtract that.
| | 03:30 | So grab the Lasso tool, hold down
Option or Alt and just lasso around this
| | 03:36 | area and we remove that.
| | 03:37 | Next step, choose Select and Inverse.
| | 03:41 | We now have the background selected,
and in that background area, we want to
| | 03:45 | fill that with black.
| | 03:47 | Once again, press Shift+Delete, and
here we'll choose black, and click OK.
| | 03:53 | All right, well, now we're talking.
| | 03:56 | We have a pretty nice mask here.
| | 03:57 | Let's choose Select and Deselect and then
Option+Click or Alt+Click on the Mask icon.
| | 04:03 | In this case we can see that, yeah, we
are making a great adjustment, adjust the
| | 04:06 | jacket, except I'm not really digging the green.
| | 04:10 | So we double-click the hue/saturation
thumbnail icon right there, and here we
| | 04:14 | can make a different change.
| | 04:15 | Let's say, for example, if we want a
bit more cyan in the jacket, or maybe we
| | 04:19 | want to go with something with a little
bit less tone and make this a bit more black,
| | 04:24 | here we could darken it up.
| | 04:25 | That's kind of a cool look.
| | 04:27 | You know, another great way to work
with hue/saturation is to click on
| | 04:31 | Colorize. Check this out.
| | 04:32 | Here we can come up with some really
vivid and interesting color combinations.
| | 04:37 | But what I want to do, is let's say I
simply want to desaturate a bit and darken,
| | 04:42 | and just go for a little bit
more of a navy blue type of a look.
| | 04:46 | So I am just going to dial in what
I think might work here in regards to
| | 04:50 | saturation and brightness.
| | 04:51 | I am just looking for a bit more
navy and a little bit less magenta.
| | 04:56 | Here is before and then after.
| | 04:59 | I think that's looking a bit better.
| | 05:01 | Go ahead and remove a bit more
color there, also darkening that up.
| | 05:05 | Before, looks a little purple, and then after,
a bit more of that navy blue or neutral blue.
| | 05:11 | It feels a bit more sophisticated to me.
| | 05:14 | Now where you take this color is
obviously completely up to your own
| | 05:17 | preference, and this is just having
fun, right, with color a little bit.
| | 05:21 | I think that looks fine.
| | 05:22 | Now that we are working on the
jacket, I notice a problem.
| | 05:26 | This white T-shirt is way too bright, so
while we are here, let's fix that up as well.
| | 05:31 | We'll click on our Adjustment
Layer icon and choose Curves.
| | 05:35 | We'll bring down this white
point and then bring this curve down.
| | 05:39 | I'm also noticing there's a little bit
of color in this area, so I'll take this
| | 05:44 | layer blending mode to Luminosity,
just to not exaggerate any of the color
| | 05:48 | problem there, then invert the mask.
| | 05:51 | We can do so by pressing
Command+I or Ctrl+I, grab our Brush tool.
| | 05:56 | We'll paint with white and all that
we want to do here is just paint with
| | 05:59 | white over this area,
| | 06:00 | just darkening this up, because it's
too bright, it's attracting the eye to
| | 06:05 | this area too much, and so if we darken that,
it'll be nice to just remove that brightness value.
| | 06:12 | Here we have it, before, and then after,
on that little adjustment, and I am
| | 06:16 | just masking it in perfectly, painting
with black or white to get it just right.
| | 06:20 | Here's our jacket,
overall before and then after.
| | 06:24 | Well, I think this is actually
a pretty good stopping point.
| | 06:27 | So let's go ahead and stop here.
| | 06:29 | In the next movie, let's pick up and
take a look at how we can do something
| | 06:33 | similar in order to modify
the background color and tone.
| | Collapse this transcript |
| Changing the background color| 00:00 | Here we're going to examine how we can
modify the color and tone of the background.
| | 00:05 | Now there are so many different adjustments
that we can use in order to change this area.
| | 00:09 | Let's go ahead and make our way to the
adjustment panel icons, and here, let's
| | 00:13 | choose Color Balance just for fun.
| | 00:14 | All that we want to do is make a
real drastic adjustment, and we want to
| | 00:18 | overdo the adjustment.
| | 00:20 | This will help us deconstruct how we
can create a really good mask here.
| | 00:25 | Next step, we make our way to the Mask
panel, and here we choose Color Range.
| | 00:30 | Now in Color Range we do the
same thing as we've done previously.
| | 00:33 | We click on the color, then we hold
down the Shift key, and we click and drag
| | 00:36 | around this area, looking to try to build
up a selection of this background tone.
| | 00:41 | Now as we do this, we can see that, yeah,
indeed we're building up a nice mask,
| | 00:46 | yet there is a problem, of course,
right? We are selecting some of the face
| | 00:50 | there, and we don't necessarily
want to have that in this mix.
| | 00:54 | So I want to go ahead and fix that up.
| | 00:56 | But that'll be pretty easy to fix up, won't it?
| | 00:59 | We can correct that without a lot of effort.
| | 01:02 | Once you have a nice mask, click OK.
| | 01:04 | At this juncture, we'll see a really strong
shift in the background. Before and now after.
| | 01:10 | Well, one of the problems,
of course, is the face.
| | 01:14 | To fix this area, let's Option+
Click or Alt+Click on the Mask icon.
| | 01:18 | This shows us the mask in
this black-and-white view.
| | 01:21 | Well here, one easy way to fix this is
to grab our brush and to go ahead and
| | 01:26 | paint with black, press the right
bracket key, make that brush a little bigger,
| | 01:31 | and all that we need to do is to paint
over this area to conceal the adjustment
| | 01:36 | from taking place in this
portion of the photograph.
| | 01:40 | And now you may be thinking,
previously we made a selection,
| | 01:43 | we filled the selection
with black. Which is better?
| | 01:46 | Painting on the mask or making selections.
| | 01:49 | In reality, both techniques work well.
| | 01:52 | It just depends on which technique
that you think you can use in order to
| | 01:56 | execute the task at hand most efficiently.
| | 02:00 | And here with this photograph, I
thought that painting on the mask would
| | 02:02 | probably be easiest.
| | 02:05 | Next step, Option+Click or Alt+Click
on the Mask icon, and now we have this
| | 02:09 | adjustment limited to that background area.
| | 02:12 | To make further adjustments to the
color back there, let's double-click the
| | 02:15 | Color Balance icon, and then here we
can go ahead and choose how far we want
| | 02:20 | to push that, click on our Shadows, maybe
some nice deep reds there would be kind of fun.
| | 02:25 | And of course we could shift this color
one way or another, changing the overall
| | 02:29 | tone, and really the overall
image, pretty significantly.
| | 02:32 | Well, here he have it, before and then after.
| | 02:36 | That's a bit too strong for my liking,
so I am going to go ahead and reduce that.
| | 02:40 | I do want saturation and
bright colors, but nothing too big.
| | 02:44 | All right, well now that we've made
these adjustments on the jacket and on the
| | 02:48 | background, let's group all of these
color and tone adjustments together.
| | 02:53 | Hold down the Shift key and go ahead
and click on your other layers, then
| | 02:57 | press Command+G or Ctrl+G for group, and let's
name this group "jacket and bg," for background.
| | 03:06 | Here you can see our before and then after.
| | Collapse this transcript |
| Final adjustments| 00:00 | At this stage in our process, there are a
few more things that we want to do here.
| | 00:04 | One is a little bit more retouching,
just touching up a couple of little spots
| | 00:08 | here, changing dimension or shape,
and then also working on light and
| | 00:13 | sharpening the photo.
| | 00:14 | So let's merge all of the
underlying layers to the top.
| | 00:17 | To do so, press Shift+Option+Command+E
on a Mac, Shift+Alt+Ctrl+E on Windows.
| | 00:23 | We'll go ahead and name this "merged."
| | 00:25 | Next, I'm going to zoom in on the image.
| | 00:26 | Now because I have so many different
layers, I'm going to do some retouching
| | 00:30 | directly on this file.
| | 00:32 | I'll select the Healing Brush.
| | 00:34 | Here, I'm going to Option+Click or
Alt+Click to set a nice source area.
| | 00:38 | I just want to remove some of these
other blemishes that I've overlooked or
| | 00:41 | missed along the way.
| | 00:42 | That will just help me
reduce and simplify even further.
| | 00:46 | In regards to the background, I
notice this bright white spot over here.
| | 00:49 | I want to remove that, and just do any
other little finishing touches that I
| | 00:53 | want to do here at this stage.
| | 00:55 | And in this case, I'm just going to do a
couple of those, but I just want to get
| | 00:59 | the background, and a couple little
details, looking just to touch nicer.
| | 01:03 | Next thing I want to do on this layer
is actually want to change this little
| | 01:06 | bump here and just push that down.
| | 01:08 | To do that, we'll go to
Filter, and we'll choose Liquify.
| | 01:12 | Now with Liquify, what we can do is
zoom in on the image a little bit.
| | 01:16 | We'll choose the Forward Warp tool.
| | 01:19 | Next, we want a brush size, which is
about the size of the blemish, maybe
| | 01:23 | a little bit bigger.
| | 01:25 | Then a brush density, which is nice and low.
| | 01:27 | A pressure is nice and low as well.
| | 01:29 | All we're going to do here is
just start to move this down.
| | 01:32 | The reason why we want a smaller brush
is so that we don't affect a lot of the
| | 01:36 | surrounding area very much.
| | 01:38 | In this case, just a
subtle little changes there.
| | 01:41 | Make the brush a little bit bigger, in order
to connect this to some of these other areas.
| | 01:47 | If we want to evaluate how we're doing, what
we can do is we can click on Show Backdrop.
| | 01:52 | Here is before, and then here is after.
| | 01:55 | I think that looks fine. It looks natural.
| | 01:57 | It doesn't look like we've made any
significant change there. And then click OK.
| | 02:02 | Well, now, here we have some of those
last minute changes. Before and after.
| | 02:08 | The next thing that I want to
do is I want to work on light.
| | 02:11 | So I'm going to zoom out a little bit.
| | 02:13 | I want to bring a bit more to the
brightness of this area of the image.
| | 02:18 | To do that, I'll click on the
Adjustment Layer icon, and select Curves.
| | 02:23 | Now there are a couple of
different approaches that we can take here.
| | 02:25 | One would be to darken up everything, and
| | 02:28 | then limit that darken effect to this
area. Or another way would be to brighten
| | 02:33 | up everything, but then only allow
the brightening to come through here.
| | 02:38 | So this case, I'm going to go
for this brightening effect.
| | 02:41 | Then click on my mask, and invert it
by pressing Command+I or Ctrl+I. I'll
| | 02:46 | select my Brush tool,
| | 02:48 | paint with white at about 40%
opacity there. Make my brush nice and big.
| | 02:53 | I'm just going to start to paint a
little bit of a brightening effect here
| | 02:57 | around the subject in order to just
bring a little bit more visual interest to
| | 03:02 | this area of the photograph. Our eye
goes to areas of brightness, so I want to
| | 03:08 | add to that by just
brightening up this portion of the image.
| | 03:12 | All right, well, here we
have our before and after.
| | 03:15 | I don't want to do too much of this, but
I do want to bring some more focus here.
| | 03:21 | Next up, in our Masks panel, we
can feather out, or blur out, all of
| | 03:26 | these brushstrokes.
| | 03:27 | To do that, we go to Masks.
| | 03:29 | We increase that Feather amount, which
essentially is like a Gaussian blur, just
| | 03:33 | softening up all of those brushstrokes.
| | 03:35 | I'll crank that way up, so we have a
little bit more of just a natural kind of
| | 03:38 | brightening effect in that general area.
| | 03:41 | All right, well, let's zoom in.
| | 03:42 | See how we're doing.
| | 03:43 | Here we have it: before and
then after, with some of these last
| | 03:48 | minute adjustments.
| | 03:49 | The next step will be to sharpen the
image, and then to make any final color
| | 03:54 | corrections or enhancements to the photograph.
| | Collapse this transcript |
| Sharpening the image| 00:00 | At this stage in our project, we're
going to take a look at how we can
| | 00:03 | sharpen this photograph.
| | 00:05 | Yet before we sharpen the image, I
want to illustrate something - how contrast
| | 00:10 | and sharpening are really connected.
| | 00:12 | If we go ahead and click on the
Adjustment Layer Icon and choose Curves, if
| | 00:16 | I flatten out this curve
so make this a less steep,
| | 00:19 | the image seems like it's not quite as sharp.
| | 00:22 | On the other hand, if I steepen the
curve, and increase the contrast here, the
| | 00:27 | image feels like it has more sharpness in it.
| | 00:30 | So just keep in mind that
sharpness and contrast are really related.
| | 00:35 | The reason I'm bringing that up is
because we're going to look at a technique
| | 00:38 | that we can use to add a
little bit of midtone contrast.
| | 00:42 | This technique works incredibly well.
| | 00:44 | In order to accomplish this technique,
we're going to need to merge all of our
| | 00:48 | underlying layers to the top.
| | 00:50 | Let's go ahead and do that by
pressing Shift+Option+Command+E on a Mac,
| | 00:54 | Shift+alt+Ctrl+E on Windows.
| | 00:57 | We'll name this layer "contrast."
| | 00:59 | Next, we're going to navigate to our Filter
pulldown menu > Sharpen, and Unsharp Mask.
| | 01:05 | Now the Unsharp Mask dialog, we
typically use to sharpen images.
| | 01:10 | But if we reverse the logic here a
little bit, we can actually add some really
| | 01:14 | interesting midtone contrast.
| | 01:16 | Here is the technique.
| | 01:17 | Take your Radius all the way up.
| | 01:19 | Threshold stays at 0.
| | 01:21 | Then slowly, incrementally, bring up your Amount.
| | 01:24 | What you'll start to see is you
have a really nice contrast look.
| | 01:28 | Now let's examine the face here.
| | 01:29 | If we look at this, there is our after.
| | 01:32 | Then here, we can see our before.
| | 01:34 | Again, it's a subtle adjustment,
| | 01:35 | but it's a nice adjustment to
apply right here at the end.
| | 01:39 | If you want more contrast, we'll
crank this Amount up even further.
| | 01:43 | In this case, because I've kind of
softened the image out with all of our tone
| | 01:46 | work and whatnot, I want to add a
little bit of snap back to the image.
| | 01:51 | So by applying this
technique, we'll add that back.
| | 01:54 | It's going to look really interesting.
| | 01:56 | Now this is subtle,
| | 01:57 | but if you look at, there is our
before, and then, now there is our after.
| | 02:01 | That has a little bit more of
the edge that I'm going for.
| | 02:04 | All right, well, we want to
apply that contrast first and
| | 02:07 | next, apply the sharpening.
| | 02:09 | All right, in order to sharpen the image,
we need to merge everything to the top again.
| | 02:14 | Let's go ahead and press Shift+Option+
Command+E on Mac, Shift+Alt+Ctrl+E on Windows.
| | 02:20 | This time, we'll name this layer "sharpen."
| | 02:23 | I should also point out that
we have a ton of layers here.
| | 02:27 | One of things that you'll discover is
that as you get better at Photoshop,
| | 02:31 | you're actually going to
save less of these layers.
| | 02:33 | You'll merge all those layers together
as you progress through your workflow,
| | 02:38 | rather than keeping them all.
| | 02:39 | Yet, because this is a demo, and because
it's helpful to see the before and after,
| | 02:43 | we're saving all of those layers
over there in our Layers panel.
| | 02:47 | Okay, well, let's zoom in on the photograph.
| | 02:49 | We want to zoom way in, so we
can evaluate the sharpening amount.
| | 02:53 | Also, why don't I show
you that contrast up close?
| | 02:55 | Here is before, and now there is after.
| | 02:58 | Yeah, that looks great!
| | 02:59 | All right, well - the sharpening.
| | 03:00 | Here, we'll go to Filter.
| | 03:02 | Let's choose Sharpen, and
let's go back to Unsharp Mask.
| | 03:05 | That's a great way to Sharpen.
Smart Sharpen is good.
| | 03:08 | High Pass is great.
| | 03:09 | Let's just choose Unsharp Mask.
| | 03:11 | Typically, what we do here is we
bring our Amount up somewhere pretty high.
| | 03:15 | 100 and something close
to say 150, 160, and 170.
| | 03:18 | Then we bring up the Radius.
| | 03:21 | We bring that up until we see
a little bit of the haloing.
| | 03:24 | The haloing is going to give away
that we're over sharpening the image.
| | 03:28 | Once we find that sweet spot, we
drop the Amount down to about 100.
| | 03:33 | Then we bring up the Threshold to save the
day, and that kind of softened things out a bit.
| | 03:38 | Well, if you go ahead and click on
Preview, you can see your before and after.
| | 03:43 | Now because you can't really see that at
all, I'm going to increase this Amount,
| | 03:47 | just for demo purposes.
| | 03:49 | That's a little bit too high on my
monitor, but I'm assuming when this movie
| | 03:53 | is compressed, you'll be able to see that
that will look good. Before and then after.
| | 03:59 | Also, you want to keep in mind that
typically when you're sharpening, on a
| | 04:03 | monitor, you're actually going to
need to oversharpen just a bit.
| | 04:07 | The reason is is that monitors show
you much more detail than you get when
| | 04:12 | you create a print;
| | 04:13 | therefore, by just sharpening just a
touch over, usually that'll lead to
| | 04:18 | printing results that
you'll really be happy with.
| | 04:21 | Okay, well here, we'll simply
click OK in order to apply that amount.
| | 04:25 | Next thing we want to do is zoom out,
and say hey, what do we want to have sharp?
| | 04:28 | Well, in this case, I only want Chris sharp.
| | 04:31 | So I'll grab one of my
Selection tools, like Quick Select.
| | 04:34 | I'll go ahead and make a quick
selection of Chris here, just painting over this
| | 04:38 | area, have the jacket, have him in the mix.
| | 04:42 | Then hold down Option+Drag or Alt+Drag,
subtract a few little areas from that selection.
| | 04:47 | If we need to sweeten this
up in any way, shape, or form,
| | 04:50 | we can do so by refining the
masks that we're about to create.
| | 04:54 | All right, well, I think that looks pretty good.
| | 04:57 | Just make sure this is all in the selection.
| | 05:00 | Here, we'll go ahead and
click on the Add Layer Mask icon.
| | 05:04 | Now what we have is a pretty
descent selection of Chris.
| | 05:07 | But as I mentioned, we may need
to clean up this mask a little bit.
| | 05:12 | To do that, go to your Mask panel.
| | 05:14 | Then click on Mask Edge.
| | 05:16 | Now in Mask Edge what we can do is
turn on Edge Detection. That will help
| | 05:20 | improve the edge there.
| | 05:22 | We can also smooth that edge out a
little bit, feather it a touch as well, and
| | 05:27 | just get this looking exactly as we want it.
| | 05:30 | We don't want to really
work on the background at all.
| | 05:33 | If you want to add anything to the
selection, we'll just click and paint over that.
| | 05:37 | That can help you add a bit more there.
| | 05:39 | If we want to subtract, hold down
Option or Alt, and click and
| | 05:42 | paint over some areas.
| | 05:44 | Okay, well, here we have the original -
| | 05:46 | let me zoom in so you can see that - the
original mask and then after, the mask
| | 05:51 | that looks a lot better. Click OK.
| | 05:53 | All right, well, now that we have that.
| | 05:55 | Here we can see that we have the
sharpening layer before and after.
| | 05:59 | It's selective sharpening, just sharpening
our photograph of the guy, not the background.
| | 06:05 | The next thing that we'll want to do
though, is we want to grab our Brush tool.
| | 06:09 | We want to paint with black over
any area where the image has been
| | 06:13 | oversharpened too much.
| | 06:15 | In this case, the highlights in the eyes
are a little bit overdone. The jaw line,
| | 06:19 | there is a halo there.
I don't really like that.
| | 06:21 | So I'm just going to paint
away some of these areas.
| | 06:24 | I'm going to pay real close attention
to the garment, like there is a highlight
| | 06:27 | by that white shirt that looks horrible.
| | 06:29 | So I'm going to paint that away.
| | 06:31 | Again, we'll just go through here, and
look at some of these highlight edges
| | 06:34 | and just tap those down a little bit.
| | 06:36 | By painting with black with a
relatively low opacity, it happens to be 39,
| | 06:41 | that's what I was using previously, but
this will just help me dial this in, so
| | 06:45 | that it looks just perfect.
| | 06:47 | The thing that I like about this kind
of sharpening is we can have a higher
| | 06:51 | amount without having that halo problem.
| | 06:55 | Make my brush nice and big here.
| | 06:57 | I'm going to paint away quite a bit of
the sharpening on the head here, because
| | 07:00 | that's kind of out of the focus range a bit.
| | 07:02 | Also, the edge of the jacket,
| | 07:04 | I'm going to paint that away.
| | 07:05 | It kind of drifts off out
of focus there a little bit.
| | 07:09 | Then this portion of the jacket here,
again, just too high of sharpening.
| | 07:13 | No need to have that as high as it is there,
and a little bit along the jaw line there.
| | 07:19 | I think that looks like pretty good sharpening.
| | 07:21 | Here we have our before, and then our after.
| | 07:26 | All right, well, we've
made some finishing touches.
| | 07:29 | Let's organize our layers.
| | 07:31 | Click in the top layer, and then Shift+
Click, and click in these other layers.
| | 07:34 | Then press Command+G or Ctrl+G
to group all of those together.
| | 07:39 | Let's go ahead and name this
final group "finishing touches."
| | 07:43 | Here we see our before
and after with these layers.
| | 07:46 | Before and then after.
| | 07:49 | That's looking really good.
| | Collapse this transcript |
| Black-and-white creativity| 00:00 | One of things that I like to do near
the end of a project is to play and to
| | 00:04 | experiment with color.
| | 00:06 | Now in one of my other training titles,
I focus a lot on creative effects, and I
| | 00:10 | am working with color, yet here what
I want to do is simply provide perhaps
| | 00:15 | another color treatment for this photograph.
| | 00:17 | In particular, I want to take a look at
how we could potentially convert this to
| | 00:22 | black-and-white, and say
add a bit of sepia toning.
| | 00:25 | Now we're going to do this just really
quickly, and we're going to do this so
| | 00:29 | that we simply have another way that we
could potentially work with this file.
| | 00:34 | In order to do this, let's go ahead and
click on our Adjustment Layer icon and
| | 00:37 | then select Black & White.
| | 00:40 | With this adjustment, we can grab our
Target Adjustment tool and click and drag
| | 00:44 | in order to change
different areas of the photograph.
| | 00:47 | Here, just brightening up the face a
little bit, and also working on the
| | 00:50 | background and the jacket.
| | 00:52 | The next thing I want to do is add some tone.
One way to do that is with color balance.
| | 00:58 | So let's go ahead and select Color Balance.
| | 01:00 | And one of ways that I like to do
this is just to add a bit of color into
| | 01:04 | the image, so that I have one color
layer that brings in a nice strong
| | 01:08 | interesting color shift.
| | 01:10 | The next thing that I like to
do is duplicate this layer.
| | 01:14 | We can do that by clicking and
dragging this to the New Layer icon.
| | 01:18 | Now, on this layer we'll go ahead and
take this to a blending mode of Soft Light.
| | 01:23 | Now, we have these two layers: one which
controls color and one which controls contrast.
| | 01:29 | So let's target our Color layer, lower
the opacity of that way down and then
| | 01:33 | target our Contrast layer and
lower the opacity of that down as well.
| | 01:37 | To get this exactly where we want it,
again, we can just mix these two together
| | 01:41 | to come up with a pretty
interesting type of toned aesthetic.
| | 01:45 | All right, well here in my Color layer
there is a bit too much red, so I'm going
| | 01:49 | to pull some of that out,
add a little bit more yellow.
| | 01:52 | And then increase the
Opacity maybe just a touch there.
| | 01:56 | I think that's kind of a fun color mix.
| | 01:58 | Let's zoom out, so we can evaluate this.
| | 02:00 | Here we have it: before and than after.
| | 02:03 | A very different photograph, yet
nonetheless a potentially an interesting way
| | 02:08 | to process this image.
| | 02:10 | One of the reasons why I wanted to
include this step here in this movie is just
| | 02:15 | to get you to think outside of the box,
| | 02:17 | and to keep in mind that when
retouching a photograph, you also need to apply
| | 02:22 | some of your other creative color
and creative effect techniques to your
| | 02:25 | photographs in order to come up with
some interesting and creative options.
| | 02:30 | Well here at this last stage, let's go
ahead and click on these layers, while
| | 02:34 | holding down the Shift key, and then
let's press Command+G to group these
| | 02:38 | together, and we'll name this
"bw-sepia," this little sepia toning.
| | 02:44 | Now, here at this juncture, what I want to
do is go ahead and evaluate our progress.
| | 02:49 | I'll press F to go to fullscreen view
mode, I'll zoom in on the photograph, and
| | 02:54 | then I'll press the F7 key
to open up my Layers panel.
| | 02:58 | I'm going to zoom in even closer, so that we
can really take a look at all of our work.
| | 03:04 | Well if we click through the layers, one of
things that we can see is here is the original file.
| | 03:09 | First, we really started to work on tone
and brightening things up a bit, then
| | 03:13 | we did some of our basic clean up work.
From there, we did even more work on tone and color.
| | 03:19 | We also spent some specific work,
dialing in some of the details there in the
| | 03:24 | eyes, then we worked on the background
and also the jacket color, and then we
| | 03:28 | did some final finishing touches.
| | 03:30 | In regards to the color image, here
we have our before and than our after.
| | 03:36 | And I think with this image we've done
a pretty good job, and my hope is that
| | 03:41 | by watching this entire workflow that
you have started to see how you can put
| | 03:46 | together some of these different pieces in
order to create a pretty compelling photograph.
| | 03:51 | All right, well let's go ahead and
turn on this last layer, just to look at
| | 03:54 | another alternative way
for processing this image.
| | 03:58 | There we have it with that Color
layer. Let's turn that off and look at her
| | 04:02 | before and after one more time.
| | 04:03 | Here it is: our before and then our after.
| | 04:08 | Great work!
| | Collapse this transcript |
|
|
2. Simplicity Simplifying with selections| 00:00 | In the next few movies, we'll be
working on this photograph of this elite
| | 00:03 | athlete in a wind tunnel in San Diego,
California, doing some aerodynamic testing.
| | 00:09 | Well, what I want to do here is I
want to reduce and simplify, because this
| | 00:14 | context is pretty strange.
| | 00:15 | It's almost like a space-age scene.
| | 00:18 | One of things I'm noticing is that this big
window here is kind of giving away too much.
| | 00:22 | I like these windows on this side
because they're all completely blocked, and I
| | 00:27 | want to reduce and simplify even further.
| | 00:29 | So, in order to do that, here is what we'll do.
| | 00:31 | We'll go ahead and use our Marquee tool.
| | 00:34 | Then we're going to make a pretty rough
selection here, and we make a selection
| | 00:37 | of this right side of the
photograph, and then copy that to a new layer.
| | 00:42 | To copy a selection to a new layer, we
can press Command on a Mac, Ctrl on
| | 00:47 | Windows, and then the J key. Think of
jumping those contents to a new layer.
| | 00:51 | All right, let's go ahead
and name this "right side."
| | 00:56 | The next thing I want to do is I want to
position this right side on the left.
| | 01:00 | In order to do that, I need
to flip the contents here.
| | 01:04 | And this is a great technique
that you can use in a number of
| | 01:07 | different scenarios.
| | 01:08 | And what this technique is about is taking
something in your frame and using it in a new spot.
| | 01:13 | To flip this, press Command on a
Mac, Ctrl on Windows and then T to
| | 01:17 | access free transform.
| | 01:20 | Next, right-click or Ctrl+Click.
| | 01:23 | That will give us the ability to flip
this. We want to choose a Flip Horizontal.
| | 01:27 | So we now have this side over here on the left.
| | 01:29 | Next, press Enter or Return.
| | 01:31 | Then we'll press the V key to choose the
Move tool and just reposition this over
| | 01:36 | here on this side of the frame.
| | 01:38 | What I'm going to do is just
reposition it, and kind of nudge it around a bit
| | 01:42 | using my arrow keys to try
to get this to line up a bit.
| | 01:44 | I'm just looking to try to bring
this into this window area over here.
| | 01:49 | All right, well if we turn off our
visibility, we can start to see kind of
| | 01:52 | a before and after.
| | 01:54 | And in this case, we can start to
imagine that these two layers might come
| | 01:58 | together well pretty nicely.
| | 02:00 | Well the trick, of course, is
going to be finding the right spot.
| | 02:03 | How can we bring this in?
| | 02:04 | And how can we use these windows?
| | 02:06 | Well, we need to make a selection, and
we'll make a selection here by using one
| | 02:11 | of our Lasso tools. The Polygonal Lasso
tool I think will be a good start.
| | 02:15 | And what I'm actually going to do is
turn off the visibility of this layer.
| | 02:19 | And then I'll go into where I want to
bring in these windows, and I'm going to
| | 02:23 | simply click and then click again.
| | 02:26 | I'll go all the way past the
door here, just for the fun of it.
| | 02:29 | And I'll just make my way through this
and come back around and then finally
| | 02:34 | back up here, until I have an active selection.
| | 02:37 | Well, now that we have that selection,
let's turn on the visibility of this
| | 02:42 | layer, which is the right side flip.
| | 02:44 | We should probably rename that.
We'll call that "right side-flipped" so we
| | 02:47 | don't get confused there.
| | 02:48 | Well, the next step is
going to create a layer mask.
| | 02:52 | So here click on the Add
Layer Mask icon. So far, so good.
| | 02:56 | And we can see that we now have
that content covering that area.
| | 02:59 | Here's the before and after.
| | 03:02 | Yet the problem is that
it's not quite lined up right.
| | 03:05 | We can change that, right?
| | 03:07 | Click on the link icon between your mask
and the image, and then target the image.
| | 03:12 | Next, select the Move tool. You can do that
by clicking on it, or by pressing the V key.
| | 03:17 | And then simply use your arrow keys, and
have some fun. Move this around. See what
| | 03:21 | happens if you move it
left or right, top to bottom.
| | 03:23 | And just see if you can bring this into
the context so that it's going to look
| | 03:27 | really good, and so that
it's going to nice and simple.
| | 03:30 | Again, remember, we want to reduce and simplify.
| | 03:33 | So in this case, I think we can bring
it into this context here and try to
| | 03:37 | find a nice spot for it.
| | 03:38 | And what I want to do is just bring
this in so I have my lines lined up pretty
| | 03:43 | well, and I think that that's looking
okay. It's not perfect, but it's a pretty
| | 03:48 | good spot for starters.
| | 03:49 | And then I'm going to press Command+T
or Ctrl+T, and I'm actually going to free
| | 03:53 | transform this a bit.
| | 03:55 | I am going to stretch this out here a touch,
so that it extends all the way to the end.
| | 03:59 | And I think right about there, it looks good.
| | 04:02 | I'll press Enter or Return. That will then
apply that free transformation. So far, so good.
| | 04:07 | And the next thing we need
to do is clean up our edges.
| | 04:10 | So here we'll target the mask, grab our Brush
tool, and we'll go ahead and paint with black.
| | 04:16 | And what black will do for us on this
mask is if we paint at a high opacity, like
| | 04:21 | 100, we can then conceal what we brought over.
| | 04:24 | And in this case, I just need to
conceal this area down here, because that
| | 04:28 | didn't look very good,
| | 04:29 | a little bit of that wall over there,
bring back in some more of that door there,
| | 04:34 | and just go through this and modify these areas,
however we need to, in order to bring these in.
| | 04:40 | And I'm just painting with black or white.
| | 04:42 | I'm trying to find a nice mix, where I
can have some of the good detail from
| | 04:47 | that other layer and also some
of the detail from this new layer.
| | 04:52 | So in this case, I'm just kind of going back and
forth here, painting away some of this content.
| | 04:56 | Again, I just need to find the great
mix there where I can bring in that text,
| | 05:02 | but then also have this new line up top there.
| | 05:04 | Okay, well, I think that's pretty good.
What about the backwards copy over here?
| | 05:09 | Well, we need to get rid of that, right?
| | 05:11 | So we can do that by painting with black,
concealing that, and so we'll go through
| | 05:16 | and just conceal that in this area
here, so that it can come through the
| | 05:20 | underlying layer also over here.
| | 05:22 | We want to make sure not
to invert that too much.
| | 05:24 | Make our brush touch bigger there, just to
get all of that out, and then hit the X key.
| | 05:29 | And as I do that, one of things I'm
noticing is that I am thinking actually it
| | 05:33 | might be nice to remove that altogether.
| | 05:35 | So I'm actually going to bring that back in.
| | 05:38 | And I'll deal with that
little text field in a second.
| | 05:41 | I think it might be nice, again, just
to have both of those text fields out.
| | 05:45 | A couple these areas I am not quite
liking so much, in regards to my masking.
| | 05:50 | I do like how there is a lot of
symmetry here, how this looks very similar, but
| | 05:55 | I'm not really liking the text.
| | 05:57 | So let's explore how we can correct that
and a few other areas of the image, and
| | 06:02 | let's do that in the next movie.
| | Collapse this transcript |
| Cleaning up the details| 00:00 | Well so far, we've done some pretty nice work.
| | 00:02 | We copied the right side and flipped it
over and put it on the left, but in the
| | 00:05 | last movie, I ran into a few road bumps.
| | 00:08 | I didn't actually like this copy here.
| | 00:10 | So I want to reduce and simplify a
bit further, and in order to do that, I'm
| | 00:15 | going to merge these two layers to the
top, just to have a bit of flexibility
| | 00:19 | in case I make any mistake.
| | 00:21 | On a Mac you can press Shift+Opt+
Command+E, on Windows that Shift+Alt+Ctrl+E.
| | 00:26 | Then we'll name the layer "merged."
| | 00:29 | Next step, let's zoom in a bit, and
here you can see we have this content.
| | 00:33 | How can we get rid of this?
| | 00:35 | One really easy way would
be to use our Patch tool.
| | 00:38 | Now the Patch tool, you want to make
sure it's on Source, and then simply, we're
| | 00:42 | going to drag around this area, and
this tool works so well because we can then
| | 00:47 | click and drag to a nice source area,
and I'll go ahead and bring that all out.
| | 00:51 | I didn't drag that far enough there, and
then I'll make another little selection
| | 00:55 | of another area and then go ahead and
click and drag that to a nice sample area.
| | 00:59 | And I noticed a little problem there.
Click and drag that over and also work on
| | 01:04 | this here, and again, just work on any
little areas that we want to clean up.
| | 01:08 | In this case, I'll continue to work on
the type up top, and I'm going to make a
| | 01:12 | selection of the first layer of type
there, and bring this over, and then just do
| | 01:16 | this a few times, again, just
removing this content and going through the
| | 01:21 | photograph to try to reduce and simplify,
reducing these small little blemishes
| | 01:25 | to make this look nice.
| | 01:27 | I'll work on the door jam over here.
| | 01:29 | I'll just make a rough selection of
that area, see if I can get a decent little
| | 01:33 | sample, and then go through and see if I
made any mistakes or clean up any of my
| | 01:38 | edges even a bit further here.
| | 01:40 | Any areas that became too dark,
we might want to work on again.
| | 01:44 | The great thing about this is we have
this flexibility of this layer, so by
| | 01:48 | working with the layer we can then
make these different adjustments.
| | 01:52 | I'm also going to remove some of the
copy that I'm seeing down here, and some of
| | 01:56 | these little tiny blemishes, and my
intent with all of this work is just to
| | 02:00 | reduce and simplify as much as possible.
| | 02:02 | Sometimes when you remove details, it
makes for a stronger project, because it
| | 02:07 | makes it a little bit more abstract.
| | 02:10 | You can't really pinpoint what's going on.
| | 02:13 | So all that I'm doing here is just
circling a few little areas, and then I'm
| | 02:17 | trying to reduce and simplify by
removing those little areas, and I'm working
| | 02:23 | pretty quickly here. So in some
cases, my edges aren't perfect.
| | 02:26 | I can always go back and keep working on
those edges, one little edge at a time.
| | 02:31 | All right, well, I think we're removing
some of the nice details. Let's take a look.
| | 02:37 | Here we have that before and then after.
| | 02:40 | Let's work on the type on this
side and also couple of little areas.
| | 02:44 | So again, all you want to do here is
just look for anything that's catching your
| | 02:47 | eye. Anything that you think might
be nice to remove, we're going to go
| | 02:51 | ahead and circle and then use this technique
to reduce and simplify as much as possible.
| | 02:57 | All right just a little bit more on
that guy there and then work on this over
| | 03:02 | here as well, a couple of more text fields,
making this even more abstract and just
| | 03:10 | a bit more. Almost done with this.
| | 03:16 | One more right there.
| | 03:17 | We're getting close.
We're getting close.
| | 03:20 | Detail work always pays off.
| | 03:22 | Make sure to do all these nice little details.
| | 03:25 | It can help you out in the long run.
And you can use other techniques to remove
| | 03:30 | details as well, but as long as I have
one tool selected, it's kind of quicker
| | 03:34 | to work with that one tool
than it is to change things up.
| | 03:37 | So I'll just go ahead and make a few
other adjustments, as I work on this
| | 03:42 | image here, and for the most part, I think
that's pretty nice in regards to our cleanup.
| | 03:46 | Here we have it, that overall before and
then after, with a reduction and simplification.
| | 03:52 | All right, well just a few
more things to do with this image.
| | 03:56 | Let's explore how we can clean this
up even further, and we'll do that in
| | 03:59 | the next movie.
| | Collapse this transcript |
| Filling in the windows| 00:00 | Now that we've cleaned up the photograph,
what you typically want to do is look
| | 00:03 | away and then look back, or close your
eyes and then re-evaluate the frame.
| | 00:08 | Now, one of the things that I'm
noticing is we have really interesting lines,
| | 00:11 | and we have the symmetry going on.
| | 00:14 | Yet, it might be nice to delete or remove
some of these windows or bring these a
| | 00:18 | little bit closer together.
| | 00:19 | So what we could do is use one of our
Selection tools, say the Quick Select
| | 00:23 | tool, simply click and drag
over a couple of these windows.
| | 00:26 | I'm going to go ahead and do that up here,
and also down here on these windows as well.
| | 00:31 | Next I'll click on the Adjustment
Layer icon and then choose Solid Color.
| | 00:35 | Now by using solid color,
this will give me flexibility.
| | 00:38 | I could choose a brighter tone, a
brighter white, or something a little bit
| | 00:42 | more gray, like this here, and I could
go ahead and choose something darker as
| | 00:45 | well. And I can try to find just the right
mix, in regards the overall tone for the window.
| | 00:51 | We can see those windows are now
taking on a new look here by having this
| | 00:55 | distinct, or different color in them.
| | 00:57 | Let's click OK, to apply that, and
look at the before and then after.
| | 01:01 | Well, here at this
juncture, it looks pretty good.
| | 01:04 | Let's click in the mask, go to the
Mask panel and just feather this out.
| | 01:07 | I'll create a little bit of an
interesting edge around those windows, almost like
| | 01:11 | a nice diffusion there, and maybe just a
couple of pixel feather there will look
| | 01:16 | good because this is a lower resolution file.
| | 01:18 | Higher resolution files, you'd want a
higher pixel radius there that we have,
| | 01:22 | and this case too works fine.
| | 01:23 | Well, here I really like this look.
| | 01:25 | Let's say I want to add some more to it.
| | 01:28 | We'll click back in your layer merged
and then go ahead and make a selection,
| | 01:31 | say, of a few more windows.
| | 01:33 | Next, what we need to do is
fill these areas on our mask.
| | 01:37 | So go to your mask, and one of
the easiest ways to fill is to press
| | 01:42 | Shift+Delete. Then from the Fill
dialog, you can select color, in this case
| | 01:46 | white. We'll click OK there.
| | 01:48 | And you can see it
filled in those windows.
| | 01:51 | Let's choose Select >
Deselect to see how we've done.
| | 01:53 | Well again, that's pretty nice.
Here we have our before and then after.
| | 01:58 | Now if we want to take this even further,
again, we could go to few other windows.
| | 02:01 | We'll select this one and this
one, simply by clicking and dragging.
| | 02:05 | Next back up to the mask and here,
let's look at another technique for filling
| | 02:10 | with a particular color.
| | 02:12 | Now if you have white as your
foreground color, what you can do on a Mac is
| | 02:16 | press Option+Delete; on Windows
that's going to be Alt+Backspace.
| | 02:21 | That will fill with whatever
you have in this foreground color.
| | 02:25 | Next let's go to Select and choose
Deselect there, so we can see how we've done.
| | 02:29 | Once again, that's kind of nice.
| | 02:30 | It just kind of muted out all the
variation in those windows, bringing that much
| | 02:35 | more uniform and almost surreal type of
look to the photograph, and here we have
| | 02:39 | a pretty interesting project.
| | 02:41 | We created this simply by reducing
and simplifying, and you'd be amazed at
| | 02:46 | how many things you can create simply by using
these techniques and simply by exploring, hey!
| | 02:52 | How can I start to minimize variables,
how can I start to reduce and simplify?
| | 02:56 | In this case, with just a few steps,
we went from this starting image all the
| | 03:00 | way to something completely different,
| | 03:02 | perhaps a bit more conceptual,
and even visually interesting.
| | 03:06 | All right, well that wraps up our work here.
| | 03:09 | I hope you picked up a few valuable tips.
| | 03:11 | I'll catch you in the next one.
| | Collapse this transcript |
|
|
3. StrengthEnhancing muscles| 00:00 | With this photograph, we are going to
learn some interesting techniques, and what
| | 00:03 | we're going to do is we're going to
create something that's a bit more of a
| | 00:06 | photo illustration than it is photo-realism.
| | 00:10 | One of the first things that I want to
do hear is work on the muscles, because I
| | 00:14 | want to create an image, or a little
project, that kind of illustrates or exudes
| | 00:17 | this idea of strength.
| | 00:19 | Well, you'll notice in the Layers panel,
we have two exposures: one where the
| | 00:23 | back is in this posture here, then
another one where it's a little bit more
| | 00:27 | flared out, where the lats
are a little but stronger.
| | 00:29 | So I'm going to bring
these two postures together.
| | 00:32 | In order to do that, we are
going to use some masking.
| | 00:35 | So we need to first align
things before we do our masking.
| | 00:39 | A great way to align multiple frames
is to use the Difference blending mode.
| | 00:43 | With this blending mode, we can then
reposition this, and I'll go ahead and just
| | 00:47 | reposition this one way and then
another, and try to get this to a pretty good
| | 00:51 | spot where we can see this is lining up,
and we can almost envision those lats
| | 00:55 | coming into the picture.
| | 00:57 | Next step, we want to create a mask.
| | 00:59 | So let's hold down Option on a Mac, Alt on
Windows and click on the Add Layer Mask icon.
| | 01:04 | That's then concealing the
entirety of this adjustment.
| | 01:08 | Next, we want to go back to that
blending mode of Normal, grab our Brush tool.
| | 01:12 | Here we'll paint with white, and we
want to have a nice, relatively small size
| | 01:17 | brush, no hardness, and we're
simply going to paint this in.
| | 01:20 | All that we're looking to do is just
paint in the detail of that portion of the
| | 01:24 | frame there, not too much else.
| | 01:27 | Again, just adding a little bit more in
regards the overall strength here this file.
| | 01:32 | We can mask this in, work on our
edges there, one way or another.
| | 01:36 | Make sure we get those just right,
so it has a nice transition point.
| | 01:39 | I'm just going to paint this in one
side and another, and here we have it:
| | 01:43 | before and then after.
| | 01:45 | The great thing about this is that if
it isn't in the right position, we'll just
| | 01:49 | use Remove tool and then use our
arrow keys and nudge this around.
| | 01:52 | You can nudge it till you get
it exactly where you want it.
| | 01:54 | I think right about there is good.
| | 01:56 | Here's before and then after.
| | 01:59 | All right, well what else could we
do to exaggerate some of the muscles?
| | 02:03 | We could use a filter, which is called Liquify.
| | 02:07 | Yet in order to do that, we want to
merge these two layers to the topmost layer.
| | 02:11 | We can do that by pressing Shift+Opt+
Command+E on a Mac, Shift+Alt+Ctrl+E on
| | 02:17 | Windows, and we'll name this "merged_muscles."
| | 02:21 | Next, let's navigate to our Filter
pulldown menu and then choose Liquify.
| | 02:25 | Liquify is a great filter to use
whenever we want to change shape.
| | 02:30 | We're going to use this tool here,
which allows us to move pixels around.
| | 02:34 | We have a relatively small brush size.
In regards to our density and pressure,
| | 02:39 | we want to bring those way down.
| | 02:41 | Next, we'll go ahead, and we'll just
simply click and drag over some of these areas.
| | 02:45 | All I'm looking to do is to try to bring
out the emphasis a few areas here, make
| | 02:49 | my brush a touch bigger.
| | 02:51 | I'm going to make the shoulders a
little bit bigger, underneath the arm there,
| | 02:54 | little bit bigger as well and again
I'm not going for anything over the top
| | 02:58 | here, but I do want to bring out the
shapes here, take what we have and make
| | 03:02 | them even a little bit better, work on
the neck there a touch. And the great thing
| | 03:07 | about this is we're doing this slowly.
| | 03:10 | So we're not doing this super fast.
| | 03:12 | That way we can make sure we have
adjustments which look realistic, and
| | 03:16 | which kind of hold up.
| | 03:18 | In this case, we want to
be uniform as we do this.
| | 03:21 | I'm going to increase the sides there a
bit more in regards to the overall lats, and
| | 03:26 | I'll push that in there little bit on each side.
| | 03:30 | Make my brush a touch smaller
by pressing the left bracket key.
| | 03:33 | All right, well how then can we
evaluate if we're going in a good direction?
| | 03:37 | Well, inside of Liquify, you
can turn on Show Backdrop.
| | 03:41 | As long as it's on 100% opacity, you
can see the before and after really easily,
| | 03:46 | and in this case all that we're doing
is simply bringing out those muscles,
| | 03:50 | adding a bit more to the
definition of these different areas.
| | 03:54 | We can do this throughout the arms, just
want to add a bit more snap there, also
| | 03:59 | need to make sure each side
is kind of modified equally.
| | 04:02 | All right, I think that's good, and again
we're just going for something that's a
| | 04:06 | little bit more intense there, click
OK, and here we can see our progress,
| | 04:10 | overall work on the muscles.
| | 04:12 | There is before and then after.
| | Collapse this transcript |
| Adding zoom and modifying color| 00:00 | Here at the stage, what we are going to
do is explore how we can add a little
| | 00:03 | bit of a motion blur on this
photograph, or zoom blur, and also how we can
| | 00:08 | change the overall color.
| | 00:09 | I want to convert this image to
black-and-white, and add a bit of toning.
| | 00:13 | So first, let's work on the blur.
| | 00:15 | To do that, we want to merge all of
these layers to the topmost layer.
| | 00:19 | We can do that by way of a shortcut.
On a Mac, Shift+Option+Command+E; on
| | 00:25 | Windows, Shift+Alt+Ctrl+E. Let's go
ahead and name this new layer "blur - soft
| | 00:32 | light," because what we'll be doing is
applying some blur and then changing the
| | 00:37 | blending mode to Soft Light. Check this out.
| | 00:40 | We will go ahead and navigate up to our
Filter pulldown menu, and then we are
| | 00:43 | going to choose Blur, and here
we are going choose Radial Blur.
| | 00:46 | The type of radial blur
that I wanted to use is Zoom.
| | 00:49 | I want to have lot of zoom here, so
I am going to crank this amount up.
| | 00:52 | I am going to bring this somewhere in
around the center of the frame, a little
| | 00:56 | bit higher than that, and click OK.
| | 00:58 | In this case, we just have a ton of
blur, but when we change our blending
| | 01:02 | mode, what will happen is it will increase the
contrast, and it will give more of a glow effect.
| | 01:07 | You can see a bit of the motion
kind of coming off the arms there.
| | 01:10 | Here is that before and then after. Great!
| | 01:13 | Well, that's looking kind of interesting.
| | 01:15 | It just gives interesting dimension and whatnot.
| | 01:18 | What we want to do next then is add touch more
blur here and also limit this in a few areas.
| | 01:24 | So I am going to click on the Add Layer
Mask icon, grab my Brush tool, and I am
| | 01:29 | going to paint with black.
| | 01:30 | What I want to do is paint this
adjustment away from the back area.
| | 01:34 | I don't need to blur or glow those areas out.
| | 01:37 | In particular, I want these muscles to
still have some nice sharpness to them.
| | 01:41 | But I do like it in a few other areas,
in regards to the edges, and how it's
| | 01:46 | bringing out a bit of
detail there from the hands.
| | 01:49 | So we will just go ahead and bring
this detail back into these areas here.
| | 01:54 | Also, I don't like how it got so dark
there, and take it away a little bit around
| | 01:59 | the edges there as well.
| | 02:00 | We'll now blur, you can see, is primarily
on the hands and the background and whatnot.
| | 02:06 | Again, it's a slight little change,
but nonetheless it's kind of fun.
| | 02:09 | It adds to the overall drama.
| | 02:11 | Well, next, I'm going to click on the
Adjustment Layer icon and convert
| | 02:15 | to black and white.
| | 02:16 | In this black-and-white conversion,
I can work on the overall skin tone,
| | 02:19 | brightening this up, and just
changing the way this image looks.
| | 02:23 | I think that's looking pretty nice.
| | 02:25 | So I like kind of the glow there of the skin.
| | 02:28 | Now at this juncture, one of things I'm
realizing this that I want a bit more blur.
| | 02:34 | So here's how I am going to do this.
| | 02:35 | I am going to turn off black and
white, go back to my top blur layer and
| | 02:39 | merge again to top, press Shift+Option
+Command+E. We will go ahead and name
| | 02:44 | this one "merged - blur."
| | 02:48 | Next, I want to re-open the Blur filter.
| | 02:51 | To do that, we can actually press
a great shortcut, and here it is.
| | 02:55 | It's Option+Command+F on a Mac.
| | 02:58 | That's Alt+Ctrl+F on Windows.
| | 03:00 | That will reopen the last filter used, and
it will remember whatever amount you applied.
| | 03:05 | Well, here what I want to do is just
choose much less of this zoom blur, just a
| | 03:09 | touch there, and then click OK, and I
want to apply that to this new layer.
| | 03:13 | Well now that have that here, I'll then
click on the Add Layer Mask icon, and
| | 03:18 | I'll do that so that I have a
layer mask, and then invert the mask.
| | 03:23 | To invert your mask, go to the
Mask panel simply click Invert.
| | 03:27 | Next, grab of your Brush tool,
paint with white with a lower opacity.
| | 03:31 | We are just going to go ahead and
paint in some of this blur, and all I want
| | 03:35 | to do is kind of bring in a little bit
of that blur coming out from the arms,
| | 03:39 | the hands there, just exaggerating
that a touch, and again, just building out
| | 03:43 | this overall effect and this zoom, or motion.
| | 03:47 | I am also going to work on
the background here a bit.
| | 03:50 | I'll press 5 to go to 50% to bring in
it a little bit more on the background,
| | 03:54 | and that will help kind of tie this
overall effect in, and you're going to start
| | 03:58 | to see the background.
| | 03:59 | This going to be streaked out a bit.
| | 04:01 | Again, I am just going for something
that's a bit more conceptual, a bit more
| | 04:05 | of an illustration.
| | 04:06 | So I want to bring in some more blur here.
| | 04:09 | I am just hand-painting
this in the different areas.
| | 04:12 | Press the X key, paint it away on the knuckles.
| | 04:16 | I want to have a little bit
more detail there on those.
| | 04:18 | Well, there is that blur.
| | 04:20 | Here is before and then after.
| | 04:22 | Overall blur before and after.
| | 04:25 | Next step, convert that
image to black-and-white.
| | 04:29 | That's looking nice.
| | 04:30 | Next thing I want to do
is add some color or tone.
| | 04:32 | Here we will click on our Adjustment Layer icon.
| | 04:35 | Let's use Color Balance.
| | 04:36 | It's a nice way to mix color up.
| | 04:37 | I am going to add some reds and some yellows.
| | 04:40 | I am just going to modify this until I
have an interesting color palette that I
| | 04:45 | think might work for this photograph.
| | 04:47 | Again, just going for some
pretty fun, punchy colors.
| | 04:51 | I will go back to my black-and-white
layer and just modify these controls to see
| | 04:55 | how I need to bring this in, and see
if I can get perhaps a little bit more
| | 04:59 | contrast there, not quite so
bright on those areas. So far, so good.
| | 05:04 | We have developed this
pretty interesting effect.
| | 05:07 | What I want to do is push this even
further, and we'll take a look at how we can
| | 05:11 | do that in the next few movies.
| | Collapse this transcript |
| Working with contrast| 00:00 | At this stage, what I want to do is
bring in a bit more contrast and color.
| | 00:04 | One way to build this up is to
actually duplicate our color balance layer.
| | 00:09 | So let's click and drag that to New
Layer icon, so we have two versions of this.
| | 00:13 | Then in the color balance layer which
is beneath the top layer, we are going to
| | 00:17 | change that blending mode to Soft Light.
| | 00:19 | This will give us really nice contrast.
| | 00:21 | Here is before and after.
| | 00:23 | This top layer is now our Color layer,
which brings in that nice punchy color,
| | 00:28 | which is starting to make
this image come to life.
| | 00:30 | Well, the next thing I want to do is
add some midtone contrast, and here's a
| | 00:35 | great technique that you can
use on a wide range of images.
| | 00:39 | What we need to do is merge all of
the underlying layers to the top.
| | 00:43 | To do that, press Shift+Option+Command+
E on a Mac; Shift+Alt+Ctrl+E on Windows.
| | 00:48 | We will call this layer midtone contrast.
| | 00:51 | Next, we are going to navigate our
Filter pulldown menu and then choose
| | 00:55 | Sharpen and Unsharpen Mask.
| | 00:57 | Now as I mentioned, I will use this
technique on all sorts of images: landscapes,
| | 01:02 | portraits, composites - you name it.
| | 01:04 | Well, what we want to do here's
kind of reverse our sharpening.
| | 01:07 | We are going to increase the radius all the way.
| | 01:10 | Now the Amount, we are going to increase
until we see that snap that we were looking for.
| | 01:14 | Look at the before and then the after.
| | 01:16 | As a click on the image, you can see
how it's bringing in that nice amount of
| | 01:19 | contrast into that midtone range.
| | 01:22 | A smaller amount, you going have a more
subtle contrast, but all I want to do is
| | 01:26 | just add a bit more
shape here to the photograph.
| | 01:29 | Click OK to apply that, and then take a look.
| | 01:32 | Here is that before and then after.
| | 01:34 | Now our overall color and contrast, you
can see, really makes this image come to life.
| | 01:40 | The next thing I want to do is go back
to my Filter, once again go to Unsharp
| | 01:44 | Mask, and then here we are going
to add just a little bit of regular
| | 01:47 | sharpening on the same layer.
| | 01:49 | Now a lot of times what you need to
keep in mind is that when you work with
| | 01:52 | contrast, you are actually
working with sharpening amount.
| | 01:55 | Contrast and sharpening
are really closely related.
| | 01:58 | Well, in this case, all I am doing is
looking to try to really define this, and
| | 02:02 | again, because I'm going for a
concept, I am going to exaggerate this.
| | 02:06 | I'm taking this even further.
| | 02:08 | We have a bit of glow
happening here, but I'm okay with that.
| | 02:11 | I want to bring this out.
Click OK. We'll take a look.
| | 02:14 | Here's that before, and then now after.
| | 02:17 | All of a sudden it's like, yeah, now we are
talking, and now we have this great detail.
| | 02:21 | These last few adjustments really
made all the difference in the world -
| | 02:24 | from this all the way to this.
| | 02:27 | Well, now what we have this, the one
thing you may want to do is sometimes you
| | 02:32 | may discover that having
this glow edge is too much.
| | 02:35 | So in those cases, click on your Add
Layer Mask icon, simply grab your brush and
| | 02:40 | then paint with black,
| | 02:42 | with a small brush here. I am just
going paint along that glow edge.
| | 02:46 | What this can do, it just
take off that highlight there.
| | 02:48 | Sometimes this is a nice way to have
a nice high amount of sharpening and
| | 02:52 | midtone contrast without
having that halo be so pronounced.
| | 02:56 | Now in this image this step isn't
really essential, because I kind of like the
| | 03:00 | glow that we brought in there.
| | 03:02 | I thought it added a nice little definition.
| | 03:05 | But whatever the case, you can go ahead
and paint that edge off as well in order
| | 03:09 | to get this looking a little
bit better. Let's take a look.
| | 03:12 | If you Shift+Click that, we can start to
see how we brought that in their little bit.
| | 03:16 | I make my brush a touch bigger and just clean
that up a little bit more. There you have it!
| | 03:21 | Great adjustments on these last few.
| | 03:24 | Really making the image come to life.
| | 03:26 | Let's explore how we can push this
even a few steps further, and we will do
| | 03:30 | that in the next movie.
| | Collapse this transcript |
| Blending with a displacement map| 00:00 | At this stage, I want to explore how we
can add a graphic to the back in this image.
| | 00:04 | In particular, what I want
to do is add a tattoo here.
| | 00:08 | Here, you can see that we have this tattoo layer.
| | 00:10 | It's a simple graphic.
| | 00:12 | What I want do is I want to make it
look like this is more part of the picture.
| | 00:16 | Now what you can do is you can use
this technique that we are about to talk
| | 00:20 | about in order of work on shadows or to
composite different types of things.
| | 00:24 | Here we will work on a tattoo.
| | 00:26 | But keep in mind what will learn
here can be applied in a number of
| | 00:29 | different situations.
| | 00:30 | One of the things that's nice to do is
to try different blending modes, like Soft
| | 00:34 | Light a lot times blends this in.
| | 00:36 | well, already it looks like it starts
to kind of fall across the back, but we
| | 00:40 | need to change the shape.
| | 00:41 | It's much too uniform.
| | 00:43 | So here is how you will do that.
| | 00:44 | Let's turn off the visibility of
the tattoo layer and navigate to Image
| | 00:48 | and choose Duplicate.
| | 00:50 | We'll go ahead and name this on "displace."
| | 00:52 | Next, what we are going do
then is flatten this image.
| | 00:56 | So let's go to Layer and
then choose Flatten Image.
| | 01:00 | We'll go ahead and discard any other layers,
and now you have this nice, flattened image.
| | 01:05 | Next step, go to Image >
Adjustments and here, choose Desaturate.
| | 01:10 | Well now that we have desaturated this
image, the next up is going to be go to
| | 01:14 | the Filter and choose Blur and Gaussian blur.
| | 01:18 | This is the last step here.
| | 01:19 | All we want to do is just increase the
blur just bit, just to soften things up a
| | 01:23 | little bit there, and then click OK.
| | 01:25 | Well now that we have this,
| | 01:27 | what we are going do is use
this as a displacement map.
| | 01:30 | Let me show you what I mean.
| | 01:32 | Well, here we will go ahead and save
this file out, and I am going to save it to
| | 01:35 | the same folder as
displace, and then I'll close this.
| | 01:39 | So again, just save it wherever
you know you can refer back to it.
| | 01:43 | In this case, I saved it in the same folder.
| | 01:44 | Next, I am going go to my image, and I'll
click in the layer that I want to work on,
| | 01:48 | in this case the tattoo.
| | 01:49 | I will zoom in a bit on the tattoo,
so we can evaluate how this will work.
| | 01:54 | I'll take this to a blending mode of Normal too.
| | 01:56 | So we can see it's completely uniform.
| | 01:58 | What we are going to do first is get
this tattoo exactly where we want it.
| | 02:02 | So get this just where you want it.
| | 02:04 | I think there is kind of cool.
| | 02:05 | Then we'll go to Filter, and then we will
choose Distort and then select Displace.
| | 02:10 | This will open up our Displace dialog, and
typically what you want to do is use a smaller number.
| | 02:16 | In this case with this lower res file, I'll
choose 4 and 4, and then simply click OK.
| | 02:22 | What I need to do is choose my displacement map -
| | 02:24 | in this case, this file,
displace.psd - and click Open.
| | 02:29 | What it will then do is modify or bend
this tattoo, so that it falls along these
| | 02:35 | peaks and troughs to the
different size of the muscle.
| | 02:37 | Look at the before and then after.
You can see how it's been bending that to
| | 02:41 | fit into the shapes.
| | 02:42 | We'll now with that displacement map
on in Soft Light, then together this is
| | 02:47 | going to look like it's really part
of that back, in a pretty unique way.
| | 02:50 | Well just to illustrate this,
let's apply this to another layer.
| | 02:53 | Here I have this text field.
| | 02:55 | It's titled "strength."
| | 02:56 | I'll put that there on there on the shoulders.
| | 02:58 | Now what I want to do is displace this
again, so it blends into the back here.
| | 03:02 | I'll go to my Filter,
choose Distort and Displace.
| | 03:06 | I'll go ahead and click OK. It says it's
going to rasterize the type, and we will do the
| | 03:11 | same settings there,
| | 03:12 | choose our same
displacement map, and then click OK.
| | 03:16 | Well now as I did that, you can see how
it bends this type, so that it's following
| | 03:19 | along these different shadows.
| | 03:21 | Once again, by changing that overall
blend mode to Soft Light, we can get that
| | 03:25 | to blend into that
background much more effectively.
| | 03:29 | What this will do for us is it will
just change the overall shape, or dimension,
| | 03:33 | And if we zoom out a bit here, you
can start to see how that's falling and
| | 03:36 | rising based on the
overall structure of the back.
| | 03:39 | Now in this case, I don't think that
looks very good in regards to type.
| | 03:43 | I kind of like the tattoo a little bit better.
| | 03:45 | So let's go ahead and
leave that tattoo layer on.
| | 03:47 | Now that we've arrived at this juncture,
let's evaluate our overall progress.
| | 03:53 | We can do so by pressing the F key to go
to full screen view mode and then F7 to
| | 03:57 | bring up our layers.
| | 03:59 | Well, here with all of our layers visible,
| | 04:01 | let's click through all the stages.
| | 04:03 | Well, first we looked at this back.
And when I first glanced at this, I thought,
| | 04:07 | yeah, there's lots a
definition, but I want to add more.
| | 04:10 | So we looked at extending this,
bringing in another exposure here,
| | 04:14 | Shift+Clicking the mask we can see how
we brought those two together, just to
| | 04:18 | bring out the sides the back.
| | 04:20 | Next, we looked at working on the
muscles a little bit using that Liquify filter,
| | 04:25 | and then we added some motion blur.
| | 04:26 | We added a bit more motion blur.
| | 04:28 | We converted to black-and-white and
then worked on overall color and contrast
| | 04:33 | and sharpness and tone.
| | 04:35 | Now this last layer up here really
brought in a lot of nice, vivid detail.
| | 04:39 | Although as I look at that now, I'm
realizing, I want to knock that back just a
| | 04:43 | few percentage points there.
| | 04:44 | There we have it, and then finally, we
looked at how we could add some other
| | 04:47 | content using a displacement map,
which essentially bends content based on
| | 04:52 | brightness or darkness.
| | 04:53 | Here we have it: our
overall before and then after.
| | Collapse this transcript |
|
|
4. Speed Cleaning up the original image| 00:00 | One of the first things that we
need to do here is clean up some of the
| | 00:03 | distracting elements.
| | 00:04 | In order to do that, we'll take a few
different approaches, and first what we're
| | 00:08 | going to do is work on this window back here.
| | 00:11 | This is distracting to see someone
watching through the window, and also these
| | 00:15 | windows above are a bit distracting.
| | 00:17 | So let's zoom in on the image a little
bit, then press the Spacebar key to click
| | 00:21 | and drag to move this over to this window area.
| | 00:24 | And what I want to do is work on this
area, so I'll grab my Quick Select tool by
| | 00:28 | pressing the W key, or by clicking on it there.
| | 00:31 | Next, let's create a new layer, and to create
a new layer, we'll do this by way of a shortcut.
| | 00:35 | It's Shift+Command+N on a Mac, Shift
+Ctrl+N on Windows, and we'll name
| | 00:39 | this layer "clean up 1."
| | 00:42 | Next step, let's grab our Clone Stamp tool.
| | 00:45 | We'll take our Clone Stamp tool to
just a Normal blending mode, and all that
| | 00:49 | we're going to do is use a nice big brush.
Option+Click or Alt+Click the door here.
| | 00:53 | We're going to start to paint this
door color onto this window, and the nice
| | 00:58 | thing about this is
because we have the selection,
| | 01:00 | we can then bring this content in.
And I'll just go ahead and Option+Click or
| | 01:04 | Alt+Click in different areas, so I can
sample a nice good area of this door.
| | 01:09 | I'm just going to bring this tone and the
structure of the door there into that window area.
| | 01:15 | You'll notice that I'm going back and
forth, making a few mistakes, undoing
| | 01:18 | those, and then fixing them up, painting
over those little mistake areas. And I
| | 01:22 | think this is looking pretty nice.
| | 01:24 | Next step, let's go to Select and
choose Deselect to see how we've done.
| | 01:28 | Here we can see we did a pretty good
job cleaning up that window detail,
| | 01:31 | and that's now gone.
| | 01:32 | All right, well, let's zoom out, and
let's say, how can we work on these up here?
| | 01:36 | Well, another technique that we can
use is to click in the Background layer,
| | 01:41 | press the W key to use Quick Select,
and then to just simply click and drag
| | 01:45 | over these windows.
| | 01:46 | We want to do that so all of those are selected.
| | 01:49 | Another great way to work on
these areas is to simply use a Solid
| | 01:53 | Color adjustment layer.
| | 01:55 | So, we'll click on the Adjustment
Layer icon and choose Solid Color.
| | 01:58 | What we can then do is choose a color
from the surrounding area, and I'm looking
| | 02:03 | for one that has a bit more
of a muted tone. Click OK.
| | 02:07 | Next, we can go onto our Mask panel,
and we can target the mask and then
| | 02:11 | increase the Feather amount.
| | 02:12 | You can see how it just creating a
bit more of a soft-edged look, kind of
| | 02:16 | connecting with some of the way
that these other windows look as well.
| | 02:19 | All right, well, here we have it:
overall before and then after.
| | 02:23 | Well, that clean up work is pretty good.
| | 02:26 | The next thing I want to do is start to
work on some of the other details, the
| | 02:30 | details that I need to remove, like
these distracting elements over here, or the
| | 02:33 | logos or type that we're
seeing throughout the photo.
| | 02:36 | Let's take a look at how we can clean
up some of all of these elements that
| | 02:40 | we're seeing around the frame in the next movie.
| | Collapse this transcript |
| Removing small details| 00:00 | In order to remove some of these other
larger elements, what I want to do is I
| | 00:04 | want to use the Patch tool.
| | 00:06 | Now, the Patch tool, you actually have to
work on a layer where you have all the content.
| | 00:10 | So, we need to merge all
of these layers together.
| | 00:13 | To do that, we can use a shortcut.
| | 00:15 | On a Mac you press Shift+Option+Command+E;
on Windows Shift+Alt+Ctrl+E. Go ahead
| | 00:22 | and name this one "clean up," and then
what I'm going to do is actually flatten
| | 00:26 | these layers together, because I
don't need the underlying layers anymore.
| | 00:30 | So I'll click in this top layer, hold
down the Shift key, then click in the
| | 00:34 | bottom layer of my adjustments that
I've made, and then press Command+E on a
| | 00:37 | Mac, Ctrl+E on Windows.
| | 00:39 | And essentially, what I've done is just
flattened those together, so I now have
| | 00:42 | all of my cleanup on one layer.
| | 00:44 | All right, next step: zoom in a little
bit by pressing Command+Plus or Ctrl+Plus,
| | 00:49 | and what we can do here is get
creative with how we can remove this content.
| | 00:53 | For example, we can use this Patch tool.
What we can do with the Patch tool
| | 00:57 | is circle something and then
simply reposition our selected area.
| | 01:01 | As long as we have the source
selected, we can do that.
| | 01:04 | Again, making a selection there and
then simply removing that content by moving
| | 01:09 | this little selected area to a new
area in the frame. And the Patch tool is a
| | 01:13 | great way to work really quickly, and I
found that this tool can just help you
| | 01:18 | make some amazing progress in your photograph.
| | 01:20 | So, I'm just going to go through
and work on some of these larger
| | 01:24 | problematic areas, and then go
ahead and clean up some of the bigger
| | 01:27 | problems that I'm noticing here.
| | 01:29 | All right, once we start to remove
some of those, what we then want to do is
| | 01:33 | target perhaps even bigger areas.
| | 01:35 | So we started relatively small.
Now I want to work on this area here.
| | 01:40 | A couple of different approaches - we
can try the Patch tool, but sometimes it's
| | 01:44 | actually helpful to use another technique.
| | 01:46 | Here, we'll use the rectangular marquee.
| | 01:49 | We'll make a selection of this.
| | 01:51 | Next, after we make that
selection, we're going to go ahead and
| | 01:55 | press Shift+Delete.
| | 01:56 | We're going to use Content-
Aware Fill, and then click OK.
| | 02:01 | Now, this doesn't always do a
perfect job, but a lot of times it does a
| | 02:04 | great job, like here.
| | 02:06 | I think that's actually looking really good.
| | 02:08 | Now, if it didn't remove it altogether,
what you could do next then would be to
| | 02:12 | grab your Patch tool and then bring
over some of that patching to blend it in
| | 02:15 | even more, and then press
Command+D or Ctrl+D to deselect.
| | 02:20 | Next, go in with your Patch tool, and
just heal up any other little problem areas.
| | 02:24 | So keep in mind that what you want to
do is use these different techniques
| | 02:27 | together, and many times that will
help you accomplish the best results.
| | 02:31 | Okay, well, let's keep moving around
the image, and let's look for other little
| | 02:35 | areas that we want to clean up.
| | 02:36 | In this case, I'll work on the typography there.
| | 02:39 | I'm just going to start to reduce and
simplify as much as possible, and a lot
| | 02:43 | of times when you have areas that you
need to clean up, it's a good idea to try
| | 02:47 | to target something.
| | 02:49 | In this case I'm just targeting a few
words, and I'm removing those, and then
| | 02:52 | I'm making another selection of another word.
| | 02:55 | Now, you may be thinking, well, why
not just select all the type at one time?
| | 02:59 | Well, sometimes when you do that,
when you work too fast, you may overlook
| | 03:03 | something. And here, what I'm looking to
try to do is just to slowly build up nice,
| | 03:08 | clean areas, and then eventually, I'll
work on all of the areas.
| | 03:14 | Make sure I'm cleaning this up
to the best of my ability.
| | 03:17 | Okay, well, so far, I think we're doing a
nice job there, just working on those areas.
| | 03:22 | Let's zoom out a bit.
| | 03:23 | Well, now that I have a nice, clean
patch, or area that I can work with, I'm
| | 03:27 | going to make a bigger selection of
this, and then I can move that around and
| | 03:31 | see if I can sample a good area.
And then deselect by pressing Command+D or
| | 03:35 | Ctrl+D, and then select some of these
inner areas. Again, just looking to try
| | 03:40 | to reduce and simplify as I can.
| | 03:44 | In this case, I think
we're doing a pretty good job.
| | 03:47 | Let's move over to this portion of the
image, and again, here we have some type
| | 03:50 | that would be nice to remove.
| | 03:52 | So I'll go ahead and make a selection
there, take out that, and just work through
| | 03:57 | all of these little blemishes, using the
Patch tool in this case, because it does
| | 04:02 | such a good job, and because we
can work so quickly with this.
| | 04:05 | And we'll reduce some of those
lines there and just look to continually
| | 04:11 | reduce and simplify.
| | 04:12 | A lot of this work is detail work, but
a lot of this detail work is important,
| | 04:17 | because details like these
can really be distracting.
| | 04:21 | All right, well, now that I notice I
have all these small details, I'll go to
| | 04:24 | another tool, the Spot Healing Brush.
| | 04:26 | I'll make my brush a little smaller.
| | 04:28 | I'm just going to work on the small
little blemishes I'm noticing here, and
| | 04:32 | I'll just click and paint over those.
And the tricky part about this is these
| | 04:38 | are so close to the edge that they might not
come out very well, but we'll give this a try.
| | 04:42 | With this tool, we'll just slowly
try to reduce and simplify as much as
| | 04:47 | possible, and make our way all the
way through here, working on any other
| | 04:52 | areas that we notice as well, as we progress
through this, to simplify as much of possible.
| | 05:00 | I'm just going to keep going here.
| | 05:03 | I'm going to keep at it, keep working on
these details, little by little, reducing
| | 05:08 | and simplifying, in order to
make this image to look its best.
| | 05:12 | All right, I'm getting close there.
| | 05:16 | All right, I'm just going to move
quickly here and try to reduce and remove all
| | 05:24 | of these as much as possible, by just
clicking through these different little
| | 05:28 | blemishes. Again, trying to take this
out in order to just add a little bit more
| | 05:34 | simplicity to the photograph.
| | 05:35 | All right, well, I think
we're going in a good direction.
| | 05:38 | Let's zoom out and evaluate.
| | 05:41 | Now of course, how far you go with
this is really contingent upon your
| | 05:44 | overall aesthetic and style.
| | 05:46 | I think this is a pretty good breaking
point, because we've taken care of a lot
| | 05:50 | of the larger blemishes.
| | 05:52 | There are a few areas that we need to
work on still: the typography here, and
| | 05:56 | also over here and here, and then this
front area, where you can see there is
| | 06:00 | actually a screen which
projects information for the cyclist.
| | 06:04 | I want to remove that, as well
as a few of these other areas.
| | 06:07 | Let's explore how we can clean this
up even more, and we'll do that in the
| | 06:11 | next movie.
| | Collapse this transcript |
| Removing blemishes and distractions from the background| 00:00 | Well now, here what
we're going to do is zoom in.
| | 00:02 | Let's do that by pressing Command+Plus
or Ctrl+Plus. And what we need to do is
| | 00:06 | somehow remove this text that we're seeing here.
| | 00:09 | So let's create a new layer by
clicking on the New Layer icon, and then let's
| | 00:12 | start off by grabbing our Clone Stamp tool.
| | 00:15 | Now, with a small, small brush what
we can do is Option+Click or Alt+Click
| | 00:19 | there, and just start to
remove some of this content.
| | 00:22 | And so, I'm just going to sneak into
this little area, zooming in really closely,
| | 00:27 | in order to try to remove the
copy that we're seeing here.
| | 00:30 | I'll go ahead and make my way up
really close to the cyclists there, being
| | 00:33 | careful not to change the overall
shape of the photograph too much.
| | 00:38 | And one of the things that we need to
do here is obviously work with a teeny
| | 00:42 | brush. We need to zoom way in.
| | 00:45 | Whenever you're working on your cleanup,
I always find that it's a good idea to
| | 00:49 | target different areas and to move
around a lot, kind of like we've been doing.
| | 00:53 | And as you do that you can work on these
little teeny blemishes or distractions,
| | 00:58 | and you'll notice different
things as you move around your image.
| | 01:02 | Let's move around and work on this
down here, and again, just little teeny
| | 01:06 | brushstrokes, a little bit at a time,
working this out. And I am Option+Click or
| | 01:11 | Alt Click, Option on a Mac, Alt on
Windows, to sample a new area, and I'm
| | 01:16 | doing that to try to have as much
variation as possible, so that I don't
| | 01:20 | create any repeating patterns.
| | 01:22 | We'll make our way over here as well, just
removing that text, or typography, and clean that up.
| | 01:28 | Next, I'll grab my Healing Brush.
| | 01:30 | It's almost always a good idea to heal
on top of what you've cloned, because
| | 01:35 | what that can do is it can help you
blend things in, or just blend in the overall
| | 01:40 | texture, and also hide any repeating patterns.
| | 01:42 | So, I'll just do that over here, because
I'm noticing the grain structures; it's
| | 01:46 | just a little bit too granulated or too strong.
| | 01:50 | All right, the Clone Stamp tool, let's
remove this guy here, sampling this nice
| | 01:57 | area, again sampling from
different areas, different colors.
| | 02:00 | All right, so far, so good!
| | 02:02 | What about when we get to situations like
this, where we have all of these little dots?
| | 02:06 | How could we get rid of those?
| | 02:08 | Well, here's what we'll do.
| | 02:09 | We'll merge this layer down by pressing
Command+E on a Mac, Ctrl+E Windows that
| | 02:15 | then flatten all of our clean up.
| | 02:16 | Next, we'll duplicate this layer by
pressing Command+J or Ctrl+J. From here,
| | 02:22 | we're going to go to Filter, we'll
choose Noise, and then Dust & Scratches.
| | 02:27 | And what you can do with Dust &
Scratches is you can increase your Radius
| | 02:31 | until the dust is gone and then bring up the
Threshold, to bring back a little bit of detail.
| | 02:36 | In this case, what we're going to do is have
just a little teeny amount of detail there.
| | 02:40 | Here we can see all those little areas
are gone, but of course, we've wrecked
| | 02:44 | the detail on the other areas of
the photograph. Well, no big deal.
| | 02:48 | All you need to do now is hold down
Option on a Mac, Alt on Windows and click on
| | 02:52 | the Add Layer Mask icon.
| | 02:54 | That conceals all of what we've done.
| | 02:57 | Next, grab your brush and paint with a
really small brush. Go ahead and paint
| | 03:02 | with a higher Opacity.
| | 03:03 | We're just going to paint in the
Dust & Scratches adjustment into the
| | 03:08 | areas where we want it.
| | 03:09 | In this case, I can remove all these
small blemishes without a lot of effort, and
| | 03:14 | I can go through my photograph, and
anywhere where I see small, little blemishes,
| | 03:18 | I can simply paint those away.
| | 03:20 | Let's move around the frame here and
bring out a lot of those small, little
| | 03:24 | blemishes over here.
| | 03:25 | So again, I'm just painting with white.
| | 03:27 | I'll zoom out, look for other areas
that could benefit from this nice softness
| | 03:32 | that we have, a couple little over here,
also a little bit of variation up top.
| | 03:37 | Again, just softening up a lot of those
details and edges, and what this is going
| | 03:42 | to do for us is really just add to
the overall diffusion in a lot of these
| | 03:47 | areas, which is the top windows.
| | 03:49 | I kind of like that.
| | 03:50 | It's just reducing and simplifying
those, taking off the harshness of all
| | 03:54 | of this, and reducing a bit of the structure
there, but also a little bit of the detail.
| | 04:01 | I'm going to press 5 on the keyboard to
go to 50% and bring in just a little bit
| | 04:05 | less, I should say, so in this
case it's not quite so strong.
| | 04:08 | And sometimes that can be good, if you
want to have perhaps a little bit more
| | 04:12 | definition on some of these areas.
| | 04:14 | So here just moving through the
photograph, painting this into particular areas
| | 04:19 | where I just want to soften up some of
my edges, and in this case, it's doing
| | 04:24 | this all with that one adjustment layer,
a simple adjustment layer that brought
| | 04:28 | away a lot of those details.
| | 04:30 | Okay, well, up on the windows up here, I
went too far, so I'll press X to exchange that.
| | 04:35 | I'm just going to bring back
some of that here, painting at 50%.
| | 04:39 | I went just a little bit too much.
| | 04:41 | I need some of those windows, because
I like the lines that we have there, a
| | 04:45 | little bit of that line too.
| | 04:46 | And also a little bit of this line.
| | 04:47 | It's a great thing about working with
layers is you have that flexibility to
| | 04:52 | really dial in exactly how far you want to go
with all of these effects. Let's take a look.
| | 04:57 | Here we have before and then after,
again, just taking off those edges adds to
| | 05:01 | this overall glow type of a look.
| | 05:03 | Okay, well, we've done some great clean up work.
| | 05:07 | Let's just make sure this is good
here. Look at our before and after.
| | 05:10 | I think that's pretty good.
| | 05:12 | The next thing we want to do is we
want to work on this area up here in
| | 05:15 | the front of the image.
| | 05:17 | Zoom in by pressing Command+Plus or
Ctrl+Plus, and then we'll create a new layer
| | 05:21 | by clicking on the New Layer icon, and
I'm not even going to name the layer,
| | 05:24 | because eventually I will be flattening this.
| | 05:27 | I'm just going to start working here on this.
| | 05:29 | I'll grab the Clone Stamp tool, and with
a nice small brush here, I want to start
| | 05:34 | to work out the side here.
| | 05:36 | So you notice that I'm just sampling in
that area, which is similar in regards to
| | 05:40 | the overall tone, and I'm going to
press 8 to go to 80%, and just start to try
| | 05:45 | to work out the sign here
and do this incrementally.
| | 05:49 | And what I mean by incrementally is
just slowly take this out, and what will
| | 05:53 | happen is as we add this in, it's
going to look a little bit overdone.
| | 05:58 | In other words, the tone is going to be
patchy. And that's okay, because we'll
| | 06:03 | eventually be able to really sweeten this up
by applying an adjustment on top of this area.
| | 06:09 | So, we'll just go ahead and work out
that edge there, and then just slowly, but
| | 06:13 | surely bring out all of this content.
Because I have a touch lower Opacity,
| | 06:18 | I'm doing this incrementally little by
little, make my brush a bit bigger here,
| | 06:23 | and then do a bit more work,
now that I have a lot of that out.
| | 06:26 | Option+clicking/Alt+clicking to sample my
area and bring a lot of this back here.
| | 06:33 | In this case I just want to bring up
some of this brightness, so I'm going to go
| | 06:36 | ahead and really bring in just a ton
of that over there and also up here.
| | 06:42 | Okay, well, let's zoom
out and see how we've done.
| | 06:43 | Well, in this case, we have a nice
removal of this content, except there are a
| | 06:48 | couple little problems.
| | 06:50 | One is that we've lost a little bit of
texture here, and two is this edge isn't very good.
| | 06:56 | So let's bring back a bit more of this
edge here, and we can do that simply by
| | 07:00 | painting it in using our Clone Stamp tool.
| | 07:02 | All right, next step,
we'll work on the other edge.
| | 07:06 | I'll take my opacity down, again,
just soften that up there a little bit.
| | 07:11 | I'm just going to go back and forth, until I
have an edge that I think might be workable.
| | 07:17 | Okay, let's zoom out and see how that looks.
| | 07:19 | One of the things I noticed is I just
took this too far, so click on the Add
| | 07:24 | Layer Mask icon, grab my Brush tool
and here, mask out what we brought in.
| | 07:30 | In this case, we can just mask it back
to that natural seam there and start to
| | 07:34 | blend this in a little bit, so we have a
nice diffused look there, in regards to the tone.
| | 07:39 | All right, well, I think that might work,
and again, we'll just bring in just a
| | 07:43 | touch of that there and make sure we
don't have any of the sign in, remove that.
| | 07:48 | All right, well, so far, so good.
| | 07:50 | We've done some great cleanup work.
| | 07:51 | Here it is, our overall before and then after.
| | 07:55 | Now that we've done all this
cleanup work, now we can start to work on
| | 07:59 | some other aspects of the photograph.
In particular, we can begin to focus
| | 08:03 | in on color and tone.
| | Collapse this transcript |
| Lightening certain colors| 00:00 | Now that we've done all of this nice
cleanup work, which we can see here as
| | 00:04 | our before and after.
| | 00:06 | What I want to do is merge all
of my cleanup layers together.
| | 00:09 | I want to commit to those.
| | 00:10 | So I'll click in the topmost layer.
| | 00:12 | Hold down the Shift key and then click
in the bottommost layer of our cleanup
| | 00:15 | work, and then press Command+E or Ctrl+E.
Let's rename this "clean up," so that we
| | 00:20 | have all of this in one layer.
| | 00:22 | Here is that before and after.
| | 00:24 | A lot of times I find that by merging
our layers, it can kind of build up your
| | 00:28 | confidence and momentum. Rather than
having a ton of layers, and all this
| | 00:31 | confusion, we can commit to the adjustments
we've made, and then make some nice progress.
| | 00:37 | All right, well, the next thing I want to do
is work on the brightness value of this area.
| | 00:40 | It's too dark, in my opinion.
| | 00:42 | So here is how I'll work on this.
| | 00:44 | We'll click on our Adjustment
Layer icon, and choose Curves.
| | 00:47 | We'll go ahead and brighten this up.
| | 00:49 | We're really focusing in on this area.
| | 00:51 | We're evaluating how that looks.
| | 00:52 | I'm just bringing up these
different points in my Curves panel here.
| | 00:56 | Next, I'll invert this by pressing
Command+I on a Mac, Ctrl+I on Windows.
| | 01:01 | So basically, Curves adjustment
brightened. Next step, brush.
| | 01:08 | Here, we'll go ahead and paint with
white with something less than 50% opacity.
| | 01:12 | We'll make our brush nice and big.
| | 01:14 | I want to start to paint over this area.
| | 01:16 | I'm looking to brighten this up.
| | 01:18 | Diffuse this out a little bit.
| | 01:20 | I'm also going to work on this area
a little bit in here too, a little
| | 01:23 | bit forward as well.
| | 01:25 | Make my brush a touch smaller there.
| | 01:27 | Bring in a bit more, also in this area.
| | 01:31 | Then press the X key. Paint it
away, where I don't want this.
| | 01:34 | Again, I'm just going to kind of go
back and forth until I get a nice look in
| | 01:38 | regards to overall color there.
| | 01:40 | Here is the before, and then the after.
| | 01:42 | In the Masks panel, I'll diffuse that out.
| | 01:45 | That will give us some nice softness, in
regards to our edges, and just bring in
| | 01:49 | some good blending there.
| | 01:50 | Here we have it: before and then after.
| | 01:53 | Let's work on this side over here.
| | 01:55 | So in this side, I'll just
brighten that up as well.
| | 01:57 | Just look for any other little area
where you want to add a bit of a brightening
| | 02:02 | effect, and paint that it.
| | 02:03 | In this case, we're just looking to
brighten up a few little areas of the photograph.
| | 02:08 | Add a touch of brightness there.
| | 02:10 | Okay, well, now that we've done that,
| | 02:11 | the next thing I want to
do is work on the color.
| | 02:14 | I like how few colors there are in
this image, except I'm noticing there's
| | 02:18 | some reflected color here.
| | 02:19 | It's almost yellow or green.
| | 02:21 | I want to get rid of that.
| | 02:23 | So to do that, we'll click on
our Adjustment Layer Icon and
| | 02:26 | choose Hue/Saturation.
| | 02:28 | Here, we'll grab that Target
Adjustment tool click in that area.
| | 02:31 | You notice that it's saying,
hey, these are yellows.
| | 02:34 | If we exaggerate the saturation, we
can see what colors we can adjust by
| | 02:38 | using these sliders.
| | 02:39 | Well, it's going to adjust, of course
this area here, this big disk, but also
| | 02:44 | some of the wheels, and a lot of the skin.
| | 02:46 | So we're just exaggerating
the saturation to deconstruct.
| | 02:49 | Well, now that we've
seen that, let's desaturate.
| | 02:52 | Then let's go back and invert the mask,
because we don't want to affect the
| | 02:56 | legs, and all these other areas.
| | 02:58 | Here, we'll go ahead and press
Command+I or Ctrl+I to invert,
| | 03:02 | Next, we'll grab our brush.
| | 03:04 | We'll paint with a pretty high opacity,
because we now confidently know which
| | 03:07 | area this is affecting.
| | 03:09 | In this case, we just want to paint
away this yellowing effect that we're
| | 03:13 | seeing here in this area.
| | 03:15 | Make my brush nice and small.
| | 03:17 | Work on these lights in the background.
| | 03:18 | I just kind of like the purity of
this silver look, and this really
| | 03:23 | limited color palette.
| | 03:25 | So I'm going to go ahead and paint
through this area in the background.
| | 03:29 | Smaller brush by pressing Left Bracket
key, working on the background, behind
| | 03:33 | the cyclist as well.
| | 03:34 | So I want this to be really uniform.
| | 03:37 | Also, a little bit on the tires there.
| | 03:38 | I'm just going to remove some of
the yellow I've seen on the tires.
| | 03:43 | What I find, that sometimes by removing
specific colors, you can add just a nice
| | 03:48 | snap, or aesthetic, or
look to the overall project.
| | 03:52 | I don't want to work on his legs at all.
| | 03:53 | I want those to be as is.
| | 03:55 | I'll have nice color in them.
| | 03:58 | Again, so I made a little mistake.
| | 04:00 | I'll press the X key to exchange.
| | 04:02 | Make sure I bring back all
the color there in the legs.
| | 04:05 | I think that's looking pretty good.
| | 04:06 | Here we have before and after. Let me zoom in.
| | 04:10 | I think you'll really see it if we look
in this area here. Before and then after.
| | 04:16 | All right, well, now that I'm zoomed in
| | 04:17 | I realize there's the little area I missed.
| | 04:20 | Also, a little bit on the tire there as well.
| | 04:22 | It never hurts to zoom in, doesn't it?
| | 04:24 | It helps you evaluate your
progress and how the image looks.
| | 04:28 | In around to pan around the image, like
I'm doing, press the Spacebar key, and
| | 04:32 | then just paint away.
| | 04:33 | Spacebar, paint, Spacebar, paint,
and just make your way through.
| | 04:37 | What's great about this approach is we can
be pretty generous with our brushstrokes.
| | 04:41 | In other words, we can make some pretty
big adjustments, because it's just one
| | 04:45 | color here, primarily the yellows.
| | 04:48 | Well, here we have our adjustment so far.
| | 04:49 | Before and then after.
Some nice work on the color and tone.
| | 04:54 | All right, well, let's
continue to work on this image.
| | 04:57 | We'll pick up where we've
left off here in the next movie.
| | Collapse this transcript |
| Enhancing the color and tone| 00:00 | Well, at this stage, we're
ready to make some enhancements.
| | 00:03 | Yet, before we make enhancements, what I
like to do is to organize my layers a bit.
| | 00:08 | So let's click in our top layer,
| | 00:09 | hold down the Shift key, then click
in the bottom layer of our adjustments,
| | 00:13 | and then group these.
| | 00:14 | On a Mac, press Command+G. On Windows,
press Ctrl+G. We'll go ahead and name
| | 00:19 | this basic, because these are our
basic clean up and tone adjustment.
| | 00:23 | Here is before, and then after.
| | 00:25 | All right, well, what kind of
adjustments do we want to make here?
| | 00:28 | Well, one of things that I want to do is
I want to add a bit more to the face in
| | 00:32 | regards to brightness, and
also the legs, the skin there.
| | 00:35 | Then I want to tweak the overall color.
| | 00:37 | In particular, I want to go
with this kind of steel look,
| | 00:40 | but I want to make this nice and cool.
| | 00:42 | So I want to have this cool and
contrast type of an aesthetic.
| | 00:46 | Well, first, let's work on the skin.
| | 00:47 | What we can do is click on
our curves adjustment layer.
| | 00:51 | Then we can go ahead, and use our Target
Adjustment tool, and simply click and drag up.
| | 00:55 | You can see that what I'm
doing is I'm brightening here.
| | 00:57 | I'm also going to add a bit of contrast.
| | 01:00 | Here is that before and after.
| | 01:02 | Well, this is affecting everything.
| | 01:04 | I just want to control the skin.
| | 01:06 | So to do that, we'll go to our Masks panel.
| | 01:08 | We'll click on Color Range.
| | 01:10 | What we can do is we can sample an area of skin.
| | 01:13 | Then we can hold down the Shift key.
| | 01:15 | We can add to that.
| | 01:16 | You can see that as we add to that, we
have more and more of this area of skin.
| | 01:19 | I want to make sure I have all the detail on
the face, also perhaps, on the fingers there.
| | 01:24 | That was a little bit too
far. So I'll undo that.
| | 01:27 | We can modify our Fuzziness, so that we
just have the skin there, not too much else.
| | 01:33 | Next, click OK.
| | 01:34 | Well, now we have an adjustment where we
can really target that area of the photograph.
| | 01:38 | Let's double-click Curves.
| | 01:40 | Now what I want to do is actually
brighten this up even a little bit more there.
| | 01:44 | We can also go into the red channel,
add a bit of red into the skin, and just
| | 01:48 | add a little bit more life into that color.
| | 01:51 | All right, well, that looks good.
| | 01:52 | I think it's a little bit strong, but
nonetheless, kind of a fun adjustment.
| | 01:56 | All right, well, next what I want
to do is actually copy this layer.
| | 01:59 | I'll click and drag this to the New Layer icon.
| | 02:02 | Then what I'm going to do is Option on a Mac,
Alt on Windows, and click on the layer mask.
| | 02:07 | I want to create a mask
which just affects the face.
| | 02:10 | So here we'll grab our Brush tool.
| | 02:12 | We'll paint with black at 100% opacity
over these areas in order to conceal this.
| | 02:18 | As I do that, we can see we're limiting that.
| | 02:20 | So now, if we Option+Click or Alt+
Click this mask, we have this adjustment,
| | 02:25 | which just controls the face.
| | 02:26 | Well, this adjustment doesn't look very good.
| | 02:29 | So let's click Reset.
| | 02:31 | Here all I want to do is just brighten
it up a bit, because the face is pretty
| | 02:34 | important, isn't it?
| | 02:35 | There we have that,
| | 02:35 | just adding that little boost
to the face. Let me zoom in.
| | 02:39 | You can see before, and then after, and
this adjustment, which brightens up the face.
| | 02:44 | Okay, well, next, I want to work
on that tone I was talking about.
| | 02:47 | In order to do that, we're going to create
an adjustment layer, which is Color Balance.
| | 02:52 | We'll then change the
blending mode of this layer.
| | 02:55 | So here I'm adding blues in my midtones.
| | 02:58 | Change the blending mode to Soft Light.
| | 03:00 | Then add a little bit of cyan as well, until
we get this really nice color. Take a look.
| | 03:05 | There is before, and after.
Contrast and overall tone shift.
| | 03:10 | Now what's great is because we made
these underlying adjustments, the skin, we
| | 03:14 | can then control separately, in
regards to its overall color or brightness.
| | 03:18 | Here I'll go ahead and reduce this a little bit.
| | 03:21 | I still want some nice brightness in there
and some nice brightness on the face as well.
| | 03:26 | Well, the next thing we'll do here with
our color enhancement is we'll create a
| | 03:30 | Selective Color adjustment.
| | 03:32 | In Selective Color, we'll go to our cyans.
| | 03:35 | Here we can control the overall
density, or brightness, and color of those.
| | 03:39 | I just want to darken up the blues there a bit.
| | 03:41 | Go into the blues as well.
| | 03:43 | We can make a few adjustments on the blues.
| | 03:46 | Again, just adding a little bit
of a snap to that overall color.
| | 03:49 | Here is before, and then after.
| | 03:52 | Okay, well, we've made all
these fun color enhancements.
| | 03:55 | So let's group these together.
| | 03:57 | Click in your topmost layer, hold
down the Shift key, click in your
| | 04:00 | bottommost layer, and then press
Command+G or Ctrl+G. Let's go ahead and name
| | 04:05 | these "color enhancements."
| | 04:08 | Here we can see the overall before and after.
| | 04:12 | The great thing about these adjustments
is if we don't like any of these, we can
| | 04:16 | go ahead and target the
adjustment that perhaps we want to change.
| | 04:19 | In this case, I just want to back off that
contrast and color shift there a little bit.
| | 04:24 | I want to make it a touch more blue, a
little bit more of a slate blue there.
| | 04:28 | All right, well, that looks good.
| | 04:29 | Here is our overall
progress, before, and then after.
| | Collapse this transcript |
| Adding motion blur to the cyclist| 00:00 | At this juncture, I want to have a
little bit of fun with motion blur.
| | 00:03 | In particular, I want to explore how
we can add some motion blur that kind of
| | 00:07 | trails off the edge of the cyclist.
| | 00:09 | Well, let's create a new layer.
| | 00:11 | Let's merge everything to that new layer.
| | 00:13 | On a Mac, press Shift+Option+Command+E;
on Windows, Shift+Alt+Ctrl+E. We'll go
| | 00:18 | ahead and name this "blur."
| | 00:21 | Next step, let's navigate to our
Filter pulldown menu, and then choose Blur,
| | 00:25 | and then Motion Blur.
| | 00:26 | What we want to do here is add some motion blur.
| | 00:29 | We want to define the
distance, and also the angle here.
| | 00:32 | We can change that so that
it tilts one way or another.
| | 00:36 | In this case, we just want to
get that exactly where we want it.
| | 00:39 | I think some of that looks good. Click OK.
| | 00:42 | Now the problem with this is that
it's blurring forward and backwards.
| | 00:46 | So we need to limit where
this blur is affecting the image.
| | 00:50 | To do that, we'll click
on the Add Layer Mask icon.
| | 00:53 | Then we'll grab our Gradient tool.
| | 00:56 | Now what's great about the Gradient tool
is that what you can do is simply click
| | 00:59 | and drag across your image,
| | 01:00 | if it's backwards, no big deal;
just flip these two colors.
| | 01:05 | Click on that icon, or press the X
key, and then click and drag again.
| | 01:09 | Now, it's doing what I wanted to.
| | 01:10 | It's allowing the blur to start here
and then extend forward to the front
| | 01:14 | portion of the image.
| | 01:16 | As I click and drag, I can have a
longer transition area, more blur coming
| | 01:20 | forward or less, depending
on how I want to do this.
| | 01:24 | Another thing that's fun to do in
regards to your gradient mask that you've
| | 01:27 | created is to unlink this from the image.
| | 01:30 | Then press Command+T on
a Mac, Ctrl+T on Windows.
| | 01:34 | You can free transform this,
or you can reposition this.
| | 01:36 | See how I'm changing the
area that's in focus or not.
| | 01:40 | This is a nice kind of interactive
way to see how far you want to take your
| | 01:43 | blur, and to position it
exactly where you want it.
| | 01:46 | Next, press Enter or Return.
| | 01:49 | Now one of the problems here is that we now
have some blur coming up in the foreground.
| | 01:54 | You can see that harsh edge,
and then all of a sudden, softness.
| | 01:57 | So we need to fix that and
also fix up the cyclist a bit.
| | 02:01 | So here, grab our Brush tool.
| | 02:03 | In this case, I'll paint with
white with a little bit lower opacity.
| | 02:07 | I'll just bring in some of this
blur in the front area of the image.
| | 02:10 | Again, just adding to this overall
aesthetic of having this kind of surreal
| | 02:14 | motion in the photograph, and I'll just
look to paint this in a little bit here.
| | 02:19 | Okay, well, nice. So far so good.
| | 02:21 | Next thing I want to do is
also work on the cyclist.
| | 02:24 | So I'll paint with black, higher Opacity.
| | 02:27 | We'll just limit the blur that
we're seeing here on the cyclist.
| | 02:30 | I'm just going to bring back some of
these details. Especially you want to be
| | 02:33 | careful with the forward edge.
| | 02:35 | I don't need any blur forward.
| | 02:37 | Blur should be backwards,
behind, trailing, not in front of it.
| | 02:41 | Then so we'll go ahead
and just move this around.
| | 02:44 | Another great way to make sure that
that blur is behind the subject is to
| | 02:48 | actually move the entirety of the subject.
| | 02:51 | So here what you can do is
either link both of these or not,
| | 02:55 | then grab your Move tool,
and just move this back.
| | 02:57 | See how that blur is now
trailing a little bit further back?
| | 03:00 | Well, in this case, we don't need to
do a ton of that, because our masking is
| | 03:03 | pretty good, but it's
just something worth noting.
| | 03:06 | All right, well, with this brush, a
few more little areas to clean up.
| | 03:09 | Again, just having fun with blur, and
trying to create an interesting kind of
| | 03:13 | look here by having this trail off
there, and we can paint this into real
| | 03:17 | specific areas, which is nice.
| | 03:20 | I think that's pretty good.
| | 03:21 | Let's see if we've gotten all
those areas where we need to.
| | 03:24 | Here we have it, our
overall before and then after.
| | 03:28 | All right, well, now that we've done all
of these different types of adjustments,
| | 03:32 | one of things that I find helpful to
do is to create layer comps, in order to
| | 03:36 | determine which adjustments are best,
and to evaluate our overall progress.
| | 03:42 | Let's take a look at how we can do
that in the next movie, so that we can
| | 03:45 | review this image, and also determine
which state, or which stages of this
| | 03:49 | photograph, work best.
| | Collapse this transcript |
| Sharpening and creating layer comps| 00:00 | Here we're going to take a look at
how we can take advantage of layer comps
| | 00:03 | in order to view our image at different
stages and to evaluate our overall progress.
| | 00:09 | So let's navigate to the Window pull
down menu and then choose Layer Comps.
| | 00:12 | This will open up the Layer Comps panel.
| | 00:15 | Now what you can do is you can turn
off the visibility of certain layers.
| | 00:19 | For example, I want to see what this
image looks like without all of the color
| | 00:23 | adjustments and also without the extreme blur,
| | 00:27 | so I'll turn off the visibility of
those layers, click on the New icon
| | 00:31 | and simply click OK.
| | 00:32 | I am not even going to name that.
| | 00:34 | I'll just leave it as is.
| | 00:35 | Of course, if you want to be organized, you
could name this, and perhaps maybe I should do that.
| | 00:40 | I am just going to call this normal.
| | 00:42 | Next, I am going to turn on this
adjustment layer, which gave us this blue color
| | 00:45 | and also the contrast.
| | 00:47 | So I'll go ahead and click
on this, and we'll call this
| | 00:49 | "normal-color/contrast" and click OK.
| | 00:54 | Next, we'll turn on the visibility of
the blur layer and then click on this
| | 00:58 | layer comp icon here, and what we'll do with
that is go ahead and call this one "blur."
| | 01:03 | And now we have these three
different states of our photograph.
| | 01:06 | And one of the things we can do then
is we can go ahead and hide some of our
| | 01:10 | panels, so that we can
evaluate the progress of things.
| | 01:13 | Here I'll press the Tab key to hide a
lot of my panels, and then I'll go to
| | 01:17 | Window, and I'll choose Layer Comps,
just to bring that one back, and then I can
| | 01:21 | evaluate this and say, okay, well here
is the image, kind of bit a more normal
| | 01:25 | state without all of that crazy color
and contrast and whatnot, and we could
| | 01:29 | then print this photograph out.
| | 01:30 | We could evaluate this and say, hey!
| | 01:31 | Is this looking good?
| | 01:32 | We could also print this version out,
a little bit more of that cool tone and
| | 01:36 | contrast and again, determine if we
like this look, and then also we have this
| | 01:41 | final look with this motion blur.
| | 01:42 | And one of the things that I've found
is that these layer comps kind of free
| | 01:46 | you up to review your image in a different way.
| | 01:49 | You're not thinking about the layers so much.
| | 01:52 | You are really thinking about
the image in its different stages.
| | 01:55 | And by removing your control of the
layers in a way, and also just showing you
| | 01:59 | this different view, it can help you evaluate.
| | 02:02 | Say, hey you know what?
Is this good or not?
| | 02:04 | I mean, do I really need to do this?
| | 02:06 | And many times, what you'll
decide is you need to go back.
| | 02:09 | Here I'll press the Tab
key to bring everything back.
| | 02:12 | And you say, you know what?
Well, this Color Balance layer is interesting,
| | 02:14 | but what happened if I were to copy
this layer, and if were to turn it on, and
| | 02:19 | then reset all of my settings,
| | 02:21 | so that now here what I have is I have
this adjustment where I'm bringing in
| | 02:25 | this contrast and whatnot, let's
turn off the blur for a second, and then
| | 02:29 | bringing in that contrast, but I'm
doing that without that blue tone.
| | 02:33 | Well, then I have, perhaps something
even a little bit different. So I'll go
| | 02:37 | ahead and click on this icon, and
we'll call this "normal contrast."
| | 02:42 | And then what I can do is with these
layer comps, I can compare these two.
| | 02:45 | Do I like the color?
| | 02:46 | Do I not like the color?
| | 02:48 | We can compare that with normal.
| | 02:49 | We can click through these
different options really easily in order to
| | 02:53 | determine what we like best.
| | 02:55 | The other thing that I like about this
approach is that many times when we work
| | 02:59 | in Photoshop, we push things too far.
| | 03:01 | Like, I would say with this blur right
here, at least in my opinion, I think
| | 03:05 | it's a little bit over done.
| | 03:06 | I don't think it really adds the picture.
| | 03:08 | I like the picture better
without all of that blur.
| | 03:11 | As a matter of fact, I think my
favorite view of this is either the one with
| | 03:14 | the color or the one without the color,
somewhere perhaps in between those two states.
| | 03:18 | All right, well the last thing we want
to do here is press Tab to get rid of
| | 03:22 | everything, press F to go to full screen
view mode and then finally, press F7 to
| | 03:27 | bring back our Layers panel.
| | 03:28 | Let's evaluate our overall progress.
| | 03:31 | Well, here you can see the
original image that we started with.
| | 03:34 | It's an intriguing perspective in a wind tunnel.
| | 03:37 | It's a photograph of Ivan Basso - at that
time, the fastest cyclists in the world.
| | 03:41 | Next what we did is we worked on just
cleaning up all of these small details, and
| | 03:46 | that made this image much more conceptual.
| | 03:49 | By reducing and simplifying, sometimes
you can deepen or add to a photograph.
| | 03:54 | And it's kind of an
interesting approach, isn't it?
| | 03:56 | By taking things away, many times you add more.
| | 03:59 | Next, we worked on color and tone, and with
color and tone, we just started to get creative.
| | 04:03 | We said, hey!
We want to control the face and the legs.
| | 04:06 | We brightened up the face a little bit
more, adding some visual interest there.
| | 04:09 | We experimented with different types of
color and also with a few adjustments,
| | 04:13 | just to make a few areas
of the image really snap.
| | 04:16 | All right, well, in closing, let's take a look
at our overall before and after. Here it is:
| | 04:21 | before and then after.
| | Collapse this transcript |
|
|
5. Gym WorkoutImproving the composition by cropping| 00:00 | In this project, we'll be working on
this photograph of Virgil Velasquez who is a
| | 00:04 | professional baseball player. He's a
pitcher for the Pittsburgh Pirates.
| | 00:08 | And what we want to do with this
photograph is we want work on this and give
| | 00:11 | our client a few different options, a
few different variations for a couple of different
| | 00:16 | ways they might use this image.
And also we want to add a bit of edge or a bit
| | 00:20 | of snap to the image.
| | 00:21 | So for starters, let's zoom out.
| | 00:22 | Now, when we zoom out, one of the
things you'll notice is that I captured a bit
| | 00:26 | of the soft box in the frame here, so I
really want to remove that, and even more,
| | 00:30 | I want to create a bit of a tighter crop.
| | 00:32 | All of this content in the back of the
gym here is a little bit distracting.
| | 00:36 | And this particular photo shoot was in
an active gym. These guys were working
| | 00:40 | out, and I was trying to capture a
couple of moments as they were kind of doing
| | 00:43 | their thing. So we have
these distracting elements.
| | 00:46 | And one of the ways that we can get
rid of those is simply by cropping.
| | 00:49 | So let's go ahead and do that.
| | 00:50 | We'll press the C key to grab our Crop tool.
| | 00:52 | Next, we're going to click and drag to
extend this over the area where we want
| | 00:56 | to save the image, and something
right along there, I think, looks nice and
| | 00:59 | perhaps bringing in this edge as well.
| | 01:02 | Now this is changing the overall
composition and mood of the image, but I'm okay
| | 01:06 | with that because I want to
make this a bit more punchy.
| | 01:08 | I want to bring this forward.
| | 01:09 | So here, we'll press Enter or Return, and
then I'll zoom in a little bit, and now
| | 01:14 | again it feels much more about the
athlete, much less about the environment.
| | 01:18 | The environment is important,
but it's not overly dominant.
| | 01:21 | All right, well now that we've done
that, one of the next things that I want to
| | 01:24 | do is start to think about how could
I add a bit of visual snap to this?
| | 01:28 | How could I add a bit of punch here?
| | 01:29 | Now one interesting technique
that we can use is called HDR toning.
| | 01:33 | And let's a take a look at how
we can do that in the next movie.
| | Collapse this transcript |
| Toning the image with HDR toning| 00:00 | What we're going to do next is
experiment with how we can use HDR toning
| | 00:04 | in order to come up with some pretty creative
and interesting options for this photograph.
| | 00:08 | Now whenever you start to work with HDR
toning it's almost always a good idea
| | 00:12 | to duplicate the image,
because when you use HDR toning
| | 00:16 | that flattens all your layers and you
lose the original file, and thus you're
| | 00:19 | not able to do many creative things
with it in regards to blending or modified
| | 00:23 | how this works with the image.
| | 00:25 | So here what I want to do
is duplicate this image.
| | 00:28 | To do so, I am going to first exit full
screen view mode. To do that, I'll press
| | 00:32 | Shift+F. All right, well now that
I'm out of full screen view mode, I'll
| | 00:36 | navigate to the Image pull down
menu and then next select Duplicate.
| | 00:40 | This will then give me
another version of this file.
| | 00:43 | Here's a duplicate image
| | 00:44 | that's named pro_baseball copy.
Click OK. All right, great!
| | 00:48 | Let's reposition that over here.
| | 00:50 | Here you can see it's the same exact image.
| | 00:52 | We just have a new
document window for this file.
| | 00:55 | Now these two files aren't connected, so
I can make changes here, and they won't
| | 01:00 | affect the original file, so
let's go ahead and do that.
| | 01:03 | We'll go ahead and navigate our Image
pulldown menu, choose Adjustments and
| | 01:08 | then go about three quarters of
the way down and select HDR Toning.
| | 01:12 | This will open up our HDR Toning dialog.
| | 01:16 | Now sometimes what's fun to do, when
you're working with this, is to simply go to
| | 01:19 | some of your presets and try some of
these different presets. Other times what
| | 01:23 | you will want to do is modify your controls.
| | 01:25 | One of the things that I want to do
with this image is I want to convert this
| | 01:29 | to black and white.
| | 01:31 | So I am going to go ahead and desaturate.
| | 01:32 | So I am going to remove all the color.
| | 01:34 | Next, I need to zoom in.
| | 01:35 | I can't really see this very well.
| | 01:37 | So I am going to press
Command+Plus on a Mac or Ctrl+Plus on Windows.
| | 01:41 | Then from here, I am just going to start
to modify my sliders, and I am going to
| | 01:44 | do this in a way that looks
visually interesting to my eye.
| | 01:48 | So it's completely up to me how I'm doing this.
| | 01:51 | There isn't a right or wrong here.
| | 01:52 | But what I have noticed is that
sometimes what you want to do is push this
| | 01:57 | further than you're comfortable with.
| | 01:58 | In other words, we really want to go
for it, in regards to this type of a look.
| | 02:02 | We want to have this really dramatic
HDR toned type of aesthetic, because later
| | 02:07 | what we'll be doing is
blending this back into the image.
| | 02:10 | So again, here I am just modified my
Tone Curve, some of my sliders, and I am
| | 02:15 | just looking to try to experiment and
see if I can come up with something that
| | 02:19 | might be interesting.
| | 02:20 | Now in regards to exposure and
whatnot, I want to air on the side of over
| | 02:24 | exposing a little bit.
| | 02:26 | In regards to my shadows, I want to
see if I can just modify those a touch,
| | 02:30 | bring a lot of detail in this image,
and I think that might work for us.
| | 02:34 | Let's go ahead and click OK.
| | 02:36 | Now you never know if this will be
perfect, but the beauty of this is we're
| | 02:39 | working on a duplicate image, so we can
always go back to the original if needed.
| | 02:44 | Next thing I want to do is select the
Move tool. Then hold down the Shift key and
| | 02:49 | click and drag the image
from one document to another.
| | 02:52 | Well now that we have HDR-toned file or
image on top of the original, let's go
| | 02:58 | full screen view mode -
| | 02:59 | here I'll press F - so that I can
really focus in on these two layers here.
| | 03:03 | Well, what we can do with these is we
can blend these together in some pretty
| | 03:08 | interesting and fascinating ways.
| | 03:09 | For example, I am going to go ahead
and try a blending mode of Soft Light.
| | 03:13 | Now what that will do for me is that it
we'll get me this really snappy, muted,
| | 03:18 | contrast-type of aesthetic. Take a look.
| | 03:21 | Here is that before and then after.
| | 03:23 | It feels a bit more edgy, a bit stronger.
| | 03:26 | Another thing we can do here is simply
lower the opacity. If we don't want that
| | 03:29 | look to be so intense, we just want a
little bit of a snap, we can lower the
| | 03:33 | opacity so that we can
dial in just the right amount.
| | 03:35 | All right, well, so far, so good.
| | 03:37 | We've come up with a pretty
interesting way to process this image, already,
| | 03:41 | without a lot of effort.
| | 03:43 | Let's continue to work on this project,
and we'll do so in the next movie.
| | Collapse this transcript |
| Adding multiple blending modes to one adjustment| 00:00 | In order to take this image even
further, let's experiment a little bit with
| | 00:04 | this hdr toning layer.
| | 00:05 | First, let's name this layer.
| | 00:07 | We'll double-click the layer
name and call this "hdr toning."
| | 00:10 | Next, what I want to do is I want to
take this to a blending mode of Normal and
| | 00:13 | then bring my Opacity all the way up.
| | 00:15 | Now, I want to do that to
illustrate something that we can do here.
| | 00:20 | One of the problems whenever you use a
blending mode of Soft Light is that many
| | 00:24 | times your blacks become too
black, too dense, too dark.
| | 00:28 | Well, you can modify that by applying a
levels adjustment right to this layer.
| | 00:33 | To do so, press Command+L on a Mac,
Ctrl+L on Windows, and then here what I'm
| | 00:37 | going to do is simply modify my slider.
| | 00:40 | You can see I can darken up the blacks
there, or if I want to brighten them up,
| | 00:44 | I could bring some midtones in that
range, or I could bring up the output level
| | 00:48 | of those deep black tones.
| | 00:50 | The great thing about this is this
can kind of help bring the image up a
| | 00:53 | bit, if we're adding too much contrast.
| | 00:56 | All right, well now that we've
modified the hdr toning layer with a levels
| | 01:00 | adjustment, let's then go back
to our Soft Light blending here.
| | 01:04 | What we'll see this time is that we have
much more detail over here in this area.
| | 01:09 | Now, another way to do that is like this.
| | 01:11 | I'll go ahead and undo what I've just
done here, and bring this back to the way
| | 01:15 | that we had it before, which was Soft
Light blending with this hdr toning layer.
| | 01:20 | Well, we could choose the appropriate
amount of opacity that we like. Then
| | 01:25 | simply press Command+L on a Mac,
Ctrl+L on Windows, and then modify this.
| | 01:29 | Here you can see, we can start to see
what that black area will look like, or the
| | 01:33 | darker area in the image, so we can
bring in brightness, or darken that up, for
| | 01:38 | that matter, into those areas.
| | 01:40 | Okay, well, let's click
OK in order to apply that.
| | 01:43 | Let's say that we decide that we really
like this type of a look, because it's
| | 01:47 | adding this really nice snap to the image,
| | 01:50 | nut we're not really
interested in having such muted tones.
| | 01:54 | We want to do some work with color, but
maybe we want to bring back some other
| | 01:58 | color or tone to the image,
| | 02:00 | some of the original
color perhaps that was there.
| | 02:02 | Well, one of the things you can do
is you can actually apply two blending
| | 02:07 | modes to one layer.
| | 02:09 | How you do this is you
merge everything to the top.
| | 02:13 | So, first Shift+Option+Command+E on a Mac,
Shift+Alt+Ctrl+E on Windows. Turn off
| | 02:19 | the hdr toning layer.
| | 02:21 | Here, you can see we've merged all
that we've done - the hdr toning, and the
| | 02:25 | background - to the topmost layer.
| | 02:26 | What we're going to do with this
layer is we're going to change its
| | 02:29 | blending mode to luminosity.
| | 02:31 | The great thing about this is in a
sense what we're doing is applying two
| | 02:35 | blending modes, right?
| | 02:36 | This one had Soft Light.
| | 02:38 | We merged to the top, so it's on Normal.
| | 02:41 | Now that is on Normal,
| | 02:42 | we can then add our second blending
mode, which in this case is Luminosity.
| | 02:46 | All that does for us is it gives us
this look, but it also brings back some of
| | 02:50 | that original color.
| | 02:51 | It's not quite so muted.
| | 02:53 | Here is the difference.
| | 02:54 | Here we go between Normal, you can see, and
then also take that back down to Luminosity.
| | 03:00 | So, it can just be a fun way to work
with color and tone in certain situations.
| | 03:05 | All right, well, now that we've
modified our overall hdr toning and our layer
| | 03:09 | blending, let's go ahead and
work a bit more on color and tone.
| | 03:13 | And we'll do that in the next movie.
| | Collapse this transcript |
| Creative color reduction| 00:00 | Next, I want to experiment a
little bit with color and tone.
| | 00:03 | There's so much that we can do here.
| | 00:05 | It's really subjectively up
to you what you want to do.
| | 00:08 | Yet, one of the things that I want
to try with this image is I want to
| | 00:10 | experiment with toning this in kind of
a creative way, maybe a cross-processed
| | 00:14 | or duo-tone type of a look.
| | 00:16 | I also want to experiment a little bit
with desaturating a lot of the image, and
| | 00:20 | just leaving the
saturation in one area on the shirt.
| | 00:23 | So, let's go ahead and start to
tinker a bit with color and tone.
| | 00:27 | In order to do that, first let's
press the W key to select the Quick Select
| | 00:31 | tool. And here, on this layer, I'm simply
going to click and drag across the red shirt.
| | 00:36 | Now, this gives me a decent selection,
although it gave me a little bit of
| | 00:39 | a problem over here. No big deal.
| | 00:41 | Hold down the Option key on a Mac, Alt
key on Windows, and then go ahead and
| | 00:44 | paint away the area that you don't
want to select, and then go back and just
| | 00:48 | paint on the area you do want to select.
| | 00:50 | So, in this way, you can kind of go back
and forth until you have a decent selection.
| | 00:54 | Now, one of things that's great
about Quick Select is it allows us to
| | 00:57 | quickly create a selection;
| | 00:59 | one of the downsides is that
it's not always the best selection.
| | 01:04 | So, again, before you're finished here,
just go ahead and hold down Option on
| | 01:08 | a Mac, Alt on Windows, and erase any
area of the selection, or subtract from
| | 01:13 | what you don't need. I don't need that,
| | 01:15 | so I hold down Option there, and
then go ahead and paint inside of the
| | 01:18 | selection just to build it out
a bit more where you do need it.
| | 01:21 | All right, well, so far, so good.
| | 01:23 | We're now ready to create a
mask based on the selection.
| | 01:26 | One of the ways that we can do that is to
simply click on one of our adjustment layers.
| | 01:31 | So, here what I'm going to do is go
ahead and click on the adjustment layer
| | 01:34 | icon for Hue/Saturation.
| | 01:36 | Now, once we do that, it
shows me I have a mask here.
| | 01:39 | Now, in order to determine if this mask
is any good, what I typically want to do
| | 01:43 | is make some kind of a change.
| | 01:45 | I could make a color change here,
changing the overall look of the image, or the
| | 01:48 | color or tone of that area,
or I could simply desaturate.
| | 01:52 | Again, this just reveals to me
some of my problems with my mask.
| | 01:56 | In this case, it's kind of
showing me that my edge isn't very good.
| | 01:59 | Let me zoom in, so you can see this.
| | 02:01 | Here, you can see we have
some red here still showing up.
| | 02:04 | It's not all the way completely desaturated.
| | 02:07 | Well, to fix that, one of things that
you can do is go to your Mask panel.
| | 02:11 | Here, in the Mask panel, what I'm
going to do is actually invert the mask, so
| | 02:15 | I'll click on the Invert button.
| | 02:17 | Now, I have everything
desaturated except for the shirt.
| | 02:20 | Next step, I'll go to Mask Edge, and I
did that just because it's a nice visual
| | 02:24 | way to see the edge.
| | 02:26 | We can really define this or see this here.
| | 02:28 | Now, we have a number of different
view modes that you can cycle through
| | 02:31 | by pressing the F key.
| | 02:33 | Now, when you cycle through these
different view modes, you'll find that there
| | 02:36 | will be some which will help you see the
problem areas of your mask better than others.
| | 02:40 | Now, one of the things that I am
noticing here in this black-and-white view is
| | 02:44 | that the edge is just too jagged.
| | 02:46 | Well, to fix that, turn on Smart Radius,
and go ahead and increase the radius.
| | 02:51 | You can see how already it's making a
much smarter and better and tighter edge.
| | 02:56 | Next, let's add a little bit of contrast
here. That will increase the strength of this.
| | 03:00 | Next, press the F key just to toggle
back to one of the other views, so you can
| | 03:04 | actually see the image,
| | 03:06 | see how it's affecting the
overall look here with this file.
| | 03:09 | Well, I'd say, so far so good, perhaps
just a touch of feather there to soften
| | 03:13 | things up, maybe just one point of
smoothing out, and I think we're pretty good to go.
| | 03:18 | Let's click OK.
| | 03:19 | Now, if you have any problem areas, well,
press the B key, grab your Brush tool,
| | 03:23 | and then paint with either black
or white, whatever you need to do.
| | 03:27 | So, you could go ahead and paint in a
little bit more of that up top if you need to.
| | 03:32 | It looks like I do.
| | 03:33 | I needed to fix that edge up there.
| | 03:35 | Otherwise, I think this, for
the most part, looks pretty good.
| | 03:38 | Here, I'm just painting with black.
| | 03:40 | I'm concealing the
desaturation from this area of the image.
| | 03:44 | In turn, that's allowing the
original color, that red, to shine through.
| | 03:47 | All right, well, let's zoom out a
little bit and see how we're doing.
| | 03:51 | Well, that definitely could be an
interesting way to process the image.
| | 03:54 | We have this really bright red focus
on the shirt, and if it was for that
| | 03:58 | particular sponsor, the sponsor
would probably like this look.
| | 04:02 | Yet here, I want to add a
touch more contrast to the file.
| | 04:05 | So, to do that, we'll go ahead and click
on our adjustment layer and choose Curves.
| | 04:09 | Now, with Curves, one of things we can
do, of course, is modify the curve, or
| | 04:13 | sometimes, it's just fun to see what
happens if you take this to a blending
| | 04:17 | mode of Soft Light.
| | 04:18 | If you're in a hurry, and you just kind
of want to get a vision for the contrast
| | 04:22 | that you could potentially
build up, you could do that.
| | 04:25 | Here I can see that that's pretty good contrast.
| | 04:27 | I like how it affects the background,
darkening this up just a bit more.
| | 04:31 | It's a bit too strong, so
we'll lower the opacity.
| | 04:34 | I notice also that it's not
doing a very good job on the shirt.
| | 04:38 | I don't like what's happened to the red there.
| | 04:40 | Well, here is the good news.
| | 04:41 | You can click in the mask you just
created, and that you made perfect.
| | 04:45 | You can then hold down Option on Mac,
Alt on Windows, and click and drag this to
| | 04:50 | the topmost layer there,
replacing the layer mask.
| | 04:53 | Yep, we want to do that.
| | 04:54 | Here you can see that now this contrast is
primarily affecting the background, right?
| | 04:59 | It's building up some nice contrast and
kind of this overall edgy look with this
| | 05:03 | image which I want to accomplish.
| | 05:06 | Now, the reason we're able to
accomplish this so well really is because of our
| | 05:10 | hdr toning, and then also that new
layer, which gave us this blending here.
| | 05:14 | If we turn this on and off,
here, you can see before.
| | 05:17 | That looks okay, but just too
muddy and not very interesting. After,
| | 05:21 | now that has a bit more of
that snap or punch to it.
| | 05:24 | All right, well, let's continue to
work on this file and experiment with a
| | 05:28 | couple of other techniques.
| | 05:29 | And let's do that in the next movie.
| | Collapse this transcript |
| Sharpening the image| 00:00 | Now with this particular version of the
image, one of the things that I want to
| | 00:02 | do is I want to add a bit more
snap, a bit more punch to this file.
| | 00:06 | So in order to do that, I am going to
add some midtone contrast and also some
| | 00:11 | nice detail sharpening.
| | 00:12 | So let me show you how we can execute that.
| | 00:15 | First, click in your topmost layer.
Then press Shift+Option+Command+E on the
| | 00:20 | Mac, Shift+Alt+Ctrl+E on Windows.
| | 00:24 | That will merge everything to top, and
we'll go ahead and name this "midtone contrast."
| | 00:28 | From here, what we're going to do is
navigate to our Filter pulldown menu, and
| | 00:31 | we're going to use a filter which
typically is used for sharpening.
| | 00:35 | It's called Unsharp Mask.
| | 00:37 | But here we're going to use it
in a completely different way.
| | 00:39 | What we're going to do with this is
we're going to take our Radius all the way
| | 00:43 | up to 250. Crank that all
the way up. Threshold is 0.
| | 00:48 | Next, you'll incrementally bring up
your Amount, and typically this is something
| | 00:52 | nice to do later in the process
because you can add some midtone contrast.
| | 00:56 | Now, if we click on the image, we'll see
the before and after, and we'll see how
| | 00:59 | it's building up contrast, like
you can see that in the face -
| | 01:02 | again, just adding a bit
more of that snap to that area.
| | 01:05 | The lower the amount, the less the contrast.
| | 01:08 | So again here let's experiment
a little bit with this setting.
| | 01:11 | I am going to go a bit high here and
then click OK in order to apply that.
| | 01:16 | Now, how does this look in
regards to the before and after?
| | 01:18 | Here is before, and then here is after.
| | 01:21 | Again, just adding a touch
more contrast to the image.
| | 01:24 | Well let's say that here what we
notice is again it's just modifying the
| | 01:28 | shirt too strongly; no big deal.
| | 01:30 | Click in your layer mask, hold down
Option on the Mac, Alt on Windows, click and
| | 01:34 | drag that to the new layer, so that
now this contrast is primarily, once again,
| | 01:39 | affecting the background, that midtone snap.
| | 01:42 | So these last two layers really added
some interesting look and feel to this image.
| | 01:47 | That's one of the reasons why we used
HDR toning to bring up the details because
| | 01:51 | I knew that we're going to then push
them back and bring this really interesting,
| | 01:55 | vivid, texture-like contrast
into the image. All right!
| | 01:58 | Well, let's keep going with this.
| | 02:00 | Again, let's click in the top layer.
| | 02:03 | Next, let's apply some high pass sharpening.
| | 02:06 | To do so, we need to merge to top.
| | 02:08 | Press Shift+Option+Command+E on a
Mac, Shift+Alt+Ctrl+E on Windows.
| | 02:13 | We'll name this layer "hp" for high pass.
| | 02:16 | High pass is a great way to bring
out edges and detail and texture.
| | 02:20 | What we'll do with this layer is go
to our Filter pulldown menu, choose
| | 02:25 | Other, and then High Pass.
| | 02:27 | Now, it's a good idea to zoom in a
little bit on your image in order to be
| | 02:30 | somewhere around 100% and then to bring
your Radius all the way down and then to
| | 02:34 | incrementally bring it up.
| | 02:36 | As you notice detail, think about how
that's the detail that you're going to
| | 02:40 | bring out in your photo.
| | 02:42 | So here I am going to bring out,
because this is a lower res file, just a small
| | 02:46 | pixel Radius, half a pixel.
| | 02:48 | Now, if it were a full res or a higher
res file, that Radius would climb up.
| | 02:53 | But again, trust what you see on the screen.
| | 02:55 | You want to see all the edge detail
here and a lot of texture. Next, click OK.
| | 03:00 | Now, whenever you high-pass sharpen,
you always need to desaturate the layer.
| | 03:03 | So go to Image > Adjustments,
and then choose Desaturate.
| | 03:08 | Now, once we've done that, next
we're going to apply a blending mode.
| | 03:11 | The few blending modes that tend to work
well with this are Overlay, Soft Light,
| | 03:15 | and Hard Light, and we can try all of those out.
| | 03:18 | Here we have Overlay.
| | 03:19 | There is our before and then after.
| | 03:21 | It's going to be a little bit tricky to see.
| | 03:23 | So I'm going to zoom in so that
you can see some of this detail here.
| | 03:26 | Again, before and after. Again, just
bringing out a lot of that nice texture there.
| | 03:31 | Compare that to Soft Light, which will
be a bit more scaled back, a bit more
| | 03:35 | refined, and then we also have Hard Light,
which gives us this really hard edge there.
| | 03:40 | Before and after. And you can see
how it's bringing out a lot of texture.
| | 03:44 | Now I've zoomed in too close.
| | 03:45 | I have zoomed in beyond 100%.
| | 03:48 | You don't want to do that
when you're evaluating this.
| | 03:50 | You want to really be at that 100%
marker, and go through these different
| | 03:54 | blending modes and just see if there
is one that might look good, click on
| | 03:57 | before and after, and see if you
like the overall look or a aesthetic.
| | 04:00 | Now, in this case, I think overlay looks
pretty nice, except I don't want to have
| | 04:05 | the sharpening in the background,
because it's just going to bring too many
| | 04:08 | problems up with the background,
and the noise and different things.
| | 04:11 | So here, what I'll do is I'm
going to go ahead and create a mask,
| | 04:15 | so I'll go ahead and click
on the Add Layer Mask icon.
| | 04:18 | Next, I'm going to click back to the
luminosity layer, use the Quick Select
| | 04:22 | tool, press the W key or click on it,
and then I'll go ahead and just quickly
| | 04:27 | paint a selection over the athlete here.
| | 04:30 | As we do that, we can see it's building it out.
| | 04:33 | If you select too much of the background,
press Option on a Mac, Alt on Windows
| | 04:37 | and then deselect that area.
| | 04:39 | If you miss an area, just simply paint
over it to add that to the selection.
| | 04:43 | Then just go back and forth until
you have a decent selection here.
| | 04:47 | Now, this election doesn't necessarily
need to be perfect because we can soften
| | 04:51 | this up by using that Mask panel
option which allows us to refine edges.
| | 04:57 | Here I'm going to just hold down Option,
and subtract from this area here. I want a
| | 05:02 | little bit more of the arm over there,
and couple of other little areas as well.
| | 05:07 | Again, for the most part, I think we
have a decent selection here, at least one
| | 05:10 | that will work for our sharpening layer.
| | 05:12 | Well now what we need to do, is after we
finish this off and I realized there is
| | 05:17 | one more little area I need to work on,
but after we finish this off, what we'll
| | 05:21 | want to do is we'll want to go
to that layer with the sharpening.
| | 05:25 | So here we'll click in the top layer,
and we now need to fill this layer with
| | 05:30 | either black or white.
| | 05:32 | The easiest way to do this is
just to think, okay, I have white.
| | 05:35 | I'll fill with black.
| | 05:37 | If that's wrong, no big deal.
| | 05:38 | I can always invert it, fix it.
| | 05:40 | The best way to fill is to press Shift+F5.
| | 05:43 | This opens up the Fill
dialog, and I'll use Black here.
| | 05:46 | Well, what happened now is that it actually
is masking away the sharpening from here.
| | 05:52 | Black is concealing the
sharpening, so the guy isn't any sharper.
| | 05:56 | Let's go to Select > Deselect,
and let's then invert the mask.
| | 06:00 | To do this, you can either press
Command+I on the Mac or Ctrl+I on Windows, or
| | 06:04 | go to the Mask panel, and then choose Invert.
| | 06:07 | Now, what we have is a sharpening
which is just focused in on the guy.
| | 06:11 | Now it may be a little difficult to see
this on this movie once it's compressed,
| | 06:15 | but at least on my monitor
I see a nice snap on him.
| | 06:17 | It really has this nice vividness to it.
| | 06:20 | Now if ever you want to change
this a bit, go to your Mask Edge.
| | 06:23 | In Mask Edge, what we can do is we can
modify this, increasing our Smart Radius,
| | 06:27 | or feathering this out, just to soften
things up a little bit, so that that
| | 06:31 | sharpening kind of has a taper off of the
edge there, and then click OK. All right!
| | 06:35 | Well, so far, so good.
| | 06:37 | I think we have a pretty good mask
there, in regards to the sharpness, and we
| | 06:40 | have this pretty
interesting version of the image.
| | 06:43 | Well, let's continue to experiment
with a couple of other ways that we could
| | 06:47 | modify this photograph, and
let's do so in the next movie.
| | Collapse this transcript |
| Enhancing the color and tone| 00:00 | Here I want to experiment a little bit
with how else we could process, or work
| | 00:03 | on this photograph.
| | 00:04 | Now, one of the things that we might
want to do is add a bit of color or tone
| | 00:08 | into the background.
| | 00:09 | Let's say that the client really
likes this vivid look, and it's really
| | 00:12 | snappy, it will work well for marketing
purposes, but they want a bit of tone or
| | 00:16 | hue in the background.
| | 00:18 | Well, to do that, it's actually quite simple.
| | 00:20 | All that you need to do is to
Command+Click or Ctrl+Click on one of your masks,
| | 00:24 | where you have a really good
mask, everything but the shirt.
| | 00:27 | Next, click in your topmost layer and
go to the Adjustments panel and then
| | 00:31 | choose one of your options
for changing color or tone:
| | 00:34 | say, for example, Color Balance.
| | 00:36 | Now here, what we could do is we could bring in
a hint of color or tone there in the background.
| | 00:41 | What I'm going to do is really ratchet
this up, so I have a lot of color and
| | 00:44 | tone in the background.
| | 00:46 | Next, I'm going to apply a
blending mode and then lower the opacity.
| | 00:50 | A lot of times when you apply a
blending mode when you're working with color
| | 00:54 | balance, it just blends out in
the background really nicely.
| | 00:57 | Well now that I see that, I'll modify the
overall color and also lower the opacity.
| | 01:02 | Again, so I'm just bringing a bit of
that tone into the background, changing the
| | 01:07 | overall mood of the photograph.
| | 01:08 | Well, here at this juncture, let's say
that this is one potential way that we
| | 01:12 | could process this image.
| | 01:14 | Let's then organize these layers and
take a look at another alternative way
| | 01:18 | to process this photo.
| | 01:20 | Double-click the Adjustments tab,
and then click in your topmost layer,
| | 01:24 | Shift+Click in the bottommost layer of
these layers, which created this effect,
| | 01:29 | and press Command+G on a Mac, Ctrl+G on Windows.
| | 01:32 | Let's go ahead and name this one "desat,"
because really that's what we did is we
| | 01:36 | desaturated the background.
| | 01:37 | We added a bit of snap to it.
| | 01:39 | Here is that before and after.
| | 01:41 | Here is our overall before and then after,
| | 01:44 | a much different photograph.
| | 01:45 | Let's say the client loves this, but they
say, "You know, it might just be too much.
| | 01:50 | Can you give this something else?
| | 01:51 | Maybe something which has not warm tones
but cool tones, or something along those lines?"
| | 01:56 | Well, sure. In order to do that, what we
could do is go ahead and click on our Adjustments
| | 02:00 | Layer icon, try something like
Color Balance, which we've seen before.
| | 02:04 | Here, I'm going to go ahead and modify
the overall color or tone of the image.
| | 02:08 | I'm just going to go into my
midtones and my shadows and look to try to
| | 02:11 | deepen those colors a bit.
| | 02:13 | Now, if ever we want to limit this, say,
to the background or to certain areas,
| | 02:19 | we could use one of our old masks,
or we could also experiment, say with
| | 02:23 | blending, for example.
| | 02:24 | We could try using that Soft Light
blending, so that this then comes into the
| | 02:28 | image with a bit more contrast and punch.
| | 02:30 | Well here, as I do that, it then makes
the red of the shirt not look very good.
| | 02:36 | So what I want to do is I want to
keep the background as is. I like that.
| | 02:39 | I like the way the sweats look, the
weights, everything, but not the shirt.
| | 02:42 | So let's reopen this folder we created,
and then click in one of the good masks
| | 02:48 | that we spent time working on, and
making sure it was perfect, hold down the
| | 02:52 | Option key on a Mac, Alt key on Windows,
click and drag to your top layer, and
| | 02:56 | replace the mask that you have there.
| | 02:58 | So now what we have is this adjustment
which is primarily affecting the background.
| | 03:02 | This is a pretty interesting and
intriguing way to process the image.
| | 03:06 | It has some nice tones.
| | 03:07 | It's really simple and straightforward.
| | 03:09 | It's definitely
different than the original file -
| | 03:12 | here is the original before and then after -
but it has a little bit of that grit to it.
| | 03:17 | The great thing about this is that if
ever you process your image and it's too
| | 03:22 | intense or too much, well just back it off.
| | 03:24 | You can always lower the opacity.
| | 03:26 | We can do that on both of
these layers for that matter.
| | 03:28 | So perhaps we have just a little
bit more of a subtle look here.
| | 03:31 | Take a look at this one.
| | 03:33 | There is before and then after.
| | 03:35 | That's a pretty good look for this image.
| | 03:37 | Now, at this juncture, we could of
course do some other things that we've done
| | 03:40 | as well, in regards to sharpening.
| | 03:42 | We can merge to top and apply some of
that High Pass sharpening, just so that we
| | 03:47 | have a little bit of that extra snap,
or we could add some of that midtone
| | 03:50 | contrast if we wanted to, or we can
do a number of other things as well.
| | 03:54 | Well, for the sake of experimentation
though, I think we've gone far enough.
| | 03:58 | I think we have a couple of really
interesting ways to process this image.
| | 04:02 | Now, in order to preserve these two
techniques that we have here, what I want to
| | 04:06 | do is I want to take the second one,
and I want to merge that to the top.
| | 04:10 | I'll click in my topmost layer, and
I'll press Shift+Option+Command+E on a Mac,
| | 04:15 | Shift+Alt+Ctrl+E on Windows.
| | 04:17 | I'm going to go ahead and name this one "color."
| | 04:20 | Next, I'll turn off this layer, turn
off this adjustment layer, go back to my
| | 04:25 | luminosity layer, crank it all the
way up, and then turn on the adjustment
| | 04:29 | layers that we created previously,
and then inside of this, I decided that I
| | 04:33 | don't want to have quite
such a strong, cool background.
| | 04:36 | So in that Soft Light adjustment of
Color Balance, I'll lower the opacity.
| | 04:41 | Basically, it's not essential to follow
along with exactly what I'm doing, but
| | 04:45 | I'm just trying to highlight that
near the end of the project, make all the
| | 04:48 | final tweaks, so that you
like how the image looks.
| | 04:52 | Next, let's go ahead and close that,
just so we can focus where we're at.
| | 04:55 | We're going to click here in our
topmost layer, at least the topmost visible
| | 04:59 | layer. Then press Shift+Option+Command+
E on a Mac, Shift+Alt+Ctrl+E on Windows.
| | 05:04 | I'll name this "desat."
| | 05:05 | Now, this way, I have these top
two layers, so that I can turn off my
| | 05:10 | underlying layers, and then I can really
easily compare and contrast what we've done.
| | 05:15 | So in order to do that, I'm going to
press F to go to full screen view mode.
| | 05:19 | Next, I'm going to zoom in just a
touch there, so that I can see the image.
| | 05:23 | That looks like that's a bit too far, so
I'll zoom in, so we can see the whole image.
| | 05:26 | I want to see the background.
| | 05:27 | Next, I'll press the F7 key and
then simply look at my original file.
| | 05:32 | Here it was as captured.
| | 05:33 | Here is with the de-saturation type
of effect and then also here is another
| | 05:38 | version of it with that color look.
| | 05:40 | Now, out of these two I think they're
both pretty strong, and it's a subjective
| | 05:43 | decision which one we like better.
| | 05:46 | More importantly what I want to try
to do is to illustrate how you can
| | 05:49 | experiment with color and tone, and
share with you a few skills and techniques
| | 05:53 | that you can use, and you can integrate
into your workflow, and ultimately, how
| | 05:58 | you can work with layers in order to
give yourself a few different options.
| | 06:02 | You know, with this file, it might be a
good idea to create a few more options.
| | 06:05 | So if you're feeling creative,
here is what I recommend you do:
| | 06:08 | take what we did here, of course,
but then push it even further.
| | 06:11 | Give yourself three or four different
options, so that you can experiment with
| | 06:14 | Photoshop, and really learn how you can
harness all of these creative controls
| | 06:18 | in order to come up with some
pretty compelling and intriguing results.
| | Collapse this transcript |
|
|
6. EnergyApplying a freeform crop| 00:00 | In this project, we'll be working on
this photograph of professional baseball
| | 00:04 | player Ryan Spilborghs.
| | 00:06 | Ryan is quite a player.
| | 00:07 | He plays for the Colorado Rockies,
and here you can see, he just has this
| | 00:10 | intense expression.
| | 00:12 | I asked him to take some chalk and
clap the chalk, and kind of give me this
| | 00:15 | intense look here, and I like that.
| | 00:18 | One of the things that I want to
do is I want to try to add to that.
| | 00:21 | I want to try to bring that out in
this image, because this guy is a great
| | 00:24 | player, as I mentioned.
| | 00:25 | He has a lot of intensity.
| | 00:26 | I mean the guy has hit a
grand slam, for goodness sake.
| | 00:29 | So he is at the top of his game, right?
| | 00:30 | Well, if I zoom out, one of things that I
notice is I don't have very good composition.
| | 00:34 | I didn't get close enough.
| | 00:35 | We have too much space above and below.
| | 00:38 | So we need to crop.
| | 00:40 | So let's zoom back in, grab our
Crop tool, and just do a freeform crop.
| | 00:44 | Here, we are going to change the
overall composition, and the aspect ratio
| | 00:47 | and everything, but I want to do that to try
to create an image which has more intensity.
| | 00:52 | Now, if ever you have something which
extends the edge of the frame, it feels
| | 00:56 | like that content then goes out beyond it.
| | 00:59 | So what I want to do here is I want
to bring this in, so that I have this
| | 01:03 | content really shooting out past the
overall frame. And I want to create this
| | 01:07 | super-intense type of a look here, so
that we are drawn into this moment in time.
| | 01:12 | Well once we have done that, let's press
Enter or Return in order to apply that crop.
| | 01:18 | I think that crop gives us
a bit more with the image.
| | 01:21 | Well the next thing that I want to
do is I want to zoom in on the photo.
| | 01:25 | So to do that, I will press Command+
Option+Zero on a Mac, Ctrl+Alt+Zero on
| | 01:29 | Windows, then press the Spacebar key, and
just click and drag to move around the image.
| | 01:34 | Now, one of the things that I notice is
we have all this great chalk flying in
| | 01:38 | the air, and I really like how
that was captured in this frame,
| | 01:42 | yet I want to draw some of that out even more.
| | 01:44 | I want to add some more edginess to this,
some more snap, work with color and tone.
| | 01:48 | I want to build up the intensity here.
| | 01:50 | So to do that, one of the first things
I want to do is work on the tone, and
| | 01:54 | we'll do that in the next movie.
| | Collapse this transcript |
| Modifying the shadows and highlights| 00:00 | Here we are going to explore how we
can use shadow and highlights in order to
| | 00:03 | bring out a bit more with this image,
and also set the stage, so that we can
| | 00:07 | modify the overall color and tone
to bring out a bit more intensity.
| | 00:11 | Well first, let's copy the background layer.
| | 00:13 | To do so, press Command+J on
a Mac or Ctrl+J on Windows.
| | 00:17 | Let's go ahead and name this
new layer "shadows and highlights."
| | 00:20 | Next, we are going to navigate to our
Image pulldown menu, and in that pulldown
| | 00:25 | menu we are looking for
Adjustments, and then we'll go down to
| | 00:28 | Shadows/Highlights, right above HDR Toning.
| | 00:31 | Now, the interesting thing about this
dialog is we can use this in order to
| | 00:34 | create some pretty interesting effects
whether corrective or creative, and here
| | 00:38 | what I want to do is simply get creative.
| | 00:40 | So one of the first things I am going
to do is I am going to bring out some of
| | 00:43 | the detail in my shadows, and I am
going to do this because I know that later I
| | 00:46 | am going to be adding in some more contrast.
| | 00:49 | So here, you can see the before and after.
| | 00:51 | Again, it's just brightening up some
of those darker tones. And I can modify
| | 00:55 | these sliders so it has a broader
reach or less of a radius, depending on how
| | 00:59 | I want this to look.
| | 01:00 | Again, keep in mind that this is
setting the stage for more work later.
| | 01:05 | Next, what I want to do is go down to my
Midtone Contrast, and this will give me
| | 01:09 | a really interesting, nice look there.
| | 01:11 | It gives me some real intensity.
| | 01:13 | Once I've done that, I may want to
go back and work on the overall shadow
| | 01:17 | work that I've done here as well, in
order to just get these two together
| | 01:21 | looking pretty good.
| | 01:23 | Well the image isn't complete, but
we've done some interesting work.
| | 01:27 | Let me zoom out, so you can see this.
| | 01:29 | If you press Command+Minus on a Mac,
Ctrl+Minus on Windows, you can zoom out
| | 01:34 | while you're inside of any of these
dialogs like Shadows/Highlights, or any of
| | 01:37 | the other dialogs for that matter.
| | 01:39 | Well, here if we press the P key or click
on this, here is before and after. Great!
| | 01:44 | We are bringing in some nice light.
| | 01:45 | We are starting to add to the
overall edginess of this image.
| | 01:48 | Let's click OK in order to apply them.
| | 01:51 | Well now that we have done that, the
next thing I want to do is start to draw
| | 01:54 | out some of the detail in the frame,
and we'll do that in the next movie.
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| Working with Smart Sharpen| 00:00 | Here we are going to take a look at
how we can bring out some of the details.
| | 00:03 | So let's zoom in on the image.
| | 00:04 | As we zoom in on the image, I want to
zoom in on this dust which is flying
| | 00:07 | everywhere, and I want to sharpen that.
| | 00:09 | I want to bring that out,
make that more prominent.
| | 00:12 | So to do so, let's go ahead and click in
our topmost layer, reposition the image
| | 00:17 | so you can see some of the important
areas of the image, maybe even zoom in a
| | 00:20 | touch closer so you can really get
into these little details here. And then
| | 00:24 | let's press Command+J or Ctrl+J, or
click and drag this to the New Layer icon,
| | 00:29 | and we are going to go ahead
and name this "smart sharpen."
| | 00:30 | What we are going to do is we are
going to apply a Smart Sharpen filter.
| | 00:34 | We're going to focus in on the small details.
| | 00:36 | So go to Filter > Sharpen, and
then here, choose Smart Sharpen.
| | 00:40 | Now one of the things that we
want to do is use Lens Blur.
| | 00:44 | Let me go ahead and take my Radius and
Amount down, and then I am just going to
| | 00:47 | pan around the image.
| | 00:48 | Press the Spacebar key, click and drag,
and you can move around the image, so
| | 00:52 | you can see different areas here.
| | 00:54 | Next, we'll slowly increase our Radius.
| | 00:56 | We are going to want to have a pretty
small Radius, a pretty high Amount, and we
| | 01:00 | want to turn on More Accurate.
| | 01:01 | Now what More Accurate will do is if I
exaggerate this, we should be able to see
| | 01:05 | a better example of it.
| | 01:07 | Here is without More Accurate,
and then here is with it.
| | 01:10 | It will just bring out
these little teeny details here.
| | 01:13 | Again, I am just going to
exaggerate for a moment.
| | 01:15 | Here is without More Accurate.
| | 01:16 | You can see the background.
| | 01:17 | It's kind of soft, and then
here is with More Accurate.
| | 01:20 | It just will bring out all those teeny details.
| | 01:23 | So I'll zoom out a little bit, so that
we can see the whole image, and what we
| | 01:26 | are going to want to do, of course, is
not have that high of a Sharpening amount.
| | 01:30 | That was way overdone.
| | 01:31 | We are going to have a relatively
low Radius with a pretty high Amount.
| | 01:35 | What that means is it's going to focus
in on the smaller, the higher variance
| | 01:40 | type of details that we have here.
| | 01:42 | So if we click on our image, we should
see that, as we pan around, we can click
| | 01:46 | and see the before and after.
| | 01:47 | It's bringing out some of those, or
Press the P key, and you can see our
| | 01:50 | before and after as well.
| | 01:52 | Well, you'll want to evaluate that on your
own monitor, but here I think this looks
| | 01:56 | pretty good with this high amount of
Sharpening, really low Radius, and then
| | 02:01 | More Accurate turned on to
bring out some little details.
| | 02:04 | We'll click OK in order to apply that.
| | 02:07 | Next, what we need to do is to change this
layer blending mode to good old Luminosity.
| | 02:12 | This will prevent any exaggeration, any
noise problems, anything that occurs as
| | 02:16 | a result of adding that extra sharpening.
| | 02:19 | Well let's zoom out a little bit, and
as we zoom out, we can see that we are
| | 02:23 | going in a good direction.
| | 02:24 | We now have some great detail there,
which may be hard to see in this movie, but
| | 02:28 | hopefully you can see in your own monitor.
| | 02:30 | We have our shadow and highlights work which we
did, which really brought out a bit of a snap.
| | 02:35 | Next, what I want to take a look at is
how we can work on our overall color and
| | 02:38 | tone, and once again, we'll
pick that up in the next movie.
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| Changing the color and tone| 00:00 | Here we are going to explore how we can
modify the overall color and tone to add
| | 00:03 | a bit more edge to this photograph.
| | 00:05 | There is a great technique that you
can use, and it involves using an adjustment
| | 00:08 | layer, so click on your Adjustment Layer
icon and then choose Black & White, and
| | 00:12 | what you can do with this Black &
White adjustment is modify the image.
| | 00:16 | You can either use the Target
Adjustment tool and then simply click and drag on
| | 00:19 | different areas of the image, or you can
modify the sliders in order to brighten
| | 00:23 | up different aspects of the photo.
| | 00:25 | Now here, what I want to do is not have
a black-and-white conversion, but rather,
| | 00:29 | I am trying to create a black-and-white
conversion that has a nice mix, because
| | 00:32 | I'm going to use a blending mode of Soft Light.
| | 00:35 | What that will do is it will give me a
really interesting, muted, contrast type of a look.
| | 00:39 | Here it is. Here you can see
that before and then after.
| | 00:43 | The great thing about this is we
can control these different areas.
| | 00:46 | You can see I'm brightening up the yellows.
| | 00:48 | I can also work on the reds as well,
kind of changing the overall look here with
| | 00:52 | this particular photograph, and also
changing the overall density that we have
| | 00:56 | there, in regards to our tone.
| | 00:58 | Now, this is too strong.
| | 01:00 | It made my blacks too
deep and dark. No big deal.
| | 01:03 | Double-click the layer.
| | 01:04 | That opens up Layer Style or Advanced Blending.
| | 01:08 | Here we are going to go down to
Blend If, and bring up our shadows.
| | 01:11 | Now, as we do that, you'll see
that we now have more shadow detail.
| | 01:15 | Here is the before and after.
| | 01:17 | You can see it's bringing in detail in
these deeper darker areas of the image.
| | 01:21 | Well, at this point though, it looks a
little unnatural, and as you bring this up
| | 01:25 | more, you are going to see you will
have these little areas where it just has
| | 01:29 | some banding, some weird transitions.
| | 01:31 | To fix that, press Option on a Mac,
Alt on Windows, and then split those
| | 01:35 | sliders, and then just modify them, so
that you have a little bit more detail
| | 01:39 | or a little bit more snap in those areas,
or however you need to do that. And then
| | 01:43 | again, here is that before and after,
just subtly bringing in a touch more into
| | 01:48 | those darker areas.
| | 01:49 | Well let's click OK.
| | 01:51 | Next thing I want to do is go ahead
and lower the opacity of this, because I
| | 01:55 | don't want to have that at full intensity.
| | 01:57 | So here we have before and then after,
| | 02:00 | a little bit more of that muted kind of
look, which adds, I think, to the look and
| | 02:04 | feel of this photograph.
| | 02:06 | Now the next thing we might want
to do is style this a bit more.
| | 02:09 | We could style this in a
number of different ways.
| | 02:12 | One thing that we could do would be
to click on our adjustment layer icon
| | 02:15 | and use color balance.
| | 02:16 | Now with color balance, we can experiment
with different color options for this image.
| | 02:20 | We could cool it off, which would kind
of give it a darker cooler feel, or we
| | 02:24 | could warm it up, adding a bit more
vibrance to it, and a bit more warmth there.
| | 02:29 | With this image, I think that it would look
nice to have a bit of a cooler tone to it.
| | 02:33 | By having that cool tone, again, it
just leans towards this intensity, at
| | 02:38 | least in my opinion.
| | 02:39 | Well I like what that's doing here, but I
want to mask this into particular areas.
| | 02:44 | So here, make sure I am targeting the
mask, go ahead and select the Brush tool,
| | 02:49 | and then I'll press D to take this to
the default colors, or click on the little
| | 02:52 | icon there, and then press X until I
have black. And what I want to do is just
| | 02:56 | paint with black over a few areas,
because I want to bring in some of the other
| | 03:00 | color we had for the skin there.
| | 03:02 | So I am not completely losing that, and
I think that looks a little bit better
| | 03:05 | in regards to the overall
look of the athlete here.
| | 03:09 | The background, I like having that
all taken way down, and that little bit
| | 03:13 | different color palette.
| | 03:14 | I think that's kind of fun.
| | 03:16 | So here is our adjustment:
before and then after.
| | 03:19 | Now if ever you feel like these
brushstrokes are too intense or too strong, go
| | 03:23 | to your Mask panel and
then simply lower the density.
| | 03:26 | So you can control how far this masks
out that particular adjustment, in this
| | 03:31 | case I just want to bring it back a
little bit so that I have probably about
| | 03:35 | half of that look there.
| | 03:37 | Here's my before, and then after -
bringing that cooler, more intense look to
| | 03:42 | the image.
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| Enhancing the color and sharpness| 00:00 | The next thing I want to take a look
at is how we can continue to work with
| | 00:03 | overall color and tone.
| | 00:04 | Here, I am going to zoom in a little
bit on the photograph, and I'll create a
| | 00:08 | new adjustment layer.
| | 00:09 | I want to start to work on the eyes,
| | 00:10 | so I am going to click on the Curves
adjustment layer and just brighten this up,
| | 00:14 | really just focusing in on those eyes there.
| | 00:16 | Next, invert the mask:
| | 00:18 | press Command+I on a Mac, Ctrl+I on Windows.
Press the B key to select your Brush tool.
| | 00:23 | You want to choose white to paint this
adjustment in, and you want to have a
| | 00:27 | really soft-edged brush.
| | 00:29 | Make sure you have no
hardness there, take that off,
| | 00:32 | pretty small brush, and let's take our
opacity down a little bit, somewhere less
| | 00:35 | than 50% so we can start to paint this in.
| | 00:39 | Here, all that we are going to do is
really just look at how we can bring in a
| | 00:42 | touch of brightness into a few areas
of the eye, or surrounding the eye as well.
| | 00:46 | Here, I am just painting in the
shadow area a little bit, brightening this up,
| | 00:50 | increase my Opacity a touch more to
bring in some more brightness into the
| | 00:54 | eyes themselves, and I am painting with white,
which in turn is allowing this to come through.
| | 00:59 | If you need more, well
just move your slider here.
| | 01:01 | You can see I am brightening that
area even more, and then just modify your
| | 01:05 | opacity and slowly go back and forth.
| | 01:07 | You can change your brush
size by pressing the Bracket key:
| | 01:10 | the left bracket key makes it smaller,
right bracket key makes it bigger.
| | 01:14 | We are just looking to add a touch more
there, and then in the Mask panel, I'll
| | 01:18 | smooth out my brushstrokes,
increase the Feather to do that.
| | 01:22 | Then here is that before and then after,
bringing a little bit more into the eyes there.
| | 01:25 | I think that kind of helps, and you
can see how we can really brighten up
| | 01:29 | that area of the face. All right!
| | 01:31 | Well, what about a couple of
the other areas that we have here?
| | 01:33 | One of the things that I notice is
that as I look at the image, I realize my
| | 01:37 | cool tone is a bit too strong for my liking.
| | 01:39 | So I am going to lower the opacity of
that just a touch, and again, this is
| | 01:42 | just a style decision.
| | 01:44 | Next, I want to create another curve
adjustment, and I want to bring in a bit more color.
| | 01:49 | So I will go ahead, and click on my
Adjustment Layer icon, choose Curves.
| | 01:52 | I go into the reds, and I am just
going to bring my reds up just a touch, so
| | 01:56 | just a little bit of increase there.
Invert the mask, Command+I, grab the Brush
| | 02:01 | tool, and let's go ahead and paint
across the areas where we want a little bit
| | 02:05 | more red, like we want that
on the tattoo there, of course.
| | 02:09 | I am going to bring out the red,
and the color that we have there,
| | 02:11 | maybe on the lips, on the mouth, and
maybe even the eyes, kind of add to the
| | 02:15 | overall just kind of angry look
that we have there - intensity.
| | 02:19 | We want to try to create an image
where you are thinking, you know what?
| | 02:23 | I do not want to mess with this guy.
| | 02:25 | This guy is intense.
| | 02:26 | So we have that, a little bit of color,
just bringing in to those areas, and we
| | 02:31 | can increase this more.
| | 02:32 | You can kind of see how we are
painting in to those areas there.
| | 02:34 | Well in your Mask panel, go ahead and
increase the Feather amount, just so you
| | 02:38 | have nice soft edges, so that as that
color comes into the frame, it's much more
| | 02:42 | subtle, and it's not overbearing in
regards the overall color and tone.
| | 02:48 | Let's zoom in a bit, and see how we are doing.
| | 02:49 | I think so far, so good.
A couple of more things to do.
| | 02:52 | In zooming out, I realized I need a bit
of midtone contrast, and you may remember
| | 02:56 | this technique, how you do that.
| | 02:58 | What you do is you merge to top.
| | 03:00 | Press the shortcut
| | 03:01 | Shift+Option+Command+E on a Mac,
Shift+Alt+Ctrl+E on Windows.
| | 03:05 | We'll name this "midtone."
| | 03:07 | We then go to our Filter pulldown
menu, we choose Sharpen, and then
| | 03:11 | select Unsharp Mask.
| | 03:13 | Now, in Unsharp Mask, what you want to
do is you want to take your Amount all
| | 03:17 | the way down, and you want to have the
Radius all the way up, and then slowly
| | 03:22 | bring up the Amount.
| | 03:23 | What that will do so is it will add
just a little bit of snap to the image.
| | 03:26 | And you can of course lower the Radius if you
want to have a little bit less of an effect.
| | 03:30 | Let's click OK in order to apply that.
| | 03:32 | Here we have it: before and then after.
| | 03:35 | Let me zoom in so you can see how that looks.
| | 03:37 | Here we have it with that midtone contrast:
| | 03:39 | before and then after.
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| Final project review| 00:00 | In this final movie, what I want to do
is take a look at making one more color
| | 00:03 | adjustment and then organizing our
layers and reviewing our overall progress.
| | 00:08 | One of the things that I like about
what we've done here is I feel like we've
| | 00:11 | added a bit of intensity to the file,
and I want to push the color even further.
| | 00:15 | I want to have it be a little bit more offbeat.
| | 00:17 | So in order to do that, I'll click on the
Adjustment Layer icon and use good old Color Balance.
| | 00:22 | Color Balance is a really easy
and visual way to modify color.
| | 00:25 | All that I'm going to do here is just
cool this off a bit more, adding some cyan
| | 00:30 | and some blue into the frame.
| | 00:31 | I've decided I just want
to push that even further.
| | 00:34 | Next, I grab my Brush tool, by pressing
the B key, and then select black as the
| | 00:39 | foreground color, and I'll just
mask out a couple little areas.
| | 00:42 | I want that tattoo to kind of snap there.
| | 00:44 | A little bit more color on that.
| | 00:46 | Maybe a little bit more color in
the mouth, in the lips, in the teeth.
| | 00:49 | Again, just adding a bit more to
that, and I think, as I look at that, I
| | 00:53 | realize, no, I'm going to take some of
that back. Just the tongue there might
| | 00:56 | be nice to have a little bit more red.
Just some of those colors there look
| | 01:00 | kind of interesting.
| | 01:01 | Next thing that we want to do is we want to
determine how we want to process this file.
| | 01:06 | Here, I'm just going to take the color
off that area and try to get it just right.
| | 01:09 | Let's press F to go to full screen view
mode and then press F7. Here, we have
| | 01:14 | all of our different layers.
| | 01:15 | In order to evaluate how we've done,
what we can do is hold down the Option
| | 01:19 | key on a Mac, Alt key on Windows and then
click on the eye icon of the background layer.
| | 01:24 | Here's the original file after it's been
cropped, and then here's the file after
| | 01:27 | all of our processing.
| | 01:29 | The nice thing about this is when you
Option+Click or Alt+Click on the eye icon,
| | 01:33 | you can they go through your different
layers, and you can evaluate if you've
| | 01:36 | gone in a good direction.
| | 01:38 | Sometimes what you'll discover is that
there may be adjustments which you don't
| | 01:41 | like. Perhaps like this.
| | 01:42 | It's a little bit too strong.
| | 01:44 | We'll just lower the opacity as you
take that final pass on the image. And again,
| | 01:49 | here you can work on these different
areas little by little, as you seek to try
| | 01:53 | to create the best image.
| | 01:55 | I think that's pretty good processing.
| | 01:57 | I do like that extra added bit of color.
| | 02:00 | It just makes it feel a little bit more intense.
| | 02:03 | Here we have it: our
overall before and then after.
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|
|
7. PushupCombining multiple exposures| 00:00 | In this project we'll be
working on these two photographs
| | 00:03 | of one of the world's best and
leading pro beach volleyball players.
| | 00:07 | We're going to look at something
that happens quite often when you're
| | 00:10 | photographing athletes, and that's this.
| | 00:13 | Athletes have a bit of an essence.
| | 00:14 | It's really interesting to see their
strength and to see that in action.
| | 00:17 | Many times when we're photographing
athletes we ask them to move, or we ask them
| | 00:21 | to do things, like Brooke here is doing a pushup.
| | 00:24 | I really like the composition of this frame.
| | 00:27 | This frame over here I got in too close.
| | 00:29 | I cut off the hands.
| | 00:29 | It didn't look very good.
| | 00:31 | So I want to use this frame.
| | 00:32 | Yet when I select it and then double-
click the Zoom tool to go to 100%, what I
| | 00:37 | soon discover is that while the mouth is in
focus, the eyes are completely out of focus.
| | 00:43 | This happens again all the time when
you're photographing athletes, because
| | 00:46 | they're moving, you're moving.
| | 00:47 | You're trying to capture a bit of their essence.
| | 00:49 | So many times what you need to do is
combine multiple frames together and
| | 00:53 | that's what we need to do here.
| | 00:55 | So if we go back to the other
image here which is pushup_01,
| | 00:58 | I'll go ahead and select that
then double-click the Zoom tool here,
| | 01:02 | we see that we have great detail in the face.
| | 01:05 | The eyes are in focus, and we have
this just really tacked sharp shallow depth
| | 01:09 | of field perspective.
| | 01:11 | So what I want to do is I want to bring
this image into the other document and
| | 01:16 | then combine these two together.
| | 01:17 | So I've the best composition,
but also the best detail.
| | 01:21 | So pushup_01 has great detail.
| | 01:23 | So let's move this over to the side,
grab our Move tool and then simply
| | 01:27 | click, drag and drop.
| | 01:29 | This will then bring this image into this frame.
| | 01:32 | Now here what we need to do is to
press F to go to full-screen view mode and
| | 01:35 | then zoom out a little bit.
| | 01:36 | Now at this juncture, it's really hard to
tell if we're going in the right direction.
| | 01:40 | We could try to reposition this and
see if we can get this going here, but we
| | 01:43 | can see that the composition is different.
| | 01:46 | We're going to need to do some
magic in order to bring these two images
| | 01:49 | together, in particular in order bring
in the detail of the eyes from layer 1 so
| | 01:54 | that they combine seamlessly with the
composition or the image in the background layer.
| | 02:00 | Well, let's take a look at how we
can begin to combine these two images
| | 02:03 | together, and let's do that in the next movie.
| | Collapse this transcript |
| Masking in the eyes| 00:00 | Now that we have both of these images
inside of one layer document, what we want
| | 00:04 | to start to do is take a look at how we
can align these, so that we can bring in
| | 00:08 | the detail exactly where we want it.
| | 00:11 | Well, before we actually get to the
technique, I want to demonstrate a blending
| | 00:14 | mode that can be helpful when
you're combining multiple frames.
| | 00:18 | Here's how we're going to do that.
| | 00:19 | For now we're going to turn off the
visibility of the background layer and then
| | 00:22 | just duplicate layer 1.
| | 00:23 | Let's actually name this layer eyes,
and then we'll duplicate it by pressing
| | 00:27 | Command+J or Ctrl+J. Next
I'm just going to offset this.
| | 00:30 | Drag it over to the left there a little bit.
| | 00:32 | I'm going to then choose from this
pulldown menu the blending mode of Difference.
| | 00:36 | Now when I select that, what I'm
going to see is this really strange view.
| | 00:40 | Yet as I reposition this and as it
gets closer and closer and then eventually
| | 00:45 | aligns perfectly, you notice
the image is entirely black.
| | 00:49 | Now if I use my arrow keys to offset
this, what you're going to see is that we
| | 00:53 | start to have this little view
showing us the difference between these two
| | 00:56 | layers as I use these arrow keys.
| | 00:59 | So I can use this as a guide to say
when it goes to completely black,
| | 01:03 | that means I have perfect alignment or near-
perfect alignment in regards to these two layers.
| | 01:09 | So we're going to use that blending
mode to start to experiment with how we can
| | 01:13 | align our two frames that we have.
| | 01:14 | Let's delete this top layer.
| | 01:17 | We don't need that.
That was just for demo purposes.
| | 01:19 | Next, in the eyes layer, let's go
ahead and try out that blending mode of
| | 01:22 | Difference and then turn on the
visibility of the background layer.
| | 01:26 | Now when we do that one of things that
we see is we can move this around and try
| | 01:29 | to get this kind of near where the
other eyes are, but the other eyes in the
| | 01:33 | underlying frame are different size and
a little bit of a different perspective.
| | 01:37 | You can also see the outline of
the face and the chin down here.
| | 01:40 | Now it's a little bit of an awkward view,
but this particular blending mode can
| | 01:44 | help out by leaps and bounds when
you're seeking to combine multiple frames.
| | 01:48 | Well, here it's not doing much for
us except showing me the difference.
| | 01:52 | So I'm going to back to Normal blending mode,
and then I'll come back to that in just a minute.
| | 01:57 | First though, what I'm going to do is
go ahead and name the Background layer.
| | 02:00 | I'll double-click it and name
this layer bg for background.
| | 02:04 | Next, hold down the Command key on a Mac, Ctrl
key on Windows, and then click in the top layer.
| | 02:10 | So basically all that we've done so
far is talked a little bit about a
| | 02:14 | blending mode and then said hey, let's
select both layers and also unlock our background.
| | 02:19 | Well now that we've done that, we can
they go to or Edit pulldown menu and then
| | 02:22 | we can select Auto-Align Layers.
| | 02:25 | What this will do is if we choose Auto
Projection, is Photoshop will look at
| | 02:30 | these two images, try to find
similarities, and then it'll actually skew and
| | 02:34 | warp and transform the image so
that they're more closely aligned.
| | 02:38 | Let's now compare to see how this looks.
| | 02:41 | Click at your topmost layer. From the
pulldown menu let's again select Difference.
| | 02:46 | Now here we're going to see there's
much less of a difference, and it may be a
| | 02:50 | little bit tricky to see, but you
should notice that this side of the face is
| | 02:53 | much more closely aligned. The
eyes are now the exact same size.
| | 02:57 | Well now that it's free transformed
and warped and skewed that layer for us,
| | 03:02 | we can then go back to our Normal
blending mode, and then we can zoom in on
| | 03:06 | the image a bit, and we're going to
create a mask and then paint this detail
| | 03:10 | in the underlying layer.
| | 03:12 | Here's how we'll do this.
| | 03:13 | We'll go ahead and hold down Option on
a Mac, Alt on Windows and then click on
| | 03:17 | the Add Layer Mask icon.
| | 03:20 | This will create a mask filled with black,
concealing the eyes layer in its entirety.
| | 03:25 | So there's nothing showing through right now.
| | 03:27 | Next, select your Brush tool and then
we want to go ahead and paint with White.
| | 03:31 | So we choose White as our foreground color.
| | 03:33 | We want a nice soft edge brush, so you
can right-click or Ctrl+Click and make
| | 03:37 | sure you have no hardness there, and
we're going to go ahead and just start to
| | 03:41 | paint in the detail in this area.
| | 03:43 | Now because we used Auto-Align, or on
other hand sometimes you'll have to manually
| | 03:48 | align things, either way we can now
mask this thing without a lot of effort.
| | 03:52 | Here you can see we're just going back
and forth over this area trying to bring
| | 03:55 | in just the detail of the eyes there.
| | 03:57 | So we have this nice sharp detail.
| | 03:59 | Here is before and then here's after.
| | 04:02 | Now if it isn't in the exact right
position, press the V key to select your Move
| | 04:06 | tool and then move it around until
you get it exactly where you want it.
| | 04:09 | Here I'm just going to nudge this
around until I have it in a nice position.
| | 04:12 | Well, what we have on this layer is just
the eyes, and here you can see I have a
| | 04:17 | mask revealing the eyes, except my
mask isn't very good. I missed an area.
| | 04:22 | Well, to fix that up we'll go ahead and
grab our Brush tool, and then here I'll
| | 04:25 | just paint with White.
| | 04:26 | So I make sure I have all of that.
| | 04:28 | Well so far so good.
| | 04:30 | We have these nice sharp
eyes here on this layer.
| | 04:32 | We may find that we have to
touch up the edges a little bit.
| | 04:36 | If so, simply flip your color,
exchange it by pressing the X key so you paint
| | 04:41 | with black, and then what you can do
is just paint along these edges to paint
| | 04:44 | away any unwanted areas of sharpness.
| | 04:47 | Sometimes you may find it's helpful
even to lower the Opacity, so you can just
| | 04:51 | do this a little bit more subtly, just
kind of taking the edge off so that it
| | 04:54 | will blend in with the
background a little bit more effectively.
| | 04:57 | Another thing that you can do is go to
the Mask panel and increase the Feather.
| | 05:01 | Now here as we do this you'll see
that it softens those edges, or of course
| | 05:05 | you can always go to Mask Edge and in Mask
Edge you have the ability to Smart Radius.
| | 05:10 | It help define the edge of that a little bit.
| | 05:12 | We can also work on the edges in some
other ways as well, increasing our Feather
| | 05:16 | here or smoothing things out.
| | 05:19 | Now in this case I don't really need to
do much edge work, because the image has
| | 05:23 | such shallow depth of field, I don't
even need to go to Tefine Mask, but I like
| | 05:27 | to show it because sometimes
Refine Mask will just save the day.
| | 05:31 | Let's turn on the visibility of our
Background layer and let's zoom out a
| | 05:34 | little bit just to see how
we're doing. Here we have it.
| | 05:37 | Here is our before and then our after.
| | 05:40 | We've really created something out of
nothing by combining these two images together.
| | 05:45 | Well now that we've done this, now that
we have nice sharp detail in the eyes,
| | 05:50 | let's continue to work on this image,
and we'll do that in the next movie.
| | Collapse this transcript |
| Cleaning up the small details| 00:00 | At this stage, what I want to do is
simply clean up some of the small details.
| | 00:03 | So, to do that, let's zoom in.
| | 00:06 | Press Command+Plus on a
Mac, Ctrl+Plus on Windows.
| | 00:09 | Next, let's create a new layer,
and let's name that new layer.
| | 00:13 | We can do so by pressing Shift+Command
+N on a Mac, Shift+Ctrl+N on Windows.
| | 00:19 | We'll go ahead and name this details.
Press Enter or Return to create that layer.
| | 00:24 | Next, let's use one of our retouching tools.
| | 00:26 | For example, we could go ahead
and simply use our Healing Brush.
| | 00:29 | I want to make sure we're sampling to
all layers, and we also want to have
| | 00:32 | a nice small brush.
| | 00:34 | Next, we Option+Click or Alt+Click on
an area that has good skin there, nice
| | 00:39 | detail, and then we just look
to try to reduce and simplify.
| | 00:42 | We want to reduce all the little skin
variations and blemishes that we're seeing.
| | 00:46 | Whenever you do this, you always
want to sample from different areas.
| | 00:49 | We've talked about this before, but
it's just worth noting that, again, what
| | 00:52 | you'll do is you'll click, and you'll
retouch an area from one angle or one
| | 00:56 | perspective, and then
you'll go edit from another.
| | 00:59 | You'll constantly move around the frame,
and it's almost like the more that you
| | 01:02 | can move around, the better off you'll
be, so that you can revisit little areas
| | 01:06 | that you've retouched again and again
to really get the edges looking good,
| | 01:10 | the shadows looking great, and just to
reduce and simplify, so we're removing all of
| | 01:15 | these little variations.
| | 01:16 | A lot of times this kind of work is
essential in portrait photography,
| | 01:20 | because we notice things, when we have a still
frame, that we don't really see in real life.
| | 01:25 | So, we're just looking to try to
bring that back to little bit more of a
| | 01:29 | realistic view even though what
we're doing is we're doing is we're
| | 01:32 | reducing blemishes.
| | 01:33 | The fact of the matter is you
don't really see those blemishes.
| | 01:36 | It's almost like the camera brought out
the blemishes by pausing the frame and
| | 01:40 | by stopping the motion.
| | 01:42 | Well, in either case, what I want to
do though with this image is I want to
| | 01:45 | create even a little bit more of an
idealized image too, so I'm going to go
| | 01:49 | ahead and reduce these little blemishes here.
| | 01:51 | I'm thinking about blemishes in regards
to tonality, also in regards to just any
| | 01:56 | kind of a change in the skin that
I'm seeing that I want to get rid of.
| | 01:59 | Change my brush size and work on the
little red area in the eyes there just to
| | 02:04 | try to clean that up a bit, and also over
here as well, get rid of some of those veins.
| | 02:08 | Let's zoom in closer.
| | 02:09 | Now, when you have veins like this
that you can retouch one at a time,
| | 02:13 | it's great, because you can just get in
there and retouch one little vein.
| | 02:16 | Yet whenever you get near an area of
contrast, just make sure your brush follows
| | 02:21 | that line of contrast.
| | 02:22 | So, position the brush so that it's
along that same edge, so that you can remove
| | 02:27 | that particular problem.
| | 02:28 | Otherwise, you may get it so that
it's bringing in a little bit more of a
| | 02:31 | problem than was actually there.
| | 02:33 | So, here you can see I'm just following
that edge, and then I'm following that
| | 02:37 | line and then retouching it out that way,
so we can start to remove those little
| | 02:41 | areas of the image, which are distracting.
| | 02:44 | We'll go ahead and just work on a
couple other areas of the eye as long as
| | 02:47 | we've zoomed in here.
| | 02:49 | Be really careful with this.
| | 02:50 | We want to be really close as we're
doing all this detail work, and we want to
| | 02:55 | make sure to go back and forth across
the different areas we've retouched.
| | 02:59 | Press the Spacebar key and you can
click and drag around, and it's nice to use
| | 03:03 | a small brush just a little bit bigger
than your blemishes, because that helps
| | 03:07 | you have that precise control over
how something will be cleaned up.
| | 03:11 | All right, let's just keep doing
this, a few more little blemishes here
| | 03:15 | to remove and to get this looking as
good as possible, and just a couple
| | 03:20 | more little things here.
| | 03:21 | All right, well, so far so good!
| | 03:23 | I think we're doing a nice
job on reducing and simplifying.
| | 03:26 | There's always more that you could do
with this, but again, for image like this,
| | 03:30 | I think we're at a pretty good stopping point.
| | 03:32 | Let me zoom out just to make sure
we're going in a good direction.
| | 03:36 | Here it is, our overall before and then after.
| | 03:38 | I think that looks nice.
| | 03:40 | The last thing I want to do before I
leave my detail work is I want to work on
| | 03:44 | the shadows here underneath the eyes.
| | 03:47 | So, in order to do that, I'm going
to go ahead and merge to top, press
| | 03:50 | Shift+Option+Command+E on a Mac,
Shift+Alt+Ctrl+E on Windows.
| | 03:56 | Let's name this eye shadows.
| | 03:59 | Next, press the S key to
grab your Clone Stamp tool.
| | 04:02 | We're going to go to blending mode of Lighten.
| | 04:05 | Because we have the image on this layer,
we can use this blending mode which in
| | 04:09 | turn will sample an area of skin,
Option+Click or Alt+Click, and then it will
| | 04:13 | say if there is an area that's darker
underneath where I'm painting, go ahead
| | 04:17 | and brighten that up a little bit.
| | 04:19 | That brings a nice texture
here as we do that as well.
| | 04:22 | So, it's going to help us really
just brighten up this little shadow area
| | 04:25 | that was brought in from that other
frame so that we can have just a touch
| | 04:29 | brighter view there.
| | 04:30 | Make the brush a touch smaller to get
into the little detail area, and try to
| | 04:34 | have a real nice
consistent and cohesive line there.
| | 04:37 | We don't want it to be standing
out in any way, shape, or form.
| | 04:41 | Then we'll just make our way down as we
go across this area of the image, kind
| | 04:45 | of back and forth, a little bit bigger
brush now, just helping me to really
| | 04:49 | brighten up those shadows underneath the
eyes, and just a little bit more there.
| | 04:53 | Here is that before and after.
| | 04:55 | Another nice thing about this is if you
feel like you've gone too far, you can
| | 04:59 | always lower the Opacity. Let's zoom out.
| | 05:02 | Here, what I'm going to do is simply
lower the Opacity just a bit there.
| | 05:05 | Bringing that little bit of that shadow is fine.
| | 05:07 | All right, so far so good!
| | 05:09 | I'm zooming back in so we
can evaluate our progress.
| | 05:11 | Here it is, our overall before, and then after.
| | 05:15 | So far so good!
| | Collapse this transcript |
| Enhancing the eyes| 00:00 | At this stage in the process, one of
the things that I want to do is start to
| | 00:03 | organize my layers and my image,
and then move forward even further.
| | 00:07 | So, so far we've made some great
progress and we can see that we've done some
| | 00:11 | work on the shadows, some details on the skin.
| | 00:14 | Also, we've brought in some
nice sharpness to the eyes.
| | 00:17 | Well, what I'm going to do is
actually merge all of those layers together.
| | 00:22 | One of the best ways to do that, if you
have blending or Opacity is to merge to
| | 00:26 | top and then merge to
the bottom. Let's do that.
| | 00:29 | So, we merge to the top by
clicking in the top layer, pressing
| | 00:32 | Shift+Option+Command+E on a Mac,
Shift+Alt+Ctrl+E on Windows.
| | 00:37 | Click in that top layer and then
Shift+Click in the bottom layer of the
| | 00:41 | adjustments that you've made.
| | 00:43 | So, we have all four of these layers selected.
| | 00:45 | Next we press Command+E on
a Mac, Ctrl+E on Windows.
| | 00:49 | We'll go ahead and just name this one
r1 for retouch 1, so we can see all of
| | 00:53 | our adjustments here.
| | 00:54 | Here's our before, and then after.
| | 00:56 | We're kind of committing to this,
organizing our Layers palette, which in turn
| | 01:00 | gives us a bit of momentum
in order to move forward.
| | 01:03 | Well, the next thing that I want
to do is I want to trim the image.
| | 01:06 | I have this edge here that was
created when I align my two images.
| | 01:11 | To do that, we can go to our Image
pulldown menu and then choose Trim.
| | 01:15 | We'll go ahead and choose the Top Left
Pixel Color, which is transparent, and
| | 01:19 | then we'll go ahead and click OK.
| | 01:21 | That in turn will recrop this image so that
we can now really focus in on what we're doing.
| | 01:25 | All right, great, well now that we've
done some of that organizational work,
| | 01:28 | next I want to work on the eyes.
| | 01:31 | So, let's zoom way in on those eyes.
| | 01:33 | What can we do to modify those?
| | 01:35 | Well, there are a number of
different techniques that we can use.
| | 01:37 | One technique that we can use
involves adding a bit of contrast or using
| | 01:42 | blending modes or even adding a
bit of sharpening just to the eyes.
| | 01:45 | So, let's take a look at how we could do this.
| | 01:48 | Here, what I'm going to do just for
the sake of doing something different is
| | 01:52 | press the Q key to enter into Quick Mask.
| | 01:54 | Next, I'll press the B
key to grab my Brush tool.
| | 01:57 | I'll make sure I'm painting at 100%
Opacity and I'll make my brush nice and
| | 02:02 | small, and I'm going to go
ahead and paint with black.
| | 02:05 | When I paint with black on Quick Mask,
I should see this red overlay on top of
| | 02:10 | the area where I've painted.
| | 02:12 | I know that this looks a little bit
strange, but you can think of Quick Mask as
| | 02:15 | a way to quickly build up a mask. If
ever you paint too far like I did there,
| | 02:20 | hit the X key and then go
ahead and paint that area out.
| | 02:23 | All we're looking to do here is just
to have a quick selection of the eyes.
| | 02:28 | Now, let's exit Quick
Mask by pressing the Q key.
| | 02:31 | Next thing we want to do
is create an adjustment.
| | 02:34 | To do so, we need to
determine what type of adjustment.
| | 02:37 | One that might be fun to use is Curves.
| | 02:39 | So, here we'll click on Curves, and then I'm
just going to make a drastic Curves adjustment.
| | 02:44 | Now, when I do that, I realize oh, bummer!
| | 02:46 | This adjustment is applied
to everything but the eyes.
| | 02:50 | It's the exact opposite of what I want.
| | 02:52 | Then I say to myself, no big deal.
I can quickly invert this mask.
| | 02:56 | To do that, press Command+I. Well, now
I have this brightness, which comes in
| | 03:01 | just to the eyes there, and I can
control how bright I want this to be.
| | 03:05 | I can also go into my other channels
like say the Red channel and add perhaps a
| | 03:08 | little bit of cyan in there by dragging down.
| | 03:11 | You can see it becomes more cyan or red
depending on where I position that curve.
| | 03:16 | Go to the Blue/Yellow channel.
| | 03:18 | Bring up the blues a little bit.
| | 03:19 | Here you can see you can really
combine the color that you want.
| | 03:23 | You can also go back to the RGB
Composite and you can experiment a bit.
| | 03:27 | So, say you want to add a little
bit of contrast and color saturation.
| | 03:30 | You can have quite a bit of
fun with modifying the eyes.
| | 03:33 | Now, here, the eyes don't look very
natural or realistic, so I'm going to click
| | 03:38 | the Reset button to bring
everything back to normal.
| | 03:41 | Next, all that I want to do here is
just a little bit of brightening on those
| | 03:44 | eyes and just a touch of color.
| | 03:46 | So, I'll go into the Red/Cyan channel,
just add a little bit of cyan there, and
| | 03:51 | I think that looks pretty good.
| | 03:52 | Here we have before, and then after.
| | 03:55 | We can, of course, go
further if you want to do that.
| | 03:57 | You could experiment a
little bit with how to do this.
| | 04:00 | Now, in regards to my mask, it's okay, but I
want to mask out the top area of the image.
| | 04:05 | So, I'm grabbing the Brush tool, make my
brush a little bit bigger, and I'm just
| | 04:10 | going to lower the Opacity.
| | 04:11 | The reason I'm doing this is I
shouldn't be as bright up top.
| | 04:14 | The brightness should be more down to
the lower part of the eye, the opposite
| | 04:18 | side of the light source there.
| | 04:20 | Well, another thing that we
could do would be to copy this layer.
| | 04:23 | Let's go ahead and copy it,
and then to try a blending mode.
| | 04:26 | We could try a blending mode like Screen,
which would really brighten things up.
| | 04:30 | We could try a blending mode like Soft Light,
which really adds a lot of nice contrast.
| | 04:35 | We can also go and try Mask and say well,
how about if we just add a little bit
| | 04:38 | more into that area?
| | 04:39 | We could do that, paint
in this mask to modify it.
| | 04:43 | Another interesting thing you can do with
eyes is you can have one layer onscreen.
| | 04:47 | That's the brightness, copy this.
| | 04:50 | Another layer on Soft Light.
| | 04:53 | That's the contrast.
| | 04:55 | Then lower the Opacity of these two
layers until you have a nice mix of contrast
| | 05:00 | and also a nice mix of brightness.
| | 05:02 | So again, here we have before and
then after, just a little nice snap to
| | 05:07 | those areas of the image.
| | 05:09 | Now, in this case, I've kind of pushed
the eyes pretty far. Here's my before.
| | 05:13 | Here's my after.
| | 05:14 | I'm not totally sure that this is going
to work well, that this is going to be good.
| | 05:18 | It might be that I've gone too far.
| | 05:20 | Well, here's what I like to do.
| | 05:22 | I like to zoom out.
| | 05:23 | Press Command+Minus on a Mac, Ctrl+
Minus on Windows. Evaluate what you've done.
| | 05:28 | Perhaps, modify the Opacity of some of
your adjustments here, or another thing
| | 05:33 | that you can do is click in one of
these layers, hold down the Shift key,
| | 05:37 | clicking another, then
press Command+G for Group.
| | 05:41 | Once you've grouped those together,
you can then turn this on or off, and you
| | 05:46 | can also lower the Opacity so you have
just the right amount of color and tone
| | 05:50 | there, so that it looks realistic.
| | 05:52 | It's not over the top.
| | 05:53 | But so that it is in a sense bringing
out some of those color and tones that are
| | 05:56 | there, or it's bringing out that
effect that you want to create.
| | 05:59 | All right, well, so far so good!
| | 06:01 | We've done some great work with the
eyes or sharpness, their color and tone.
| | 06:05 | Let's go ahead and push this even further.
| | 06:07 | And we'll do that in the next movie.
| | Collapse this transcript |
| Sharpening the eyes| 00:00 | The next thing I want to do with this
image is I want to work on sharpening the eyes.
| | 00:04 | So, in order to do that, I'm
actually going to click underneath my color
| | 00:08 | adjustment layers to where we
have this image here, retouch 1.
| | 00:11 | Press Command+J on a Mac, Ctrl+J on Windows.
| | 00:15 | I'm going to name this eyes - detail.
| | 00:18 | Next, let's zoom all the way in, 100% there.
| | 00:21 | Then we'll go to our pulldown menu.
| | 00:23 | We'll choose Filter, and then let's
choose Sharpen, and let's choose one of our
| | 00:26 | sharpening techniques.
| | 00:27 | For example, how about Smart Sharpen?
| | 00:30 | Well, what we can do with Smart
Sharpen is we can really focus in on the eye
| | 00:33 | detail that we have here.
| | 00:34 | We want to use Lens Blur.
| | 00:36 | I'm going to turn More Accurate off.
| | 00:38 | I'm going to increase the Radius and
modify the Amount here, so that I have nice
| | 00:43 | detail being brought into the eyes.
| | 00:44 | They are a little bit
snappier. A little bit glossier.
| | 00:47 | I want to look at both eyes and I
think that looks great. Click OK.
| | 00:51 | Then what we can do is mask this
in just to this area of the frame.
| | 00:55 | We don't want to sharpen the
skin or the texture or the pores.
| | 00:58 | We don't need to do that.
| | 00:59 | So, let's just work on the eyes.
| | 01:02 | To do that, we'll create a mask.
Press the Option key on a Mac, Alt key on
| | 01:05 | Windows, then click on the Add Layer Mask icon.
| | 01:09 | Here, I'm going to zoom in even
closer so we can see how this works.
| | 01:13 | We'll grab our Brush tool.
| | 01:14 | I want to paint with white with
something less than 100% Opacity.
| | 01:18 | So, now we find right around 78%,
or 80% I think will work well.
| | 01:22 | You could also experiment
with a little bit lower.
| | 01:24 | I'm just going to begin to paint
from the center of the eye out.
| | 01:28 | What I want to do is be careful not to
paint too much of the sharpness into the
| | 01:33 | highlight or the catchlight there.
| | 01:34 | Because what can happen is it can
look unnatural if you bring in too much.
| | 01:38 | Now, here it's a little bit tricky to
see, so I'm going to zoom out so that we
| | 01:42 | can evaluate and see how we're doing
here, and you can see how I'm using these
| | 01:45 | brush strokes, and being pretty careful
to bring in this detail, and then there
| | 01:49 | we have it, our before and after.
| | 01:51 | We'll zoom in a bit more and I'm
going to crank the Opacity up just for demo
| | 01:54 | purposes, so you can kind of
see how this is looking here.
| | 01:58 | I'm just going to go ahead and bring that in.
| | 02:00 | Here it is, before and then after.
| | 02:02 | If I get in even closer, hopefully,
you're going to be able to see this difference.
| | 02:06 | There is before and after, adding just
some nice detail into that area of the eye.
| | 02:11 | Now, we want to be careful here that
we're not oversharpening the eyes, but we
| | 02:14 | do definitely want to add an extra
little snap to that area of the photo.
| | 02:18 | What's great about this is this sharpening
isn't contingent upon our adjustment layers.
| | 02:23 | It's completely separate.
| | 02:24 | So, if at any point we want to remove
those we can, or of course we can always
| | 02:28 | turn them back on as well.
| | Collapse this transcript |
| Enhancing the skin| 00:00 | Next I want to work on a few more small details.
| | 00:02 | If we zoom in on the image, you may
notice that there are some small details on
| | 00:06 | the skin that we might
want to smooth out just a bit.
| | 00:09 | There are a number of different
techniques that we can use in order to do that,
| | 00:12 | but one technique that works well in
situations like this is to do this.
| | 00:16 | Let's turn off the top adjustment
layer just for a moment, so we can really
| | 00:19 | focus in on what we have.
| | 00:21 | Here we have the original file, the
file after some basic retouching and
| | 00:25 | bringing in the new version of the eyes,
and then we have a little bit of work
| | 00:29 | here on the eyes as well, sharpening.
| | 00:31 | Well next, let's click in this top
layer and merge to top one more time.
| | 00:36 | Shift+Option+Command+E on a Mac, Shift+
Alt+Ctrl+E on Windows, and we're going to
| | 00:41 | apply Dust & Scratches to this layer.
| | 00:42 | We're going to do so by going to our
Filter pulldown menu, choosing Noise, and
| | 00:48 | then Dust & Scratches, and Dust &
Scratches can be a great tool for removing
| | 00:53 | small little blemishes.
| | 00:55 | What you want to do here is take
your Radius and Threshold to the default
| | 00:58 | settings, increase the Radius until you see
the blemish that you want to remove is gone.
| | 01:03 | In this case maybe the
little texture on the skin.
| | 01:06 | Then bring back the
Threshold so you have nice texture.
| | 01:10 | You can click on the P key or click on
the radio button to look at the before
| | 01:13 | and after to see how you can start
to use this and to bring in different
| | 01:17 | amounts of Radius and Threshold
together in order to just take the edge off of
| | 01:21 | some of that texture.
| | 01:23 | So, what we're going to do here
is just experiment a little bit
| | 01:25 | with just taking off some of that texture
there, and I just play around with these
| | 01:29 | figures just to see if I can get
something that I think looks good.
| | 01:32 | Next, click OK, then hold down the
Option key on a Mac, Alt key on Windows and
| | 01:37 | click on the Add layer Mask icon.
| | 01:40 | That fills the mask with black.
| | 01:41 | Next step, grab our Brush tool, paint
with white, some where below 50% Opacity,
| | 01:47 | and we'll make our brush a little bit
bigger, and we're just going to paint over
| | 01:51 | these little areas where we see some
variations or a little bit of texture.
| | 01:55 | We can paint back and forth across that,
and it's just going to remove those,
| | 01:59 | just adding to the overall shallow depth-
of-field look with this image, removing
| | 02:04 | some of the little peach fuzz hair
there and just really reducing and
| | 02:07 | simplifying to create a little bit more
of this idealized look with this image.
| | 02:11 | We can do this over the areas that are
in focus or out of focus, and again it
| | 02:15 | just kind of taking a little bit of
that edge off here with this area of the
| | 02:20 | image, and I think that's looking pretty good.
Subtle little change but nice. Here is before.
| | 02:25 | Let's zoom in so we can see it, and
then if we look at after, we can see how it
| | 02:30 | starts to take out a lot of the
little variation that we have there.
| | 02:33 | Well, that looks nice.
| | 02:35 | We've done some nice work on the skin there.
| | 02:37 | Another thing that we might want to do
with the skin is to merge to top one more time,
| | 02:41 | press Shift+Option+Command+E on a
Mac, Shift+Alt+Ctrl+E on Windows, zoom
| | 02:47 | back in and then go to Filter >
Noise one more time. This time Add Noise.
| | 02:52 | Now, sometimes if you add a small
amount of Gaussian, monochromatic noise,
| | 02:58 | what you can do is you can build a
little texture in the skin which in a sense
| | 03:02 | hides the skin variation.
| | 03:04 | Now the trick is to figure out what's
the right amount here, and in this case I
| | 03:08 | think we need to bring our Amount down
pretty significantly, just a small amount
| | 03:12 | of texture there and click OK.
| | 03:14 | Next, create another mask filled with black.
| | 03:16 | To do so, press Option on a Mac, Alt on
Windows and click on the Add Layer Mask icon,
| | 03:21 | and then with our same Brush tool,
with perhaps even lower Opacity we can
| | 03:26 | just start to paint over these areas,
and I need to zoom out here so I can
| | 03:30 | evaluate how I am doing and
actually see where I am painting.
| | 03:33 | What this will do is it'll add a bit of that
uniform or even noise across the area of skin.
| | 03:39 | This can help if the skin starts
to look a little bit too smudgy.
| | 03:43 | I am going to increase the Opacity here
to have a little bit more and sometimes
| | 03:47 | what happens is you do this, and
you realize it doesn't look good.
| | 03:50 | In this case, I'm not quite convinced
that this adjustment layer with this image
| | 03:54 | is going to be a good adjustment or not.
| | 03:57 | Nonetheless I am going to go ahead
and paint that across the skin there.
| | 04:00 | Here is my before and after. You can
see that texture there that is adding to
| | 04:04 | this area, a little bit more of a uniform
pattern, and again, that little bit of
| | 04:08 | film grain sometimes can give for a
really nice look, and I think here with this
| | 04:12 | image it's actually looking pretty nice.
| | 04:14 | So, I am going to go
ahead and leave that on there.
| | 04:16 | All right, well so far so good.
| | 04:18 | We've done some great work here in
regards to working on these little details.
| | 04:23 | We have more work to do on this image
and we'll continue in the next movie.
| | Collapse this transcript |
| Modifying the overall color and tone| 00:00 | Here I want to do a little bit of
work on the overall color and tone.
| | 00:04 | To do that, I am going to click in
my topmost layer and then click on the
| | 00:07 | adjustment layer icon for Curves,
and what I want to do is use the Target
| | 00:11 | Adjustment tool and then hover over this
side of the face and just click and drag down.
| | 00:15 | I think that I need to darken this half
of the face to bring the lighting on the
| | 00:19 | face to be a little bit closer together.
| | 00:22 | Next, invert the mask, Command+I, grab
your Brush tool, and here we'll press the
| | 00:26 | Right Bracket key to make
our brush a little bit bigger.
| | 00:29 | Make sure I am using the Normal
blending mode, nice low Opacity.
| | 00:33 | I am just going to start to paint
over this area of the face, this side.
| | 00:37 | I want to try to be pretty consistent.
| | 00:39 | I also though will have the ability to
blur out my brushstrokes, which we'll do
| | 00:43 | here in a minute, but for now just
adding a little bit of dampening tone here on this,
| | 00:48 | because this side of the face
was so much brighter than the other side.
| | 00:51 | Here you have it before and then after.
| | 00:54 | Go to your Mask panel, increase the
Feather just to diffuse that, and then go
| | 00:59 | back to the Adjustments and
experiment with darkening that, just make sure
| | 01:02 | you have just the right spot, and then
of course work on your mask, any area
| | 01:06 | that you think you need to touch up
a little bit. Do that, just looking to
| | 01:10 | kind of bring that a little bit
closer together, and I think that's nice.
| | 01:14 | Taking out a little bit of that.
| | 01:15 | I am going to bring just a touch of that
back and again I think that's pretty good there.
| | 01:20 | All right, well, what else could we do?
| | 01:21 | What about the lips?
| | 01:22 | We could work on that area.
| | 01:24 | Create an adjustment.
| | 01:25 | Here we'll use Curves.
| | 01:27 | I am going to go ahead and just darken
this up a bit, invert the mask, Command+I
| | 01:31 | on a Mac, Ctrl+I on Windows, grab your
Brush tool, and what we want to do with
| | 01:36 | our Brush tool is paint with white, and
I'll crank up the Opacity here a little
| | 01:40 | bit so we can start to see this effect.
| | 01:42 | I am just painting over the lips,
careful not to touch the teeth there, and
| | 01:47 | I want to be pretty consistent as
I am painting, and then I'll make a
| | 01:50 | stronger adjustment.
| | 01:51 | Here you can see we are darkening the
lips here, a little bit stronger, and then
| | 01:56 | press the X key to mask away
any area that isn't very good.
| | 02:00 | I think that's looking pretty nice.
| | 02:02 | Go into the different channels, Red
channel, just perhaps a little bit of red on
| | 02:06 | the lips. Green-Magenta Channel,
| | 02:08 | maybe just a touch of magenta as
well and the Blue-Yellow Channel,
| | 02:11 | sometimes little bit of yellow
adds just a touch of life there.
| | 02:14 | Again, we're just looking to darken those up,
add a little bit more to that area of the image.
| | 02:19 | Go back and forth with your mask, just
get that exactly where you want it, and
| | 02:23 | I am just trying to even out the
tonality that I am seeing here.
| | 02:27 | So I'll do so by painting back and
forth, painting with black or white,
| | 02:31 | different brush sizes, to try to get
this looking good and just paint this out
| | 02:37 | just a little bit there.
| | 02:38 | I went a little bit too far
in that side of the mouth there.
| | 02:40 | Okay, well I think that's pretty good.
| | 02:42 | Here we have before and after.
| | 02:44 | Then let's figure out exactly where we
want this color and tone and maybe lower
| | 02:49 | the Opacity a bit, just a touch,
a little bit more density there.
| | 02:52 | Now, what about the rim of the lips?
Let's clean that up.
| | 02:55 | We create a new layer.
| | 02:57 | We grab our Clone Stamp tool here.
| | 02:59 | With our Clone Stamp tool, we can use
a blending mode, a real low Opacity or
| | 03:03 | just go to Normal. Because we're on a
separate layer, the blending mode won't be
| | 03:08 | that effective in working on this area,
and we can try different opacities here.
| | 03:13 | I am just going to go ahead and work out
that little area that I am noticing there.
| | 03:17 | It kind of looks just a touch
strange there in regards to the lips, just
| | 03:20 | trying to even out that edge, so we
have a nice clean edge, and as I do this I
| | 03:25 | want to go back and kind of hide my tracks a
little bit too, a little bit smaller brush now.
| | 03:30 | Just look to try to create a nice
fine line along that edge, and this is all
| | 03:35 | small detail stuff, but a lot of times
the details like this are really worth it.
| | 03:39 | Go through here and just try to make
those a little bit nicer there and also a
| | 03:45 | little bit perhaps
brightening underneath as well.
| | 03:47 | All right, here we have it before and
then after, just cleaning up the lips a
| | 03:51 | bit, before and after.
| | 03:53 | Now because this is an athlete portrait,
it's not a fashion image, we don't need
| | 03:57 | to go over the top, but nonetheless,
we're making some nice little improvements
| | 04:01 | to a few areas of the image.
| | 04:03 | Next, let's zoom out a bit and just see if
there is anything else we may want to do here.
| | 04:06 | Sure, I see a couple of little areas.
| | 04:08 | I'll grab my Healing Brush, make this
a touch bigger, just noticing a little
| | 04:12 | freckle on the arm here that might be
nice to retouch out, a little shadow over
| | 04:16 | there and then also a couple little
blemishes on the ground, and all I am doing
| | 04:21 | here is near the end I am just thinking,
hey, is there anything else that might
| | 04:24 | be nice to do here just to really
make this look perfect and good?
| | 04:29 | I am going to go ahead and retouch
out these little shapes here of the
| | 04:32 | bouquet in the background.
| | 04:34 | Even though I love that loo,k I just
think it's a touch distracting there and
| | 04:37 | see if I can retouch those out.
| | 04:39 | I think that's okay.
| | 04:41 | Second thought, I am going
to erase what I just did.
| | 04:43 | Isn't it funny how when you do things
sometimes you discover, you know what?
| | 04:47 | That wasn't needed and a lot of times
that happens when we are retouching.
| | 04:51 | We'll bring that back in.
| | 04:52 | I kind of like that detail, and you
always want to check yourself and say okay,
| | 04:56 | I want to do this because it looks
good not just because I can and just a few
| | 05:01 | more little areas this time using the
Healing Brush on the foreground here, just
| | 05:06 | cleaning up the ground.
| | 05:07 | All right, well, I think we're in
pretty good place. A couple more adjustments to make,
| | 05:11 | and we'll pick up where
we've left off here in the next movie.
| | Collapse this transcript |
| Final project review| 00:00 | At this last step in the process all
that I want to do here is make another
| | 00:04 | overall color and contrast
adjustment and then organize my layers and
| | 00:08 | evaluate our progress.
| | 00:10 | Let's go ahead and click on the
adjustment layer icon for Curves and with Curves
| | 00:13 | I am going to use just a traditional
S Curve, where I brighten the whites a
| | 00:16 | little bit, I darken the blacks.
| | 00:18 | I just like how that adds
some nice color saturation.
| | 00:21 | Here is before and then after.
| | 00:24 | Another thing I might try with this
image is to go over to Vibrance and
| | 00:27 | Saturation, just bring up the
Vibrance a little bit, add a little bit of
| | 00:30 | that nice snap to it.
| | 00:32 | If we zoom out a bit, you can see the
before and after with these adjustments,.
| | 00:35 | Here is before, and then there is
after. It just adds a little bit more to the
| | 00:40 | overall I think intensity of that moment,
the vibrant color and the strength of
| | 00:44 | the athlete and whatnot.
| | 00:45 | Okay, let's evaluate how we have
done and also organize our layers.
| | 00:49 | Here we'll press F to go
to Full Screen View mode.
| | 00:52 | Next, let's zoom in a little bit so
that we can see the image and then we'll
| | 00:56 | press the F7 key to bring up our Layers panel.
| | 00:58 | Now, we have lots of different layers
and what we could do is if we are ready
| | 01:03 | to commit to these, we could actually
merge or flatten these all down, or if
| | 01:07 | we're not quite certain of some of our
adjustments, we may just want to group all of them.
| | 01:12 | To do so, click in your top layer,
hold down the Shift key and click in the
| | 01:16 | bottom layer, then press
Command+G or Ctrl+G for Group.
| | 01:19 | We'll go ahead and just name this group
retouching and then here we can see our
| | 01:23 | overall before and after really easily.
| | 01:25 | Here is before and then here is after.
| | 01:28 | Really nice subtle yet significant
retouching, which enhances the overall image,
| | 01:33 | drawing out some of its natural characteristics.
| | 01:35 | It makes it a lot stronger.
| | 01:37 | If we look at our layers and click
through those, here is the progress.
| | 01:40 | We first had to combine the eyes from
another frame into this and that was
| | 01:44 | really something that was important and
something we have to do quite often with
| | 01:47 | athletes and with people photographs in general.
| | 01:50 | Then from there we start to take a look
at sharpening the eyes and how we could
| | 01:53 | bring in a little bit more detail there.
| | 01:55 | We looked at some tonal issues and how
we could work on skin and texture and
| | 01:59 | also just add a little bit
of snap and color to the eyes.
| | 02:03 | We looked at darkening an area of the
image that was a bit too bright, working
| | 02:07 | on the lips, also working on some
other small details, and then finally our
| | 02:11 | overall adjustments, which
affect the color and tone.
| | 02:14 | Here it is, before and after, and
then if we zoom out a little bit we can
| | 02:18 | evaluate it this way as well.
| | 02:20 | Our overall before and then after.
| | Collapse this transcript |
|
|
8. Indoor Track SprintRemoving unwanted background elements| 00:00 | In this project we'll be working on this
photograph of this professional athlete
| | 00:03 | as he is sprinting on an indoor track.
| | 00:07 | What I want to do here is simply clean
the image up a bit, work a little bit on
| | 00:10 | color and tone, and also add a bit of motion.
| | 00:13 | So first, let's copy the Background
layer by pressing Command+J on a Mac.
| | 00:18 | That's Ctrl+J on Windows.
| | 00:20 | Let's name this new layer clean up.
| | 00:22 | Here what we're going to do is
some real simple cleanup work.
| | 00:25 | I want to remove these roof elements up here.
| | 00:28 | To do so, select the Lasso tool.
| | 00:31 | Go ahead and click and drag to select this area.
| | 00:34 | Then press Shift+F5 key.
| | 00:38 | That opens up the Fill dialog.
| | 00:40 | What we want to do is fill this
with Content-Aware. Click OK.
| | 00:43 | Here is where Photoshop will do its magic
| | 00:46 | and really removes all of those elements.
| | 00:48 | Next, you can choose Select and then Deselect.
| | 00:52 | So again, pretty simple background
clean up, but nonetheless, kind of a nice
| | 00:55 | little touch there in
regards to clean up the background.
| | 00:58 | Now if you ever do that, notice you
have a little bit of a line or an edge,
| | 01:02 | well just make another
selection over that area,
| | 01:04 | press Shift+F5 again, and
Use Content-Aware Fill again.
| | 01:08 | What you can do is you can hide your
tracks by making different types of selections.
| | 01:13 | You can choose selections that are
vertical, or you can go ahead and make
| | 01:16 | selections that are horizontal, in
order to hide what you're doing, in regards
| | 01:20 | to removing this area.
| | 01:22 | In this case, I'm just doing this a few
times to try to disguise some of those things.
| | 01:26 | I'm also going to make some
selections over here on these small little
| | 01:29 | blemishes I just noticed.
| | 01:30 | So I'll click and drag, and then hold
down the Shift key and then click and drag
| | 01:34 | around another blemish.
| | 01:36 | I'm going to do this across multiple
blemishes, just to try to get these out of
| | 01:40 | the frame, so that they're a
little bit less distracting here.
| | 01:43 | All right, well, once we have that,
press Shift+F5 and then use Content-Aware.
| | 01:48 | You can successfully remove
multiple areas of the image as well.
| | 01:52 | Okay, well, next go to Select and Deselect.
| | 01:55 | What can we do here with this image?
| | 01:57 | It's now a little bit more clean.
| | 01:59 | I really would like to clean up this area.
| | 02:02 | So let's zoom in on that area.
| | 02:04 | As we look at this area, we realize it's
going to be tricky, because we have an edge here.
| | 02:08 | So, let's create a new layer.
| | 02:10 | Click on the New Layer icon.
| | 02:12 | Next, grab our Clone Stamp tool.
| | 02:14 | We'll go ahead and do some Clone Stamp work.
| | 02:17 | We'll do it at a little bit of a lower Opacity.
| | 02:20 | Now we're going to start off by Option+
Clicking or Alt+Clicking, making sure
| | 02:23 | we're working to all layers, and just
start to kind of take this down a little bit.
| | 02:27 | So we're going to Option+Click or Alt+Click
an area which is pretty similar in tone.
| | 02:31 | We're not looking to
remove it altogether right away.
| | 02:34 | You just want to try to take off the intensity.
| | 02:36 | Take off the edge there a little bit.
| | 02:38 | So it's not quite so prominent.
| | 02:40 | We also want to be careful to not try
to interrupt too harsh of a pattern here
| | 02:45 | or lines as we do this.
| | 02:47 | So again, we're just going about
this little by little, Option+Clicking or
| | 02:52 | Alt+Clicking, and then bringing in some new
tone into this area to try to clean that up.
| | 02:56 | Even this alone already is looking pretty
good as we start to work across this area.
| | 03:02 | Here is before, and then after.
| | 03:04 | Next thing we want to do is zoom out
and see if we're going in a good direction.
| | 03:08 | I would say, yeah, sure.
| | 03:09 | We're going in a good direction, just a
couple of other little areas to work on.
| | 03:12 | Perhaps brighten up this edge over
here, the leading edge of the photo.
| | 03:17 | I'm just doing that by using a
bigger brush and then cloning here.
| | 03:20 | All right, well, I think we're
going in a pretty good direction.
| | 03:23 | Just remove some of those little
distracting elements there in the background,
| | 03:27 | and also a bit of the overall color and tone.
| | 03:30 | Well, because we're ready to commit
to these adjustments, they look fine.
| | 03:34 | Let's flatten this down.
| | 03:36 | Press Command+E on a Mac, Ctrl+E on Windows.
| | 03:40 | We now have one clean up layer.
| | 03:41 | There it is, before and then after.
| | Collapse this transcript |
| Correcting the wall color| 00:00 | The next thing I want to do
is work on the color and tone.
| | 00:03 | In particular, I want to work on the color
in the wall and also the color of the track.
| | 00:08 | So to do that, I'm going to go
ahead and make a selection of the wall.
| | 00:11 | I will press the W key to
select the Quick Select tool.
| | 00:15 | Then click and drag along the
wall and just add your selection.
| | 00:19 | Once you've done that, you'll then need
to go back, hold down Option on a Mac,
| | 00:24 | Alt on Windows, and subtract from the selection
anything that you don't want to have modified.
| | 00:30 | Here I'm going to go ahead and
subtract from the selection the hand.
| | 00:33 | I definitely don't want that to be
modified, and also the face of the athlete here.
| | 00:38 | Then I'll go over to this
area of the hand as well.
| | 00:41 | Hold down Option and go over
these little areas on the track.
| | 00:45 | Don't need to change those.
| | 00:46 | Those are pretty good.
| | 00:47 | Then just add to the selection a couple
of little areas as needed, or subtract,
| | 00:52 | just kind of go back and forth, in
order to create a pretty descent selection.
| | 00:56 | Now it doesn't hurt to have a little bit
more of a selection versus a little bit less.
| | 01:01 | So that's where you want
to experiment with though.
| | 01:03 | But for the most part, I think we have a
decent really quick selection that we
| | 01:07 | added here to this wall area.
| | 01:10 | Next up, let's go ahead and click on our
Hue/Saturation icon for the adjustment layer.
| | 01:16 | Then let's just modify the Hue,
just so we can see how we're doing.
| | 01:18 | Well, this shows us what's
happened here in the background.
| | 01:22 | For the most part, we have a
descent selection of that area.
| | 01:26 | I'm going to increase the
Saturation just to show--
| | 01:29 | Perhaps try to find a view here where we
can see how this is blending into the image.
| | 01:33 | Well, I notice that I have a few
little problem areas on my mask.
| | 01:38 | If I want to clean those up, all I need
to do is to go into the Masks panel, and
| | 01:42 | then choose Mask Edge.
| | 01:44 | Now in Mask Edge, we can press
F to go through different views.
| | 01:48 | One of things that this can help us do
just start to see how this will blend
| | 01:52 | into the background.
| | 01:53 | We'll turn on Smart Radius
and then crank that up.
| | 01:56 | You'll see that it will have a
much closer or tighter radius.
| | 02:00 | If you have a problem area,
we'll paint over that.
| | 02:02 | Here you can see it's helping Photoshop kind
of analyze how it should work in those areas.
| | 02:07 | Now if ever you paint in too much,
hold down Option or Alt and then you can
| | 02:11 | bring back some of those other colors to
have a little bit more defined edge as well.
| | 02:16 | Another thing that you can do is
you can also reset this completely.
| | 02:20 | So here I've made a mistake.
| | 02:22 | I have a mask which isn't good.
| | 02:23 | I'll press Option or Alt. Change this
Cancel to Reset. Then I start over.
| | 02:28 | What I want to do is I want to
include this On layers so I can actually see
| | 02:32 | what it looks like.
| | 02:33 | That's a little bit of a better view.
| | 02:34 | Next, I'll turn Smart Radius on.
| | 02:37 | I'll go ahead and increase that.
| | 02:38 | You can see that already that's just giving
me a way better selection, a way better edge.
| | 02:43 | Increase the Contrast a little bit.
| | 02:45 | Perhaps just a touch of smoothing,
sometimes that helps out, maybe just a
| | 02:49 | little bit of Feather in there,
and then a little bit more Contrast.
| | 02:52 | All right, well, so far so good.
| | 02:54 | I think we have a pretty good selection.
| | 02:56 | I'm just going to paint on
the hair just a little bit.
| | 02:59 | I think that's actually pretty good.
| | 03:00 | We'll need to fix up the hand, but that's okay.
| | 03:04 | With the hand, I'll grab my Brush
tool, zoom way in. Keep in mind,
| | 03:09 | I have an exaggerated amount of
Saturation here, just to deconstruct, to be able
| | 03:14 | to see what's happening.
| | 03:16 | Here I'm painting with black over this
area, which in turn is concealing that
| | 03:20 | adjustment on this part of the image.
| | 03:23 | Hit the X key to exchange
between black and white.
| | 03:25 | Now I'm painting with white to bring
in a little bit more of this into this
| | 03:28 | area between the fingers.
| | 03:31 | You can see that I've made a
few mistakes along the way.
| | 03:33 | I'm not too concern about that.
| | 03:34 | Hit the X key. Fix those mistakes.
| | 03:37 | You can go back and forth pressing the
X to exchange between black and white,
| | 03:41 | until you have a pretty good selection.
| | 03:43 | Now our work on the background
is not going to be this dramatic.
| | 03:47 | So as we look at this, one of things we
can keep in mind is that what we can do
| | 03:51 | here is we can have an edge,
which looks pretty good.
| | 03:54 | Then we can modify the
Hue/Saturation appropriately.
| | 03:59 | I think the edge looks pretty good.
| | 04:01 | Let's double-click the Hue/
Sat tool. Let's reset this.
| | 04:05 | Go all the way back to the default settings.
| | 04:07 | Then simply desaturate.
| | 04:09 | All I want to do is remove some of
that yellow color from the background.
| | 04:12 | You can see it now looks very different.
| | 04:14 | I'm going to brighten it
up as well. Here is before.
| | 04:17 | That looked a little too yellow to me.
| | 04:19 | Here is after. It
has a bit more of a snap to it.
| | 04:22 | You can, of course, have a little bit
of color in there too, if you want to
| | 04:25 | bring in a color just for effect.
| | 04:26 | But in my case, I'm going to lower the
Saturation, a little bit of brightness.
| | 04:30 | I think the wall is now looking great.
| | Collapse this transcript |
| Improving the color of the track| 00:00 | The next thing that I want to do is
take a look at how we can modify the color
| | 00:03 | and tone of the track, and
also work on the athlete.
| | 00:07 | So first, let's click in this clean up layer.
| | 00:09 | Then here what we can do is press the
W key to select the Quick Select tool.
| | 00:13 | Then just go ahead and paint
across the area that we want to modify.
| | 00:16 | In this case, I'm just clicking
and dragging across the track.
| | 00:19 | It's a pretty rough selection.
| | 00:22 | In order to make it better, hold down
Option on a Mac, Alt on Windows, and then
| | 00:26 | click and paint over the areas
that you don't want to select.
| | 00:29 | In this case, I definitely don't
want to select the athlete here.
| | 00:32 | So I'm going to paint those selections
away there. A little bit more of the track.
| | 00:36 | If I want to paint away some of the
white areas, I'm just going to hold down the
| | 00:40 | Option key and click along those lines.
| | 00:42 | You can see that what it's doing is
it's kind of building out those edges.
| | 00:46 | It's paying attention to where
I'm clicking and it's adding this.
| | 00:49 | This can be helpful, especially if you
want to, say, preserve the whites there.
| | 00:54 | You just want to modify the track,
maybe making that a little bit more red, or
| | 00:58 | something along those lines.
| | 01:00 | So again, I'm just holding Option on a
Mac, Alt on Windows, and clicking along
| | 01:04 | those little lines there.
| | 01:06 | Let me zoom in a little bit more back here.
| | 01:09 | Hold down Option or Alt.
| | 01:11 | This area back here isn't that essential
because it's so small, but I might as
| | 01:14 | well do this just for a good measure.
| | 01:16 | I'll just do a little bit more back here
and see if we can connect that just a touch.
| | 01:21 | All right, well, for the most part,
we're getting going in a decent direction.
| | 01:26 | Just go ahead, and modify a couple of
little areas as we work on this, and just
| | 01:30 | look to try to have good
selections there of everything that we need.
| | 01:35 | I think that looks good.
| | 01:36 | Next, I'll zoom out.
| | 01:36 | I'll go to my Adjustments panel.
| | 01:39 | I'm going to choose Curves this time.
| | 01:42 | Here, I'll go into the Red channel.
| | 01:44 | If I bring that up, we should see a
brightening just in the track, because
| | 01:48 | that's really the area that we're targeting.
| | 01:50 | We can go to the RGB composite channel.
| | 01:52 | We can darken that red up if we wanted
to, or add a little bit of contrast, or
| | 01:56 | change the overall look
of that one way or another.
| | 01:59 | In this case, I just want to add a
little bit more of that clean uniform color.
| | 02:03 | Here is before, and then after.
| | 02:05 | That feels a bit more snappy. So far so good.
| | 02:10 | If there are any areas you need to
clean up, you can always go into your Masks
| | 02:14 | panel. Go into Mask Edge.
| | 02:16 | Here, you can add a Smart Radius
if you have some transitional edges.
| | 02:20 | Add a little bit of Radius there, a
Contrast, increase the sharpness of the
| | 02:24 | edge, and just sweeten it up as needed.
| | 02:26 | In this case, I think most of
these edges look good. Click OK.
| | 02:29 | All right, well, what about the subject?
| | 02:32 | What can we do there?
| | 02:33 | Well, the subject, it's
going to be the same thing.
| | 02:36 | Let's click in the clean up layer.
| | 02:38 | Press the W key for a Quick Select tool.
| | 02:40 | Then we'll start with a big brush,
and just paint over the athlete, really
| | 02:44 | broad brushstrokes.
| | 02:46 | Press the Left Bracket key to make the
brush smaller, and then get into the some
| | 02:50 | of the detail areas.
| | 02:51 | Now as we get into these detail areas, we
will inevitably make mistakes. But that's okay.
| | 02:56 | There is going to be give and take.
| | 02:58 | Just work on one area.
| | 02:59 | Hold down Option or Alt. Subtract
any of your mistakes that you've made.
| | 03:04 | Go back, paint it one way or another,
and just kind of go back and forth with
| | 03:07 | this tool until you have a selection,
which is pretty tight, pretty close.
| | 03:11 | We want it to be right around
the edge of the subject here.
| | 03:14 | We want to have all the details selected.
| | 03:17 | We don't want to select the track, so
we just want really the subject himself.
| | 03:22 | I think for the most part
we have a decent selection.
| | 03:25 | Not perfect, but pretty good starting point.
| | 03:28 | I'm just going to get a few
more little details in here.
| | 03:31 | All right, next thing we need to do is
to go ahead and create an adjustment.
| | 03:35 | We're going to create an adjustment just
so we can really see what we have selected.
| | 03:39 | Let's go for our Curves.
| | 03:40 | We'll go back to our Adjustments panel,
click on the Curves icon, and then drag
| | 03:44 | it one way or another.
| | 03:46 | Again, this is just going
to help us see our edges.
| | 03:49 | Now here I see my edges
are actually pretty good.
| | 03:51 | I can control just the subject there.
| | 03:54 | I've a couple of problem areas, so I
go into my Masks panel, Mask Edge, Smart
| | 04:00 | Radius, turn that up.
| | 04:01 | Paint over any areas where you have
problems, like over the fingers there.
| | 04:05 | That's just making that really good.
| | 04:07 | Little bit on the hair at top.
| | 04:09 | Again, this right now is a decent mask.
| | 04:11 | That looks really good. Click OK.
| | 04:13 | Well, now that we have this mask,
we can go back to our adjustments layer.
| | 04:18 | Click and drag that point off and
just modify this. Maybe a little more
| | 04:21 | light on the subject.
| | 04:23 | There it is before and after, or
perhaps we want to bring down the highlights
| | 04:26 | just a touch on the highlight side.
| | 04:28 | We can do that as well, or
we can go into a channel.
| | 04:30 | Add just a little bit of red, brighten
that up and perhaps, maybe even a little
| | 04:35 | bit of magenta, just a touch there,
just to add a little bit deeper skin tone.
| | 04:40 | Go back to the RGB
composite and just modify that.
| | 04:43 | So we have a different look
or sethetic on the subject.
| | 04:46 | Here it is our before, and then after.
| | 04:48 | Nothing really brilliant here.
| | 04:50 | I'm not too inspired by that.
| | 04:52 | So in this case, the mask
that I've created using Curves,
| | 04:55 | I'm not even going to use.
| | 04:57 | But I am going to use it in a different way.
| | 04:59 | What I want to do is if I zoom in on the
subject, I want to add some sharpness to him.
| | 05:04 | So here is how I'll do that.
| | 05:06 | I'll turn off this
adjustment layer. Not all is lost.
| | 05:09 | My masking work there as far as
finding the edges help me out.
| | 05:12 | Next, click in the clean up layer, copy it,
Command+J on a Mac, Ctrl+J on Windows.
| | 05:18 | Let's call this sharpen.
| | 05:20 | Next, go to Filter. Choose Sharpen.
| | 05:24 | Let's go to Unsharp Mask.
| | 05:26 | Now with Unsharp Mask, a good way to do this
is to try to line up your two dialogs here.
| | 05:31 | Let's zoom in on the background a
little bit so that we can see everything.
| | 05:35 | I just like to how these overlaps
so I can see as much as possible.
| | 05:38 | Here we're going to bring our Amount up
somewhere pretty high, high 150, 160, 170.
| | 05:44 | Incrementally bring up our Radius until
we see glowing edges, like we see along
| | 05:48 | the edge of the shirt there.
| | 05:50 | Then drop the Amount back to 100.
| | 05:53 | Then bring up a little bit
of Threshold to save the day.
| | 05:56 | Make any other needed changes.
| | 05:58 | Click on the image, press the P key to
look at your before and after, then click OK.
| | 06:03 | Well, now here we've sharpened everything.
| | 06:06 | We don't want that.
| | 06:07 | We just want the athlete.
| | 06:09 | So in that case, grab our mask, click and
drag it to this layer. There you have it.
| | 06:14 | We have a layer where we're just
sharpening the athlete here based on our mask.
| | 06:19 | That looks pretty good.
| | 06:20 | All right, well, next,
let's trash this Curves layer.
| | 06:24 | We don't need it anymore.
| | 06:25 | Then we may want to
modify this mask even further.
| | 06:28 | For example, I'm noticing that we
don't need to sharpen the pants.
| | 06:32 | So I'll go ahead and mask that out there.
| | 06:34 | I also don't need to sharpen the
fingers back here, or the forearm, or maybe
| | 06:37 | the back of the head.
| | 06:38 | So I'm just bringing this
sharpening to selective areas.
| | 06:41 | So I'm kind of getting the best of
both worlds in a sense where I have this
| | 06:45 | custom edge mask, and then also one that
I'm modifying by painting directly on it.
| | 06:51 | Well, we've made some
great adjustments to the image.
| | 06:53 | Let's take a look at how we're doing so far.
| | 06:55 | Here it is before, and then after.
| | Collapse this transcript |
| Adding motion blur| 00:00 | Now that we've done although this nice
clean up and color and sharpening work,
| | 00:04 | I actually want to add a bit of Motion Blur.
| | 00:06 | And I want to do this at this stage
because the image is at a really good spot
| | 00:09 | and now I'm ready to distort it a
little bit or add a little bit of blur.
| | 00:12 | So to do that we'll click in
our topmost layer then we'll press
| | 00:16 | Shift+Option+Command+E to merge to top and
let's go ahead and name this layer motion.
| | 00:22 | Next, I want to and do this as a Smart Object.
| | 00:25 | That will give us a lot of
flexibility. So right-click your layer and choose
| | 00:29 | Convert to Smart Object.
| | 00:31 | Next, navigate to your Filter pulldown
menu and here we're going to choose Blur
| | 00:36 | and then Motion Blur.
| | 00:37 | Now the thing that's interesting about
Motion Blur is what we need to do is to
| | 00:41 | determine the angle right, right, and so we
can move this around and look at the blur.
| | 00:45 | Sometimes if you exaggerate it, it can
help you see which way you really want to
| | 00:49 | create that blur and then bring it back
down to something a bit more reasonable.
| | 00:54 | Now here I just want have a trailing edge
of blur kind of coming off of the athlete.
| | 00:58 | I think that looks good. Click OK.
| | 01:01 | Next, we have a built-in mask.
| | 01:03 | Let's target the mask and invert it.
| | 01:07 | Go to your Mask panel.
| | 01:08 | Click on the Invert button.
| | 01:10 | In other words, no motion.
| | 01:12 | There is nothing showing through now.
| | 01:14 | Next, we grab our Brush tool, we press
the D key to go to your default black and
| | 01:19 | white colors there in your color
picker, then the X key to exchange those.
| | 01:24 | You can also always just click on
them or click on the icon there as well.
| | 01:28 | We want to paint with white.
| | 01:29 | We're going to lower the Opacity
here and also change our brush size,
| | 01:33 | a little bit smaller brush.
| | 01:34 | You can do so by pressing the Left Bracket key.
| | 01:37 | I am just going to start to painting
along this trailing edge, a little bit of
| | 01:40 | the blur on the side of the frame.
| | 01:42 | I want to be consistent as I do this so that
we get the sense that we have this motion.
| | 01:47 | Now the great thing about this is
what will happen is once we start to bring
| | 01:50 | this in is we'll say to
ourselves, you know what?
| | 01:52 | That isn't enough blur or I wish
I had a little bit more blur.
| | 01:55 | I wish I could've done something that
worked a little bit stronger because what
| | 01:59 | I did there wasn't quite strong
enough for what I was going for.
| | 02:03 | And we can also experiment with Opacity.
| | 02:05 | If we want to blur part of the arm out
so it kind of ties into that, we can do
| | 02:09 | so as well, or blur the garments out,
again, just so we have this really nice,
| | 02:13 | kind of trailing edge blur which comes off
the subject there and gives it a bit more drama.
| | 02:19 | Now if this ever isn't enough, all that
you and I need to do is to double-click
| | 02:23 | the word Motion Blur.
| | 02:25 | That reopens the filter. Apply more.
| | 02:27 | Here you can see I have even
more coming off of the subject.
| | 02:30 | And you can come up with
some pretty creative iterations.
| | 02:33 | Go ahead and decrease that or increase that.
| | 02:35 | You can see that even at really high
amount, sometimes you can come up with
| | 02:39 | something that may be kind of interesting.
| | 02:41 | Now of course, you might want to
experiment with your mask or modify your mask
| | 02:45 | after you've done this.
| | 02:46 | Now in my case I'm going for something
which is just a little bit more of that
| | 02:49 | trailing edge there and so I'll click OK.
| | 02:53 | The other great thing about this is we
can lower the overall layer Opacity so we
| | 02:57 | can bring a little but less blur in,
but again it's just adding a bit of that
| | 03:00 | diffusion there on the edge of the frame.
| | 03:03 | And then if we don't want this blur,
we'll just turn the icon off and
| | 03:06 | it's completely gone.
| | 03:07 | Print it one way and then print it
another way and see what you can do to come
| | 03:11 | up with some good results.
| | 03:12 | All right, well here I am going to go back,
and I am going to do a little bit more masking.
| | 03:16 | Now that I see the amount of blur that I
have, and I am just going to bring some
| | 03:19 | of this off, a little bit more detail
there, not quite so strong on the arm.
| | 03:23 | It just became a little bit too, kind
of loss of what the actual subject was
| | 03:28 | regards to the details.
| | 03:30 | Also, I want to make sure I don't
have anything on the leading edge so I am
| | 03:32 | doing to do that double-click Motion
Blur, modify this again just so I can get
| | 03:36 | it exactly where I want it, and then click OK.
| | 03:39 | All right, well we've made some
great progress with this file.
| | 03:42 | We've done some interesting things in
regards to the overall color and tone.
| | 03:46 | There's only one more thing that I would
like to do with this image and that is
| | 03:49 | to experiment with the crop.
| | 03:52 | So before we finish this up let's go
ahead and just make sure that our image is
| | 03:55 | looking really good.
| | 03:56 | I am going to just work on my mask here
just a little bit more, and then in the
| | 04:00 | next movie, let's review our overall
progress and talk about how we can create
| | 04:05 | another version of this image with a
completely different and distinct crop.
| | Collapse this transcript |
| Improving composition by cropping| 00:00 | Now here at this final step with
this image, the last thing I want to do
| | 00:03 | is organize my layers.
| | 00:04 | So to do that click in your topmost layer,
hold down the Shift key, click in the
| | 00:08 | bottommost layer, then press
Command+G or Ctrl+G for Group.
| | 00:12 | We'll go ahead and just name this retouching.
| | 00:14 | Here we can see our before and after,
and the great thing about this is let's
| | 00:19 | say we don't like our Motion Blur.
| | 00:21 | No big deal, just turn off that layer. Or
perhaps one of our adjustments is a bit too strong.
| | 00:25 | We can just continually go through
this and make changes to any of these
| | 00:29 | layers as we see fit.
| | 00:31 | All right, well that looks pretty good I think.
| | 00:33 | Now the last thing I want to talk
about is how we can have even more
| | 00:37 | creativity at this juncture.
| | 00:39 | Now there is a lot that we could do here, right.
| | 00:40 | We could play with color and tone or
sharpness or focus or do HDR Toning, all of
| | 00:44 | these different kinds of things.
| | 00:46 | But many times when we get to making
adjustments, we're a little bit nervous
| | 00:50 | because we don't want wreck this file.
| | 00:52 | Well here's what you can do.
| | 00:54 | Press Shift+F to exit out of Full
Screen View mode so that you can see you have
| | 00:57 | the one file open, next go to Image
and then choose Duplicate and click OK.
| | 01:02 | Well now at this file, because it's
another version of the image, I'm not
| | 01:07 | worried about making mistakes. So what
I can do is flatten it all the way down.
| | 01:12 | Go to layer, and then here
I'll choose Flatten Image.
| | 01:16 | That will then flatten all my
layers. Discard Hidden? Sure.
| | 01:19 | And I just have a
duplicate flat version of this.
| | 01:21 | And the reason I flattened it is
because it's really lightweight. Not a lot
| | 01:25 | has been done to this.
| | 01:27 | Now from here I can start to get
really creative with color and tone.
| | 01:31 | I could just have quite a bit of fun
kind of ignoring everything I've done
| | 01:34 | previously and starting off at this point.
| | 01:37 | For example, one thing I
might want to do is crop.
| | 01:41 | Let's press F to go to Full Screen View mode.
| | 01:43 | Here I'll grab the Crop tool.
| | 01:45 | One of the things I know about
cropping is that if you compose so that the
| | 01:48 | subject is right near the right edge
of the frame, well that will feel like
| | 01:53 | you're just kind of bursting out of that.
| | 01:55 | So here I am going to create a really
tight crop, which is just right on that edge.
| | 01:59 | Again a crop that I typically wouldn't
have created, had I just had that other file.
| | 02:04 | I'll press Enter or Return.
| | 02:06 | It's a very different look and feel
with the image but nonetheless gives me
| | 02:10 | another option another potential
version of this image and it's kind of fun to
| | 02:14 | be able to see those.
| | 02:15 | Now here's a great way to review that.
| | 02:18 | Press F to go Full Screen View mode and
then once in Full Screen View mode what
| | 02:23 | you can do is press Ctrl then Tab.
| | 02:26 | That will scroll through your open documents.
| | 02:29 | So here's the original file and
then here's the image that we cropped.
| | 02:33 | Now, as I compare these two
I've realize that, you know what?
| | 02:35 | I like the original composition and crop.
| | 02:37 | I think that looks really nice.
| | 02:39 | I am not going to change that.
| | 02:40 | But it was good to experiment,
to see what that might look like.
| | 02:43 | The other thing that we can do in this
mode of course is to press F7, bring up
| | 02:47 | our Layers, and here we can
click through these layers.
| | 02:50 | Here's our before you than after.
| | 02:53 | Or we can make any needed
final adjustments to our image.
| | 02:56 | Yet in this case, I think this image
is looking really good. Once again,
| | 03:00 | our overall before and then after.
| | Collapse this transcript |
|
|
9. Enhancing StrengthUsing Liquify to change the shape| 00:00 | In this project we will be working on
this photograph of a professional athlete,
| | 00:04 | and the intent of this image was to
leave a little bit of headroom, so there
| | 00:07 | is space for copy or for marketing.
| | 00:09 | Then we have the subject
here in natural or available light.
| | 00:12 | It's a very natural image.
| | 00:14 | So we want to do is want to keep in
track with that natural feel, yet we want to
| | 00:18 | enhance this and bring
out some of these qualities.
| | 00:20 | In particular, bring out some of the
strength of this particular athlete.
| | 00:24 | So first let's go ahead and
click in our Background layer.
| | 00:26 | Then we'll press Command+J on Mac, Ctrl+J on
Windows, and let's name this new layer shape.
| | 00:32 | Next, zoom in a little bit.
| | 00:34 | You can do so by pressing Command+Plus on
Mac, Ctrl+Plus on Windows, and then let's
| | 00:39 | navigate to our Filter pulldown menu.
| | 00:41 | Here we go ahead and choose Liquify.
| | 00:43 | In the Liquify dialog what
we want to do is zoom in.
| | 00:47 | You can use your same shortcut,
Command+Plus on Mac, Ctrl+Plus on Windows.
| | 00:53 | Next, we are going to use this top tool
here, which allows us to move pixels around.
| | 00:58 | So what we are going to do then is make
sure we have a really low brush density
| | 01:02 | and also brush pressure.
| | 01:04 | Now these happen to be the settings that
I used most recently and I think those
| | 01:07 | will work pretty well, if not
perhaps just a little bit less.
| | 01:11 | Next, we want to position the brush
over the area that we want to work on and
| | 01:15 | let's say that we want to bring
out the bicep a little bit here.
| | 01:17 | Well, in this case I'll go ahead and make my
brush smaller by pressing the left bracket key.
| | 01:21 | You can either press and hold
that, or you can tap the key.
| | 01:25 | Then I am going to go ahead and just
start to make a few little movements here.
| | 01:29 | You want to keep in mind that the
movements will always be stronger wherever
| | 01:32 | the crosshairs are, and you also
want to go back and forth as you work on
| | 01:36 | different areas of the image.
| | 01:38 | In this case, I am working a little bit
on the arm up here, and then I will go
| | 01:41 | over to this side and work on this arm,
and I am just going to go ahead and try
| | 01:45 | to bring out some of the shape that I
am seeing here, just to kind of exaggerate
| | 01:49 | or enhance a little bit the strength.
Have a bit of fun with this one, and let's
| | 01:53 | see how we are doing.
| | 01:53 | Well, here what we can do is click on
Show Backdrop. As long as this is at 100%
| | 01:58 | we can see our before and after.
| | 02:00 | So here we have before,
and then there we have after.
| | 02:03 | Some pretty subtle adjustments, but
they are going in a good direction.
| | 02:07 | Again, keep in mind that we
want to keep this somewhat natural.
| | 02:09 | We don't want this to look really surreal.
| | 02:12 | We are not really going for
something that's over-the-top, although if you
| | 02:15 | want to experiment a little bit with this,
you can push this perhaps a little bit further.
| | 02:19 | I am going to lower the brush size and just
make sure this part of the arm is tapped down.
| | 02:23 | I bring this up a little bit more here.
Work on the shoulders, and again I am
| | 02:28 | just clicking and
dragging really simple work here.
| | 02:30 | Next, I bring my brush up just a touch
and I am going tuck in the ear here a
| | 02:34 | little bit on this side, just
because the way the head is positioned.
| | 02:38 | We see that pretty prominently.
| | 02:40 | A little bit of a bigger brush
and just slowly move this in.
| | 02:45 | Nothing huge but just kind of
tucking that in and just a touch there.
| | 02:48 | Let's look at her before and
after. Click on Show Backdrop.
| | 02:52 | There's before, and then there's after.
| | 02:54 | Now the only other thing we might want
to do here just pan around the image.
| | 02:58 | If we see any area that we want to modify,
we will go ahead and take care of that.
| | 03:02 | We can modify that simply by clicking and
dragging. Really simple to use a Liquefy tool.
| | 03:07 | The trick with Liquefy of course
is that typically what happens is
| | 03:11 | people overuse this tool.
| | 03:12 | So we just want to be careful that we
are not do anything that's too dramatic
| | 03:16 | here as we seek to
modify the shape of the image.
| | 03:20 | You also are noticing that
I am traveling around the image.
| | 03:23 | So I am working on different areas of
the photograph and I am doing that just
| | 03:27 | so I am careful not to overdo
any one area of the photograph.
| | 03:32 | Here we will just go ahead and make
our way through this image, just modifying
| | 03:36 | a couple of these little shapes that we
are noticing that might be fun to bring in.
| | 03:41 | So we will go ahead and do that little bit more.
| | 03:43 | Just making our way
through this photograph here.
| | 03:47 | Well, I think we are just about good there.
| | 03:50 | Let's press the Spacebar key,
reposition this, and then just look for any other
| | 03:54 | little area that we might want to work on.
| | 03:56 | Just bring the hair in
just a touch up top as well.
| | 04:00 | Just looking to try to reduce and simplify
here and also trying to do this delicately.
| | 04:06 | Well, I think that looks good.
| | 04:07 | I will zoom out a touch to see how we are doing.
| | 04:10 | A little bit more on this side I
think just to add some symmetry and little
| | 04:15 | bit bigger brush here.
| | 04:16 | So I am going to go ahead and click
over the brush size. Nice big brush there
| | 04:19 | allows me to do some movements which
are a little bit broader across this area.
| | 04:24 | Then I will just bring this in.
| | 04:28 | I think that's looking good.
| | 04:29 | Click on Show Backdrop.
| | 04:31 | Here we have our before and then our after.
| | 04:35 | To apply that, all that we
need to do is to simply click OK.
| | 04:38 | I want to just make a few last
minute adjustments here before I click OK.
| | 04:43 | Then once I have done that, I will go
ahead and click OK in order to apply that
| | 04:48 | or accept those changes, and then
here we have it on a separate layer, our
| | 04:52 | before and then our after.
| | Collapse this transcript |
| Improving the shadows| 00:00 | Now that we've worked a little bit on
dimension or shape, the next thing that I
| | 00:03 | want to do is work on some of the shadows.
| | 00:05 | So here let's zoom in a little bit,
and we'll zoom into the face, and we can
| | 00:09 | zoom in by pressing Command+Plus on a Mac,
Ctrl+Plus on Windows, and what I want
| | 00:14 | to do is just brighten up some of the
shadows that we have here, because the
| | 00:17 | light is pretty contrasty.
There's a lot of contrast.
| | 00:20 | We also have this highlight that we're
going to want to deal with later as well,
| | 00:23 | but first let's work on the shadows.
| | 00:26 | To do that, we'll click on our
Adjustment layer icon for Curves, grab the
| | 00:30 | Target Adjustment tool, hover over one of
these shadow areas and simply click and drag up.
| | 00:35 | Now, once we've done that we can see
we are definitely brightening up those
| | 00:37 | shadows in a good way, but we're
also brightening the rest of the image.
| | 00:41 | We don't want to do that.
| | 00:43 | So, let's invert the mask. Press Command+
I on a Mac, Ctrl+I on Windows, zoom in.
| | 00:49 | Grab your Brush tool.
| | 00:51 | We'll paint with white with something
less than 100%, but we can use a pretty
| | 00:54 | high amount here, because what
we can do is we can paint this in.
| | 00:59 | I should also say you should have a
soft brush here. So make sure no hardness,
| | 01:03 | and what I was going to say is we can
paint this in and then we can always
| | 01:07 | control this with our brushstrokes.
| | 01:09 | So, here I am just painting
this into these little areas.
| | 01:12 | I am realizing my Opacity is a touch too
high, so I am going to bring that down,
| | 01:16 | not quite that low, maybe around
50% would be good, and just start to
| | 01:20 | incrementally brighten up
some of these shadow areas.
| | 01:23 | And I'll go ahead and work on one
area and then I'll work on another.
| | 01:27 | Now, if you have more time, you're
going to want to get really precise with
| | 01:30 | these shadows and really
get into these little details.
| | 01:32 | If you are in a little bit more of a
hurry, well you could always do this
| | 01:36 | quickly as I am doing here and then
we can blur out these brushstrokes.
| | 01:41 | Yet even if we're going to do that,
you're noticing that I am constantly
| | 01:44 | changing my brush size.
| | 01:45 | I am just going back and forth, changing
my brush size, just looking at the little
| | 01:49 | shadows, which are building up the
contrast, and I just want to diminish that a
| | 01:53 | little bit so the shadows aren't quite so deep.
| | 01:56 | Nothing really huge or dramatic here
but some important little improvements.
| | 02:00 | If we want to bring these out more,
click in our curve, and we can brighten
| | 02:04 | those up even further.
| | 02:06 | Okay, well next, let's go to the Mask panel.
| | 02:08 | In the Mask panel bring up the Feather amount.
| | 02:10 | That's going to really
soften those brushstrokes.
| | 02:12 | Again, when you're in a hurry, when your
brushstrokes aren't very good, this can
| | 02:16 | really save the day.
| | 02:17 | Here we have it, before and then after,
just some subtle brightening of some
| | 02:21 | of those shadow areas. Let's zoom out.
| | 02:24 | Where else could we benefit from this?
| | 02:26 | Over here in this shadow, it could be nice.
| | 02:28 | Let's lower the Opacity even a touch
more and just start to brighten the shadow
| | 02:32 | up here and again we're just looking
to try to pull out some of this real high
| | 02:36 | contrast look that we have.
| | 02:38 | Nothing huge, nothing over the top here
but a little bit of work on light and shadow.
| | 02:43 | Later, what we'll actually do is
darken up some of the other shadows, which
| | 02:47 | will be kind of fun to do, and you'll
see how we'll do that in order to bring
| | 02:51 | out dimension or shape.
| | 02:53 | Okay, well, I am just looking for any
area where I think would be nice to just
| | 02:58 | brighten up the shadow a touch and
here we have it, before and then after.
| | Collapse this transcript |
| Cleaning up the details| 00:00 | The next thing that we're going to
take a look at is how we can clean up some
| | 00:02 | of the small details.
| | 00:04 | So let's go ahead and zoom in on the
face here a little bit and let's work on
| | 00:07 | that area of the image.
| | 00:08 | Here we'll create a new layer by
clicking on the New Layer icon.
| | 00:11 | We'll go ahead and call this one details.
| | 00:14 | Next, we'll select one of our retouching tools.
| | 00:16 | Say, for example, like the
Healing Brush or the Spot Healing Brush.
| | 00:19 | I am going to go ahead and use the
Healing Brush, make sure it's Aligned,
| | 00:22 | sampling to All Layers.
| | 00:24 | I want a nice and small brush size, so
I press the Left Bracket key, then on a
| | 00:28 | Mac you press Option, on Windows you
press Alt, you sample a nice area and you
| | 00:33 | continually press Option or Alt
almost for every blemish that you're doing here,
| | 00:38 | and in this case, the reason I want to
do that is I really want to hide my tracks.
| | 00:42 | I want to keep this supernatural
looking, so I am just always sampling a
| | 00:47 | different area just to make sure that
I have really good clean retouching.
| | 00:51 | I am reducing and simplifying in a way
that makes sense, and that looks good.
| | 00:55 | Now, I am starting off on the smaller
areas, the small little skin variations or
| | 01:00 | even these little freckles too, just
to kind of reduce and simplify perhaps a
| | 01:04 | bit more, and as I am making my way
around, if I see larger areas, say like a
| | 01:09 | little area on the neck there, little
wrinkle, I'll go ahead and work on those,
| | 01:12 | but I am trying to stay focused on some
of the smaller little areas, so as not
| | 01:17 | to get too distracted with the bigger
stuff but to really stick to the smaller stuff.
| | 01:22 | Because what you can do is once
you've removed a lot of the small stuff,
| | 01:26 | then later you can go back to the
bigger areas, and you can do even better work
| | 01:31 | on those areas after you've
done the work on the smaller areas.
| | 01:34 | Now, in this case I've zoomed in past 100%.
| | 01:38 | Sometimes that can be really helpful;
| | 01:40 | sometimes it can be a bit too much.
| | 01:41 | So you just want to be
careful that you zoom in and out.
| | 01:44 | I am going to zoom out here a
little bit just to see how we're doing.
| | 01:48 | Now, let's say so far so good.
| | 01:49 | I think we are going in a good
direction, and I am looking to reduce and
| | 01:52 | simplify as much as possible, just
removing little teeny variations that I am
| | 01:58 | noticing, just make my way through this,
just working on those little areas.
| | 02:02 | I think so far we're doing some good work here.
| | 02:05 | I'll just look on other areas of the
image, see if there is anything else
| | 02:09 | that might be nice to reduce and simplify,
and again just make my way around the image.
| | 02:14 | So, what you want to do here is just
really kind of be content, looking at
| | 02:17 | little teeny small blemishes, looking
to how you can try to reduce those and
| | 02:22 | trying to create a little bit more of
a stylized look here in regards to its
| | 02:26 | overall look and tone, and I'll just
do this really quickly by pressing the
| | 02:31 | Spacebar key, panning around any other
little areas that might need it, and then
| | 02:36 | we'll make our way back around the image,
and a lot of the decisions in regards
| | 02:41 | to how far you go with this
is completely up to you, right?
| | 02:44 | It really is subjective,
| | 02:46 | how far you go, and also it's important in
regards to the overall intent of the photograph.
| | 02:51 | I want to make sure you
have a smaller brush size,
| | 02:53 | my brush size was too big there, when
you are working on little teeny areas and
| | 02:58 | then a bigger brush size when you
are working on the bigger areas.
| | 03:00 | All right, make my brush a little bit bigger.
| | 03:03 | I am going to work on that area over
there. Perhaps a little bit smaller.
| | 03:07 | I am just going to try to brighten that
up just a bit there and it looks okay,
| | 03:12 | not amazing, so I am going to have to
go back and forth over that a couple of
| | 03:15 | times until I get that looking good.
| | 03:17 | All right, well, so far so good.
| | 03:19 | Let's zoom in just a touch more here,
make my brush really nice and small, and I
| | 03:23 | am just going to work on the lips here,
just a couple little areas I think would
| | 03:27 | be nice to clean up and then also
little edge of the lip there, alright.
| | 03:33 | Zoom way in to do all this
little teeny detail work.
| | 03:36 | You'll be surprised at how zooming in
and zooming out can really help you,
| | 03:40 | because a lot of times we look at one
perspective, and we see only area of
| | 03:45 | imperfection, we don't realize that
there is another aspect to it, or sometimes
| | 03:50 | we get too close, and we're just zoomed
in too far and so we overlook something
| | 03:54 | that's a little bit more prominent,
a little bit more outstanding.
| | 03:57 | So, you want to zoom in and out to
do all different types of work here.
| | 04:01 | All right, well, I think that for demo
purposes this image is in a pretty good spot.
| | 04:06 | Let's zoom out a little bit. See if we're
doing well with our first pass on details.
| | 04:11 | Here it is, our before and then our after.
| | 04:15 | I'll zoom in closer so you can see
that before and then after, some really
| | 04:20 | simple clean up work, yet
nonetheless some really significant retouching.
| | Collapse this transcript |
| Removing unwanted highlights on the skin| 00:00 | The next thing that I want to do is
diminish the highlight on the forehead and
| | 00:04 | on the face a little bit.
| | 00:05 | So let's zoom into that area of the
image and then press the Spacebar key and
| | 00:09 | click and drag around just so
we can focus in on this area.
| | 00:12 | Now, we have this bright highlight here on
the forehead and also a little bit on the cheek.
| | 00:16 | I just want to take that back a bit.
| | 00:18 | Now, I want to show you a bit of a
cheater trick here in order to do that.
| | 00:22 | Here we'll zoom in a little bit even
further, then we'll create a new layer
| | 00:26 | by clicking on the New Layer icon, and I am
going to go ahead and just name this highlight.
| | 00:31 | Next, we'll press the B key for our
Brush tool and what you're going to do is
| | 00:35 | hold down Option on a Mac, Alt on
Windows and then that changes your Brush tool
| | 00:39 | into an Eyedropper, and you can
then click on the area of skin.
| | 00:43 | Here you can see I've clicked on that area.
| | 00:45 | It's giving me this color.
| | 00:47 | Now, the one thing that you might want
to do before doing that is go to your
| | 00:50 | Eyedropper icon and make sure you're
using something other than Point Sample.
| | 00:54 | For higher res files,
you want a higher averaging.
| | 00:57 | That will then sample an area and then
it will average that out and give you an
| | 01:01 | appropriate color in
regards to where you're clicking.
| | 01:05 | All right, well back to our Brush tool.
| | 01:06 | Well, here we have our Brush tool. We Option+
click or Alt+click on a sample area of skin.
| | 01:11 | Next, we are going to lower our
Opacity down to somewhere below 30%.
| | 01:14 | It could be close to 30 but pretty low.
| | 01:18 | Next, with the real soft edge brush,
make sure there's no Hardness, 0%, and then
| | 01:23 | we're just going to slowly paint over
this area with this color skin tone, and
| | 01:28 | the funny thing about this is what
we're doing is actually smoothing this out a
| | 01:32 | little bit and changing its overall color.
| | 01:35 | I am going to make my brush a little bit
bigger here just so I can get into these areas.
| | 01:39 | Next, a little bit smaller down here,
Option+Click or Alt+Click to get a good
| | 01:43 | sample area for this highlight and
then go ahead and just paint over the
| | 01:47 | highlight that you want to reduce.
| | 01:49 | And in this case, we can
really work on these highlights.
| | 01:52 | Now, what we want to do next is go to
Filter > Blur and then Gaussian Blur and
| | 01:57 | then just blur it out a little bit, and
as you zoom in what you'll see is that
| | 02:01 | the Blur will just soften those
brushstrokes, and it will kind of combine them
| | 02:05 | together even a little bit
more effectively. Click OK.
| | 02:08 | Well, now, here we just have
color painted on top of this area.
| | 02:13 | So we have to be careful with this.
| | 02:15 | We can't have this at 100% Opacity
most likely, because we're just losing too
| | 02:19 | much of the texture of the skin.
| | 02:22 | Yet that being said the texture is
really brought out by the highlight, so in
| | 02:26 | turn we're smoothing that a little
bit and we're changing its color.
| | 02:29 | So, here as we lower
Opacity we can find a sweet spot.
| | 02:33 | Here it is before and then after.
| | 02:35 | It looks like at about 60% in this
case it looks good. Before and then after.
| | 02:40 | And here is the other trick with this technique.
| | 02:43 | If ever you need to really crank this up,
you need to high your Opacity, you can
| | 02:47 | always go back and go to Filter >
Noise and then Add Noise, and you could
| | 02:51 | actually add a little bit of noise to
your brushstrokes, and as you do that, you
| | 02:55 | can see it can bring in texture.
| | 02:57 | Now here I've exaggerated the texture,
but what you can do is really watch that
| | 03:02 | and look for just the right amount of
incremental texture or noise there so that
| | 03:06 | matches the other grain
structure in the other areas of the image.
| | 03:11 | Now, in this case I don't think we
necessarily need to do that if we look at
| | 03:14 | our before and after.
| | 03:15 | It's not that advantageous
to have some texture in there.
| | 03:19 | I think it matches pretty well,
although it couldn't hurt per se to have maybe
| | 03:23 | add about one, perhaps just adding a
little bit of texture there, so it's not
| | 03:27 | completely diffused.
| | 03:28 | Again, it didn't completely
kind of blur out the skin tone.
| | 03:32 | Let's click OK, and let's try that.
| | 03:34 | Let's see how it works.
| | 03:35 | Here is again that before and then
after, and I think that looks pretty good.
| | 03:40 | All right, well so far so good.
| | 03:41 | We've done some great work in regards
to the overall retouching of this image.
| | 03:46 | The next thing that I want to do is
organize my layers and then work on
| | 03:50 | dimension even a bit further.
| | 03:52 | So if we click through the layers, we can see
that we did a little bit of work with shape.
| | 03:55 | We did some work with the shadows.
| | 03:57 | We've retouched some small details,
and then we worked on those highlights.
| | 04:01 | Now, this last highlight layer I am
not completely convinced of. So I am going
| | 04:05 | to lower my Opacity.
| | 04:06 | I think it was too high there.
| | 04:08 | I want to just take back that
highlight on the face, not quite go so far, and
| | 04:13 | then once I find the exact spot where I
want that, what I am then going to do is
| | 04:18 | really commit to all of these adjustments.
| | 04:20 | To do that, let's merge to top first.
| | 04:23 | Press Shift+Option+Command+E on a Mac,
Shift+Alt+Ctrl+E on Windows, then click
| | 04:29 | in this top new merge layer, hold down
the Shift key, click in the bottom layer
| | 04:33 | of all of your adjustments, and then
press Command+E on a Mac, Ctrl+E on
| | 04:38 | Windows, and let's go ahead
and just name this retouching.
| | 04:41 | And this will be our basic retouching layer.
| | 04:43 | Here is our before and then here is
our after, and by committing to this, what
| | 04:48 | it will do for us is give
us a little bit of momentum.
| | 04:51 | It will keep our project really simple.
| | 04:53 | It'll keep our file size down as well and
now we're ready to move to the next step.
| | 04:58 | We're going to work on
dimension by burning and dodging.
| | Collapse this transcript |
| Sculpting dimension in the muscles| 00:00 | Now that we have done some really
basic retouching, next what I want to do
| | 00:03 | is work on dimension by working on
the shadows and the highlights and this
| | 00:07 | gets really interesting.
| | 00:08 | Here is what we're going to do.
| | 00:10 | We're going to click in our Adjustments panel.
| | 00:11 | Then we're going to create a Curves adjustment.
| | 00:14 | We want to focus in on the area that
we're going to be working on, say the
| | 00:17 | shadows, and then we'll go ahead
and take a look at these shadows.
| | 00:20 | You notice that these are little bit
more in the mid-range of our histogram.
| | 00:24 | As we position the cursor over that
area, it's a little bit more in here.
| | 00:27 | So let's go ahead and click
relatively close to that area and drag down.
| | 00:31 | We want to darken that up.
| | 00:33 | Next, what we're going to do is just
darken it up perhaps a little bit more there.
| | 00:38 | Then we'll go ahead and invert the mask.
| | 00:41 | Go to the Mask panel. Click on Invert.
| | 00:43 | Now grab your Brush tool.
| | 00:45 | I want to make sure you're using a
really soft edge brush, no hardness there,
| | 00:49 | and Opacity, which is really low.
| | 00:51 | Let's go down to about 20% here.
| | 00:53 | Next, we're going to be painting with white.
| | 00:56 | We're going to go ahead and just start
to paint over these areas of shadows.
| | 01:00 | That looks like even
here my Opacity is too high.
| | 01:04 | So I am going to take this down perhaps to 10%.
| | 01:07 | What you'll need to do is experiment
a little bit with your own images in
| | 01:11 | regards to where you want
this to go for the shadows.
| | 01:14 | What you'll do is you'll paint back
and forth across the shadow areas.
| | 01:18 | In this case, what I'm trying to do is
bring out the shape that's already there,
| | 01:22 | and kind of bring out some of the
strength that's already there as well.
| | 01:25 | So I'll go ahead and just make my way
around this image looking for shadows
| | 01:29 | that I can darken up.
| | 01:31 | In this case, in this area it feels like
my Opacity is a little bit low, so I am
| | 01:35 | going to bring it up here, so I
can really work on these shadows.
| | 01:38 | For demo purposes, I am going to go with
a little bit of a higher Shadow amount,
| | 01:42 | and then I'll blur this out to softness.
| | 01:44 | So you'll be able to see how we
can really soften this up here.
| | 01:48 | I want to try to have nice shape or
dimension in this area of the image.
| | 01:51 | I'm just going to bring out all the
shadows that are already there, really just
| | 01:56 | drawing those out, and I'm working
on different areas of the photograph,
| | 01:59 | making my way around it.
| | 02:01 | You can see I'm really just
traveling pretty quickly here.
| | 02:04 | Perhaps I want to darken up the
cheekbones there a little bit, might be nice,
| | 02:08 | a little bit around the forehead too,
and the arms, and I'm just really hopping
| | 02:12 | and skipping around the image.
| | 02:14 | The reason why I want to do this is
whenever you're working with light, you want
| | 02:17 | to be careful not to go too far in any one area.
| | 02:21 | Now, when I get back to the stomach
area down here, I realize you know what,
| | 02:24 | I have just done too much here.
| | 02:25 | This is not looking very
good in regards the shadow.
| | 02:28 | I am going to need to
blur that out significantly.
| | 02:31 | I'm also noticing that I
have a huge color change.
| | 02:34 | So here is how we'll fix this.
| | 02:35 | Well, increase the Feather amount, and
we're really going to watch those shadows.
| | 02:39 | We're going to go ahead and just bring that up.
| | 02:41 | We're going to click on our
before and after. Here is before.
| | 02:44 | Here is after.
| | 02:45 | We should see this really nice subtle darkening.
| | 02:48 | Next, if we don't like the color that's
occurred as a result of this darkening,
| | 02:52 | we'll double-click the Curve adjustment,
go into your different channel, say you
| | 02:56 | need a little bit more red there perhaps,
add a touch of red, or maybe magenta.
| | 03:00 | Bring that into what the other skin
tone color is and go to those different
| | 03:04 | channels until you have a nice
color or tone in that area of the image.
| | 03:09 | Again, our before and then after, just
bringing out some of the muscles and the
| | 03:13 | details that we have there.
| | 03:15 | Well, that's the shadow side.
| | 03:17 | Now before we go any further, we need
to work on the highlights side as well.
| | 03:21 | Go back to the
Adjustment panel. Click on Curves.
| | 03:25 | Now, here we're just going
to brighten up the curve.
| | 03:27 | Next, invert the mask.
| | 03:29 | You can do so by pressing Command+I on
a Mac, Ctrl+I on Windows, or by clicking
| | 03:34 | on the Invert button.
| | 03:35 | Here we'll grab our Brush tool, again
paint with white, and again try to start
| | 03:40 | with a low Opacity.
| | 03:41 | I always like to be a little bit more
careful here when I'm working with these
| | 03:44 | types of adjustments.
| | 03:45 | I don't want to overdo things too hard.
| | 03:48 | So I am going to go ahead and paint
really lightly just to build up these
| | 03:52 | effects little by little.
| | 03:54 | Here I'm just going to go ahead and
bring out the highlights side of all of this,
| | 03:58 | change my brush size to get in a
little bit more detail, and also just
| | 04:03 | try to create nice shape there as I'm painting.
| | 04:06 | What this can do for us is it can help
us to really bring out different types of
| | 04:11 | shapes, or dimensions,
or shadows, or highlights.
| | 04:15 | What we're doing in this case
is nothing really over-the-top.
| | 04:18 | We're not necessarily completely
changing dimension or completely changing the
| | 04:23 | way something appears, but we are in
turn just adding a bit to the overall look
| | 04:29 | of the image and the overall
shadow and highlight relationship.
| | 04:33 | Well, so far so good.
| | 04:34 | I think we have some good light that
we've painted in here, nice, subtle amounts.
| | 04:39 | Here is before. Here is after.
| | 04:42 | Next, what we need to do with this is
add a little bit of feather to that.
| | 04:46 | Now, if we want to bring this out
even further, you can go into your Curves
| | 04:50 | adjustment and here you can increase this.
| | 04:53 | I'm going to do this in a way that
doesn't look good, but it kind of shows you
| | 04:56 | the different areas I've painted in.
| | 04:58 | Sometimes though that's helpful because
it will show you, you know what, I need
| | 05:02 | to go back to my mask.
| | 05:03 | I need to add a little bit more there,
or I need to add a touch more here,
| | 05:06 | change the shape of that area there or
perhaps I need to go to my Mask panel,
| | 05:11 | increase the Feather to soften that out
a bit, or another thing you might want
| | 05:16 | to do is not go that high of course,
but you might want to bring that up and
| | 05:20 | say well, let's bring in some color.
| | 05:22 | Let's add a touch of red into that, or
let's go to the Yellow channel if we want
| | 05:25 | a real kind of yellow glowy type of
look, we could do that, or we can go into
| | 05:29 | that Green/Magenta channel,
add a bit of hue there.
| | 05:32 | We can go through these different channels,
just looking to try to change the color or tone.
| | 05:36 | Lastly, let's take a look at this.
| | 05:39 | Let's say that we add some color
here or we make an adjustment.
| | 05:42 | Let's do some real exaggerating,
and we don't want this much color in.
| | 05:46 | Well, you can always try the
blending mode of Luminosity.
| | 05:50 | What that will do for you is you can see
now these highlights look really white.
| | 05:54 | Look at the before and after or
compare Luminosity with Normal.
| | 05:59 | It removes that color shift that we
have there and it just gives you the
| | 06:03 | Luminosity value of that layer.
| | 06:06 | So in this case of course we're too
strong, but sometimes it's nice to just have
| | 06:09 | a nice bright white highlight.
| | 06:11 | Other times, you may want a bit of
color and a bit of warmth inside of
| | 06:15 | that highlight there.
| | 06:17 | Well, the real trick with all of
this stuff is to think about combining
| | 06:20 | these layers together.
| | 06:22 | It's these two layers together which
really give us this particular look.
| | 06:26 | It's the shadows working on the shadow
side, then also working on the highlights
| | 06:30 | side and experimenting a little bit
with their blending, with their color, and
| | 06:35 | of course with their overall Opacity,
because again we're not going for
| | 06:39 | something that's completely surreal.
Rather we're just looking to bring out
| | 06:43 | something that's already there.
| | 06:45 | Let's take a look at our overall
before and after at this juncture.
| | 06:48 | Here it is before, and then after.
| | Collapse this transcript |
| Increasing height| 00:00 | At this stage, I want to showcase two
different techniques that we can use in
| | 00:03 | order to change height.
| | 00:05 | The first one involves changing
height in a particular area of an image;
| | 00:09 | the other one involves changing the
overall height or scale of an image.
| | 00:13 | So first, let's click in our topmost layer.
| | 00:16 | Next, let's merge to top.
| | 00:18 | To do so, press Shift+Option+Command+E
on a Mac, Shift+Alt+Ctrl+E on Windows,
| | 00:23 | and we'll go ahead and name this torso.
| | 00:25 | Let's say that one of the things that we
want to do is increase the length of the torso.
| | 00:29 | Well, to do that, we need
to free transform the image.
| | 00:32 | Press Command+T on a Mac, Ctrl+T on
Windows to do that and then zoom out
| | 00:37 | and then go ahead and click and drag
until you see a particular change that
| | 00:41 | you think might work.
| | 00:42 | Now, in this case, I'm clicking and
dragging up, increasing the overall
| | 00:45 | height of the image.
| | 00:46 | Then I'll press Enter or Return.
| | 00:49 | Now what I want to do is just increase
the height of this area of the image.
| | 00:53 | So what I need to do then
is I need to create a mask.
| | 00:56 | I'll do so by holding down the Option
key on a Mac, Alt key on Windows, and then
| | 01:00 | clicking on the Add Layer Mask icon.
| | 01:03 | This will create a mask filled with black.
| | 01:05 | What I will do next is grab my Brush tool.
| | 01:07 | I will paint with white at
100% Opacity, all the way up.
| | 01:11 | I am going to go ahead and just try
to paint in particular adjustment.
| | 01:15 | Here we can see I am just painting
in this particular part of the image.
| | 01:18 | Well, it's too high and that makes
sense, because we'd stretched that up.
| | 01:23 | Well, I just need to bring this down until
it's aligned exactly with where it was before.
| | 01:28 | So I click on this before and after,
and I will zoom it even closer, so you can
| | 01:32 | see what I'm doing here, so that I
can get this exactly where it was.
| | 01:35 | So we just have this really nice alignment.
| | 01:37 | Nothing really has changed this portion
of the image and in a sense, all we've
| | 01:41 | done is masked in one little area
in order to get our alignment on.
| | 01:46 | Well, now that our alignment is on,
what we can do is grab our Brush tool and
| | 01:51 | then continue to paint with white and
I'll zoom out, so I could use a bigger
| | 01:55 | brush here and you can
see how we are doing this.
| | 01:57 | In a sense what we are doing then is
just painting with white this lower portion
| | 02:01 | of the image, and we want it to be consistent.
| | 02:03 | So I'll go ahead and paint that all
over the background and also work on any
| | 02:07 | background elements that
might needed a little bit.
| | 02:09 | You saw that I need to paint in this
area to a touch and in a sense, all that
| | 02:14 | I've done now is I've increased the
length of this area of the photograph.
| | 02:18 | Now, it's a subtle change, but
sometimes it's changes like this that can really help.
| | 02:22 | Now what you can do with this is as
you make these changes, you can change
| | 02:26 | everything. If you need everything to
be changed, in this case let's say all
| | 02:30 | of this area, or you could always paint
with black on the areas that you don't
| | 02:35 | want to have changed.
| | 02:36 | So perhaps you want the muscles
should made exactly the same as they were.
| | 02:40 | You could then mask those out
and then paint in another area.
| | 02:44 | The whole point is that you can have
control over what you're bringing in, in
| | 02:48 | regards to scaling the image.
| | 02:50 | Here's your before and after and what
you're changing in order to come up with
| | 02:54 | the best look for a photograph.
| | 02:56 | Now sometimes you need to do this
because of distortion from a particular type
| | 03:00 | of lens or perspective.
| | 03:02 | Perhaps you are shooting a photograph from
a wrong perspective up above or down below.
| | 03:06 | In this case, we don't
necessarily need to do this.
| | 03:09 | I mean it's not a real huge
improvement, but nonetheless, it showcases this
| | 03:13 | technique of how we can change a
particular area of the photograph.
| | 03:17 | All right, well lastly, I am going to
go ahead and just paint the adjustment
| | 03:20 | into this entire area here.
| | 03:22 | So I am going to make my brush a little
bit bigger just to be consistent so that
| | 03:25 | there is nothing that's going to look
unnatural, and that will look good there.
| | 03:29 | All right, well with your mask,
you may want to just double-check it,
| | 03:32 | Option+click or Alt+click your
mask that will show you if you indeed
| | 03:35 | have everything here.
| | 03:37 | That looks like I do.
| | 03:38 | I'll go ahead and just clean up some
of these edges and then Option+click
| | 03:41 | or Alt+click again.
| | 03:43 | All right, so we looked at changing
a particular area of a photograph.
| | 03:46 | What about the whole thing?
| | 03:47 | Well, let's say, we made that change.
| | 03:49 | Well, what we could do next is merge the
top again. Press Shift+Option+Command+E
| | 03:54 | on a Mac, Shift+Alt+Ctrl+E on Windows.
| | 03:57 | Let's name this height and then press
Command+T on a Mac, Ctrl+T on Windows.
| | 04:01 | I am just going to click and drag up,
maybe just 2% or 3% there, and then
| | 04:06 | press Enter or Return.
| | 04:09 | Sometimes just by stretching the
height of a photograph of a person, it makes
| | 04:12 | them feel like they're kind of on a
movie poster or billboard, or they are
| | 04:16 | taller than they really are.
| | 04:17 | It gives it that aura or
that different type of a look.
| | 04:21 | Here you can see that we have that.
| | 04:22 | Here is our before and after. If you zoom
in a touch more so you can evaluate this.
| | 04:27 | You can see the overall changes here.
| | 04:29 | Here is before and then after.
| | 04:32 | It's not huge but again, it does
change the overall look of the image.
| | 04:36 | Before and then after.
| | 04:38 | All right, well now that we've done
all this work, our last step is going to
| | 04:42 | be to organize our layers and then
review our overall progress, and we'll do
| | 04:47 | that in the next movie.
| | Collapse this transcript |
| Applying midtone contrast and sharpening| 00:00 | Well, then wrapping up our work on this
image, there are just a few more things
| | 00:03 | that I want to do here.
| | 00:04 | In particular, I want to work on the
overall color and tone and also midtone
| | 00:08 | contrast and then of course, organize
our layers and review what we've done.
| | 00:12 | So first though, let's click in our
topmost layer and then merge to the top.
| | 00:16 | To do so, press Shift+Option+Command+E
on a Mac, Shift+Alt+Ctrl+E on Windows,
| | 00:21 | and we'll name this apply image.
| | 00:24 | Now apply image is something that many
photographers integrate to their overall
| | 00:27 | workflow and actually use quite often.
| | 00:30 | Here is how it works.
| | 00:31 | We navigate to the Image pulldown
menu, then we select Apply Image.
| | 00:35 | Now what we are looking for here is
to choose something that will bring out
| | 00:38 | really interesting or intriguing color.
| | 00:41 | We can do different blending.
| | 00:42 | You could see we have different
blending modes, like we could try Multiply or
| | 00:45 | we could try Screen.
| | 00:47 | Now these blending modes work in a
way that's typical to blending modes.
| | 00:50 | We're used to see in screen
brightening or Soft Light, adding contrast and
| | 00:53 | color, but what we can do
is get even more particular.
| | 00:57 | We can go to Soft Light blending, then
we can go to one particular channel, and
| | 01:02 | we can then modify the color based on
Soft Light blending for that Red channel
| | 01:06 | or let's try the Green channel.
| | 01:08 | I bet that will look good here on this image.
| | 01:10 | Then we can lower the Opacity.
| | 01:12 | It rarely looks good at 100% Opacity,
and we could come up with some pretty
| | 01:16 | interesting results.
| | 01:17 | Here is before, and then
here is after. Just nice color.
| | 01:21 | I like the detail, the color or tone of the red.
| | 01:24 | And of course, you want to
experiment a little bit using your
| | 01:26 | different channels.
| | 01:27 | That Blue channel looks pretty good as well.
| | 01:29 | The skin has a little bit of a
different tone to it, but I think I am going to
| | 01:33 | go for the Green channel and then
click OK in order to apply that.
| | 01:37 | All right, so far so good. Here is before.
| | 01:40 | Here is after.
| | 01:41 | Let me zoom in a little bit so you
can see that before and then after.
| | 01:45 | The next thing I am going to do is go to
my Filter pulldown menu, choose Sharpen
| | 01:50 | and then Unsharp Mask.
| | 01:52 | Now in Unsharp Mask, I am going to use
this old midtone contrast trick we've
| | 01:55 | learned, where you take your Amount
down to 0, your Radius goes really high,
| | 02:00 | and then you incrementally bring up
your Amount just until you see nice
| | 02:04 | contrast on the image, and you want to
slowly bring this up. Cick on the P key
| | 02:09 | to look at your preview. There is before.
| | 02:11 | There is after.
| | 02:12 | So now we have this contrast there in
the midtone range, and then just swing
| | 02:16 | this back and forth until you see a nice
amount of midtone contrast. Click OK in
| | 02:21 | order to apply that and then you have
this layer, which not only has this Apply
| | 02:25 | Image effect, but it also
has the midtone contrast.
| | 02:28 | Here it is, before and then after.
| | 02:31 | It really gives it that snap
that we need with this image.
| | 02:34 | Here is again that before and after.
| | 02:36 | Now, here with this one what I want to
do is just lower the Opacity a little bit.
| | 02:40 | Bring it in exactly where I want it.
Before and after. I think that looks good.
| | 02:44 | All right, well now, let's
organize everything that we've done.
| | 02:48 | And the best way to do this at least in my
opinion is just to merge everything to top.
| | 02:53 | The only reason I do that is it's kind
of my safety net just to make sure that
| | 02:56 | you have everything off the layers, the
blending mode, the Opacity changes, the
| | 03:00 | masking, it always just flat into one layer.
| | 03:03 | Then after we've done that,
we'll flatten it back down.
| | 03:07 | So here's the step.
| | 03:08 | We click in our topmost layer.
| | 03:09 | We press Shift+Option+Command+E on
a Mac, Shift+Alt+Ctrl+E on Windows.
| | 03:14 | We'll go ahead and name this
finished or something along those lines.
| | 03:17 | Next, we click in this layer, hold down
the Shift key, click in our bottommost
| | 03:22 | layer of all of the adjustments we
have made, and then press Command+E or Ctrl+E.
| | 03:26 | Now we can really evaluate what we've
done, and we can also arrive at a place,
| | 03:32 | where we say you know what,
this image is near being completed.
| | 03:35 | Let's press F to go to Full Screen View
mode, reposition the image over to the
| | 03:39 | left, so we can evaluate it.
| | 03:41 | Press F7 to bring back our Layers
panel, and then here we have it;
| | 03:45 | our before and then our after.
| | 03:48 | Now if you are a little bit nervous
about flattening your layers, no big deal.
| | 03:52 | You could always undo what you've done
by pressing Command+Option+Z on a Mac,
| | 03:57 | Ctrl+Alt+Z on Windows, and then here
what I'll do is delete this topmost layer,
| | 04:02 | delete the finished layer and rather
than merging or flattening all of our
| | 04:06 | progress, let's group it.
| | 04:07 | To do that, click in your topmost layer,
hold down the Shift key, click in the
| | 04:12 | bottommost layer, and then press
Command+G on a Mac, Ctrl+G on Windows.
| | 04:16 | That will group all of those adjustments
and we can call these finished as well
| | 04:20 | and see the same before and after.
| | 04:23 | The only reason why we might want to do
this is so that we can really evaluate
| | 04:27 | each and every layer because we may
decide you know what, we don't really like
| | 04:31 | this top adjustment.
| | 04:32 | Well, we can take that off. Or we
don't like the height adjustment or any of
| | 04:36 | these other changes that we've made,
we can go through and change them or
| | 04:40 | modify them as needed.
| | 04:42 | All right, well that wraps
up our work on this image.
| | 04:45 | Here it is, our overall before and then after.
| | Collapse this transcript |
|
|
10. Surfer PortraitMaking basic adjustments with Adobe Camera Raw (project 1)| 00:00 | In this chapter, we will be doing two
small projects, where we'll start off
| | 00:03 | with the photograph that's good, but
not great, and we'll explore how we can
| | 00:07 | make these images better by way of
working with Adobe Camera RAW and cropping
| | 00:12 | and then working with color and tone, and
looking to try to improve the overall photograph.
| | 00:17 | Now both pictures are photos of a
professional surfer, professional
| | 00:20 | photographer, and writer,
really fascinating person and artist.
| | 00:24 | We're going to start off with
this image here. It's joe_01.
| | 00:26 | Let's open this up in Camera RAW.
| | 00:30 | We can do so by going to File and then
selecting Open in Camera RAW, or you can
| | 00:34 | press Command+R on a Mac, that's
Ctrl+R on Windows, or you can always
| | 00:40 | right-click or Ctrl+Click right on the
image and then select Open in Camera RAW.
| | 00:46 | Well, either way let's go ahead
and open this file up in Camera RAW.
| | 00:50 | Once we have this image opened in Camera
RAW, what I'll first want to do is work
| | 00:54 | on the overall exposure and tone.
| | 00:56 | We're just going to make a
few minor adjustments here.
| | 00:58 | So I'll go to my sliders
here in the Basic panel.
| | 01:01 | Then I'll increase my Exposure a
little bit, adding a touch of Fill Light as
| | 01:05 | well, and then some Brightness,
and a little bit of Contrast.
| | 01:08 | Just making my way down, really
making some simple adjustments.
| | 01:12 | Well, now that we've done that.
| | 01:14 | The image is looking better. Press the P key.
| | 01:16 | Here is our before, and then after.
| | 01:19 | Next thing I want to do is warm this
file up a bit or experiment perhaps with
| | 01:22 | warming it or cooling it off.
| | 01:24 | We'll go to our Temperature slider to do that.
| | 01:26 | Again, we're just looking to try to
make some creative enhancements, just to
| | 01:29 | modify this photo a little bit.
| | 01:31 | I think a little bit of
warmth there looks kind of nice.
| | 01:35 | Now the next thing we need
to do is work on composition.
| | 01:38 | One of the problems here is that
we see too much of the background.
| | 01:42 | We need to crop this out.
| | 01:44 | Ideally, we should have done that on camer.
| | 01:45 | I should've done that, but I didn't.
| | 01:47 | So I need to use the Crop tool
here to improve my composition.
| | 01:51 | I want this image really to be about
the surfer and the board, because this is
| | 01:55 | for his surfboard sponsor.
| | 01:57 | So if they're going to use this, I have
to get a little bit tighter into the frame.
| | 02:02 | So let's press the C key to grab our Crop tool.
| | 02:04 | Next, what we can do is go ahead, and
click and drag over the entirety of the image.
| | 02:08 | Hold down the Shift key and then go ahead
and click and drag one of your corner points.
| | 02:13 | That'll just maintain that aspect ratio.
| | 02:16 | Now once you've done that, you can
hover over the crop area and click and drag
| | 02:20 | to reposition the crop.
| | 02:22 | Now if you're not concerned about
aspect ratio, well, of course, you can always
| | 02:25 | simply click on one of the corner points
| | 02:27 | then click and drag in order to
change the overall composition.
| | 02:31 | Again, what I wanted do is really
bring the athlete and artist forward.
| | 02:35 | I wanted it to be a little bit more about him.
| | 02:38 | So I'm going to go ahead and
just make a few little changes here.
| | 02:40 | Make sure I'm cropping out the wall.
| | 02:43 | Here is a trick whenever you have a
pattern like this in the background.
| | 02:46 | If the pattern extends the edge of
the frame, then the viewer of the
| | 02:51 | image thinks that that pattern kind of goes
on forever, because it's never interrupted.
| | 02:55 | It's a real point of
visual interest in photography.
| | 02:58 | So a lot of times with patterns, you want them
to extend all the way to the edge of a frame.
| | 03:02 | Now another thing we can do here is
change the overall lean, if we wanted to,
| | 03:06 | by hovering over one of these corner points
and then clicking and dragging one way or another.
| | 03:11 | Next, double-click in the crop area in
order to apply it or press Enter or Return.
| | 03:16 | Now the great thing about cropping in
Camera RAW is that you can always undo this.
| | 03:21 | Press the C key to reenter the Crop tool.
| | 03:24 | Reposition this crop that you've applied here.
| | 03:27 | Then double-click to reapply.
| | 03:29 | Well, here you can see the photo now
is becoming much more about the subject.
| | 03:34 | We've really reduced and
simplified it a great deal.
| | 03:37 | The image is becoming a much more
powerful photograph, simply because of
| | 03:42 | changing the overall
composition inside of Adobe Camera RAW.
| | 03:46 | I think the image is pretty good to go now.
| | 03:49 | Let's go ahead and open this
file up inside of Photoshop.
| | 03:52 | To do that, we'll simply click on Open Image.
| | 03:56 | Once this image is opened inside
of Photoshop, let's press F to go to
| | 04:00 | Full-Screen View mode.
| | 04:01 | Then click on the Spacebar and click
and drag in the image to reposition it a
| | 04:06 | little bit near the upper part of the
screen, because you don't want to be
| | 04:09 | leaning over when you're
working on your photos in Photoshop.
| | 04:12 | It's always a good idea to have
those up higher on your monitor,
| | 04:15 | so you're looking up a little bit.
| | 04:17 | Well, the next thing that we want to
do is start to work on color and tone to
| | 04:21 | add a bit of style to this image.
| | 04:23 | We'll explore how we can
do that in the next movie.
| | Collapse this transcript |
| Enhancing the color and tone| 00:00 | Here we're going to explore how we can
start to work on the color of the photograph.
| | 00:04 | Now one of things that I know about this
surfer is that he is a real soul surfer.
| | 00:07 | In regards to his photography,
he shoots a lot with film.
| | 00:10 | He likes that old analog process.
| | 00:13 | A lot of those ideas really
surround this particular surfer.
| | 00:16 | So what I want to do is try to create
color and tone and mood which kind of
| | 00:20 | reflects that, which taps into that.
| | 00:22 | So I want to give this a little bit of
almost a cross-processed tone type of esthetic.
| | 00:27 | So I'm going to start off by using Levels.
| | 00:30 | In order to do that, I'll
navigate to the Adjustments panel.
| | 00:32 | Then I'll click on the Levels icon.
| | 00:35 | Now you know that you can tap
into the different channels here.
| | 00:38 | We have the RGB, or we can go to the
Red, Green, or Blue channels themselves.
| | 00:43 | We can do so by clicking on this
pulldown menu or by pressing the
| | 00:47 | respective shortcut keys.
| | 00:48 | You want to learn those shortcut keys.
| | 00:50 | It's either Option+3, Option+4, Option+
5 for Red, Green, or Blue, or for the
| | 00:55 | composite RGB channel, it's Option+2.
| | 00:57 | Those are shortcuts on a Mac.
| | 00:59 | On Windows, that's going to be
Alt+2, Alt+3, Alt+4 or Alt+5.
| | 01:03 | The reason you want to learn those is
because it's the same shortcut that you'll
| | 01:06 | also use when you're working inside of Curves.
| | 01:10 | Well, if you don't like shortcuts, no big deal.
| | 01:12 | Simply click on the pulldown
menu and go to the Blue channel.
| | 01:16 | Here what I want to do is I want
to bring up the blues in the shadows.
| | 01:19 | I'm going to do this pretty
dramatically adding a lot of blue to this image.
| | 01:23 | I'm also going to go ahead and bring in
some yellows into the highlights there.
| | 01:28 | Again, I have this really kind of
stylized type of a look already.
| | 01:31 | I'm just going to modify these and mix
these two colors together, bringing in
| | 01:36 | some blue and also bringing in some yellows.
| | 01:39 | Well, I'm starting to like the look
of this, except the image feels almost a
| | 01:43 | little bit kind of fuzzy.
| | 01:44 | It needs a bit more contrast,
a bit more grit, a bit more feel.
| | 01:48 | Well, we'll get to that.
| | 01:49 | Next thing I want to do is click
on my Adjustments layer icon and
| | 01:52 | choose Hue/Saturation.
| | 01:54 | You can also do this by going back to
Adjustments panel and then selecting
| | 01:58 | Hue/Saturation here.
| | 02:00 | Well, what I want to do here is
remove some of the red that I'm seeing.
| | 02:04 | One way to do that is to click on the
pulldown menu and then choose the Reds, or
| | 02:08 | you'll notice we have similar shortcuts here.
| | 02:11 | In this case, it's Option on a
Mac or Alt on Windows, 2 through 8.
| | 02:16 | Let's go to the Red channel.
| | 02:17 | Here what I'm going to do with the
Red channel is just click and drag to
| | 02:20 | the right for my hue.
| | 02:21 | That's going to change the hue there.
| | 02:22 | You can see I'm modifying it.
| | 02:24 | I just want to warm it up a little bit.
| | 02:26 | Then also de-saturate it.
| | 02:27 | So remove some of the
reds that I'm seeing there.
| | 02:30 | The next thing I'm going to do is go
ahead and go back to my Adjustments, and
| | 02:35 | I'm going to choose Color Balance.
| | 02:37 | In Color Balance, right in my Midtones
I'm going to again just remove a little
| | 02:40 | bit of the reds there and then
increase the overall yellow on this image.
| | 02:44 | So again, it's giving it a little
bit more of that strong yellow tone.
| | 02:49 | It's these adjustments together that
have given me this particular look.
| | 02:52 | Well, now that I've done all of this,
one of things I want to do next is just
| | 02:56 | build up that contrast.
| | 02:58 | So do that, I'm going to use Curves.
| | 03:00 | We'll go back to the Adjustments panel,
click on our Curves icon, and I'm going
| | 03:05 | to go ahead, and deepen
those blacks up quite a bit.
| | 03:08 | I'm also going to work on my highlights
just a little bit there, bringing up a
| | 03:11 | little bit more light in that area.
| | 03:14 | That's where it kind of starts to get
fun, where you can start to exaggerate some
| | 03:18 | of those colors and really bring them out.
| | 03:20 | Now once you have this contrast
adjustment, you may want to go back and click
| | 03:24 | on and off these different layers.
| | 03:27 | Just see if they all work well together.
| | 03:29 | See if you might want to
change them one way or another.
| | 03:32 | You can also double-click
the icon say for Levels.
| | 03:35 | You could go back to that Blue/Yellow channel.
| | 03:37 | You could experiment with how
much Blue you want to bring in there.
| | 03:40 | Perhaps a little bit less would be nice.
| | 03:42 | Also, how much yellow you want
to bring in up in the highlights?
| | 03:46 | What we're looking to do is just to
create this stylized color and tone.
| | 03:51 | Now once you've done all that, it's
probably a good idea to organize your layers.
| | 03:55 | So let's do that.
| | 03:56 | We'll double-click the Adjustments
tab, which will collapse this panel.
| | 04:00 | Next, we can see all of the
adjustments that we've made.
| | 04:03 | What I'd like to do is click in one
of the adjustment layers, hold down the
| | 04:07 | Shift key, and then click in another
and then press Command+G or Ctrl+G.
| | 04:12 | We'll just name this color / tone.
| | 04:15 | Then we can see our before and after here.
| | 04:17 | Here it is our before, and then our after.
| | 04:20 | Just slightly modifying the color and
tone to give a little bit of a different
| | 04:25 | esthetic or look and feel
with this particular photograph.
| | 04:28 | Well, there are just a few more steps
that I want to take with this photograph.
| | 04:32 | We'll do that in the next movie.
| | Collapse this transcript |
| Final project review| 00:00 | Here I want to take just a few more
steps with this photograph in order to work
| | 00:03 | on the overall tonality of the image.
| | 00:06 | Now there are a number different
ways that you can work on tone, yet one
| | 00:09 | technique that you can use which is
kind of interesting is to merge all that
| | 00:13 | you've done to top and then to use
Shadow and Highlights to work on the
| | 00:17 | shadows or the highlights.
| | 00:19 | So let's go ahead and take a
look at how we can do that.
| | 00:21 | Here we'll click in our top layer
group then we'll merge to top by pressing a
| | 00:26 | shortcut which is Shift+Option+Command+
E on a Mac, Shift+Alt+Ctrl+E on Windows,
| | 00:32 | and I'll go ahead and name this layer, tone.
| | 00:34 | Next, we'll navigate to the Image pulldown menu.
| | 00:37 | Here what you are looking for is
Adjustments, and then you'll go all the way
| | 00:41 | down to Shadows/Highlights.
[00:00:44.0 0]
This is just a nice visual tool that
you can use to boost your shadows or to
| | 00:49 | bring down your highlights.
| | 00:50 | Let's work on the shadows.
| | 00:52 | Here I'll go ahead and increase my
Amount and my Tonal Width and then the Radius.
| | 00:56 | And you can see that what it's doing
for me is its just adding a little bit of
| | 00:59 | snap into that darker area of the
image. Now I can modify this one way or
| | 01:04 | another in order to have a greater or
lesser affect, and I can really control
| | 01:08 | this in a few different ways in order
to control the overall look of that area.
| | 01:12 | Here I'll bring down the Color Correction.
| | 01:15 | I don't want to over-saturate those colors.
| | 01:18 | Just add a little bit of Midtone
Contrast, and again I'm just looking to add a
| | 01:21 | little bit of snap into those areas
that I feel were a little bit too dark.
| | 01:25 | And you can see the before and
after as I click on this Preview button.
| | 01:29 | Here is before and then after.
| | 01:31 | Now in this case, I think the
Highlights are okay, but if we want to darken
| | 01:34 | those up we could also do that.
| | 01:36 | And actually, as I do this a little bit,
I'm surprised to see that I kind of
| | 01:40 | like the look of that.
| | 01:41 | I didn't realize that I would like that.
| | 01:43 | But what it did was darken up the
background there and also the surfboard.
| | 01:47 | Take a look at that. There is the
before and after, kind of a happy accident.
| | 01:51 | And that happens all the time,
right, when you're working in Photoshop.
| | 01:54 | I was focused in on my shadows but
just happen to swing the sliders for
| | 01:57 | Highlights and really decided that
that looked kind of nice, kind of bringing
| | 02:01 | back some detail there
into that area of the image.
| | 02:05 | All right, well let's click OK, in
order to apply those adjustments.
| | 02:08 | And now here we have this nice tone layer.
| | 02:10 | Here is our before and then our after,
really adding some nice dimension to the
| | 02:16 | overall look of the image.
| | 02:18 | Here is the overall before and then after.
| | 02:21 | And again, we're just trying to create
a hint of mood, this little bit of this
| | 02:24 | blue-yellow type of look.
| | 02:26 | It feels a little bit more like an aged
photograph, and there're just a few more
| | 02:30 | things that I wanted to here.
| | 02:32 | All right, let's zoom out.
| | 02:34 | Press Command+Minus on a Mac, Ctrl+
Minus on Windows, then let's click on our
| | 02:39 | Curves adjustment layer icon to
create a curve which is going to darken a
| | 02:43 | portion of the image, and then we can
paint in where we want to darken things up.
| | 02:47 | So here what we'll do is we'll go ahead
and click on the icon for Curves, and
| | 02:52 | we'll click and drag down.
| | 02:53 | And let's do so
drastically so we can see something.
| | 02:57 | Well on Normal blending mode we're
getting a pretty good color shift.
| | 03:00 | If we change this to Luminosity, it'll
just affect the luminance value here and
| | 03:06 | what that does is it
removes that drastic color shift.
| | 03:09 | And sometimes it's helpful to see
that when you have a real high amount,
| | 03:13 | either one way or another, that this
helps maintain the color relationship
| | 03:17 | that you already have.
| | 03:19 | So here now that I've seen that I'm
just going to try to find a nice spot for this,
| | 03:23 | and then I want to invert the mask.
| | 03:25 | Click in the mask and press Command+I
on a Mac, Ctrl+I on Windows, then grab
| | 03:30 | your Brush tool and here with our
Brush tool we're going to paint with a
| | 03:33 | little bit lower Opacity. Nice, big brush.
| | 03:36 | Sometimes it's fun to paint with a
brush, which isn't quite perfect.
| | 03:40 | I am going to go ahead and
just paint around the edges here.
| | 03:42 | And the great thing about this is
that whenever you're masking, as I've
| | 03:46 | said before, you can always undo this.
Simply hit the X key, and you can bring it out.
| | 03:50 | And here all I'm looking to do just
darken up my edges a little bit and try to
| | 03:54 | create a little bit of a vignette.
| | 03:56 | Now once I have a rough shape that I'm
liking in regards to the vignette, what I
| | 04:00 | want to do next is really blur
out all of these brush strokes.
| | 04:04 | There are a couple ways that you can do this.
| | 04:07 | And I want to just do a few more
little brush strokes here, just kind of
| | 04:10 | darkening up a couple of these areas
and one of the best ways to do that is to
| | 04:14 | the Mask panel and then in the Mask
panel, you can go ahead and increase the
| | 04:18 | Feather Amount, which is just going to
blur all of those brushstrokes out, making
| | 04:22 | this a little bit more of
a diffusef darkening affect.
| | 04:25 | Here you can see the before and after.
| | 04:28 | Let me zoom in so you can take a
better look at that, before and after.
| | 04:32 | Again, just bringing down some of those
edges which in turn helps us focus in a
| | 04:37 | little bit more on the subject.
| | 04:39 | Also, if you want more of a darkening
effect, double-click Curves, and then here
| | 04:43 | what you could do is go ahead and just
deepen this up and you can see how we
| | 04:46 | can really darken that up.
| | 04:47 | I am going to back and forth
until I find a nice spot with that.
| | 04:50 | All right just a couple of more
adjustments here with this image.
| | 04:54 | Next what I want to do is click on our
Adjustment layer icon and choose Curves.
| | 04:58 | This time, I am going to brighten
things up and just leave it on Normal.
| | 05:02 | Invert the mask, Command+I. Go ahead
and select your Brush tool and we'll
| | 05:06 | just paint in with white.
| | 05:07 | And I paint a little bit of brightening
effect on the subject here also maybe a
| | 05:11 | little bit on his shoes, on the ground
surrounded him down here, just bringing
| | 05:15 | in a touch of light to a few little areas.
| | 05:18 | I think it would be kind of nice, a little
but more around here, and then again go
| | 05:23 | into your Mask panel and blur out your
brushstrokes so you have a little bit
| | 05:27 | more of diffusion and here's that brightening.
| | 05:29 | Here is before and then after.
| | 05:31 | And it's these two layers together which kind
of bring us back to the subject a little bit.
| | 05:36 | It centralizes our view on
that area of the photograph.
| | 05:39 | All right, last thing I want to do is just
modify the tone a bit more on the face there.
| | 05:44 | So I am going to click on my
Adjustment layer icon, go Hue/Saturation, and
| | 05:48 | then I am going to the Target Adjustment
tool and just click on the tones in the face.
| | 05:53 | It takes me to the Reds.
| | 05:54 | Next, I am going to desaturate some of
those reds and then hold down the Shift
| | 05:59 | key and click a couple
of more little spots here.
| | 06:02 | Grab the eyedropper with the Plus icon
and you can get a few more colors.
| | 06:06 | I just felt like the Reds that were
happening in this image were a little bit too strong.
| | 06:10 | I want a bit more of that
muted kind of color palette.
| | 06:14 | And I think that's looking pretty good.
| | 06:15 | All right, let's organize our
layers and review what we've done.
| | 06:19 | In order to organize this, I'll click
in my topmost layer, hold down the Shift
| | 06:23 | key, and then click in my
bottommost layer of these adjustments.
| | 06:27 | On a Mac it's Command+G, on
Windows its Ctrl+G. I'll just call this
| | 06:32 | color/tone/2, our second set of adjustments.
| | 06:37 | Next, press F to go to Full Screen View mode,
and then F7 key will bring up our layers.
| | 06:43 | And the great thing about working in
this way is that if ever we don't like any
| | 06:47 | of our adjustments or if we feel we've
gone too far at one step, we can always
| | 06:51 | lower the entire group - that might be
nice to do here - or we can go into the
| | 06:56 | different adjustments, and we
can back those off as needed.
| | 06:58 | All right, well here you
can see our overall progress.
| | 07:02 | The starting image and then really
bringing in that blue and yellow color and
| | 07:06 | tone, and then pushing the image a
little bit further in order to give it this
| | 07:10 | interesting and intriguing look and feel.
| | Collapse this transcript |
| Making basic adjustments with Adobe Camera Raw (project 2)| 00:00 | In this project, we'll be
working on this photograph, joe_02.
| | 00:03 | It's a picture of the same person and
what I want to do is add a bit of style
| | 00:08 | and change the overall look and feel of
this image by improving its composition,
| | 00:12 | and also working on the color and tone.
| | 00:14 | So let's start off with
this image in Adobe Camera Raw.
| | 00:18 | To do so, you may recall that we can
go to the File pulldown menu and then
| | 00:22 | choose Open in Camera Raw.
| | 00:24 | We also can right-click or Ctrl+click
on the image and then select Open in
| | 00:29 | Camera Raw, or you can use a shortcut.
On a Mac, it's Command+R; on Windows,
| | 00:35 | that's Ctrl+R. Either way, let's open
up this image inside of Adobe Camera Raw.
| | 00:41 | Now, I like the composition here in
regards to this textured background.
| | 00:45 | I like that the surfboard is out of
focus in the background, but again, I think
| | 00:49 | the subject is a little bit lost in the frame.
| | 00:51 | I want to bring them a bit more forward.
| | 00:54 | So let's go ahead and press the C key
to select the Crop tool, or you can
| | 00:57 | always click on the Crop tool icon.
| | 01:00 | Next, go ahead and click and drag to
extend this out to the edge of the image
| | 01:04 | and then here if I want to maintain
that aspect ratio, just hold down the Shift
| | 01:08 | key and then go ahead and click and drag.
| | 01:11 | What I'm looking to do here is to
balance this out a little bit more and also
| | 01:17 | change the composition a bit.
| | 01:18 | I want it to be a bit more about this
subject, and I also want to crop this up
| | 01:22 | a little bit because it sure is wrinkly, and
it kind of looks a little bit too soft for me.
| | 01:27 | I want to have a little bit
more of a tighter crop there.
| | 01:30 | I'm just looking to try to find
something that I think looks good.
| | 01:34 | I still like having a lot of the
texture in the background, but I want to
| | 01:37 | balance this out a bit.
| | 01:38 | So I have the subject on the left side
of frame, the surfboard on the right, and
| | 01:43 | he's looking out of the frame.
| | 01:44 | So our eye is really going to go that way.
| | 01:46 | We're going to view the image from
left to right and really think about
| | 01:50 | what's happening over here with the
surfboard also behind him, kind of
| | 01:54 | interesting in that sense.
| | 01:55 | So I'll double-click to apply that.
| | 01:56 | Well, now I have something completely different.
| | 02:00 | One of the things I noticed here is that
I have a bit too much space on this side.
| | 02:04 | I need a little bit more
space on this side over here.
| | 02:07 | So I'll press the C key to reactivate
the Crop tool and just click and drag
| | 02:11 | to reposition that, try to find something
that I think will work well with this image.
| | 02:15 | I think right about there.
| | 02:17 | It's really about the surfer, but it's
not a straightforward direct shot and
| | 02:21 | this tighter crop just
adds a bit to the photograph.
| | 02:24 | All right next, let's do
some basic Camera Raw stuff.
| | 02:27 | Here we'll go ahead and increase our
Exposure a bit, add a lot of Fill Light
| | 02:31 | there to bring in some of the shadows
with lots of shadows in that area and then
| | 02:34 | we can boost that Contrast, little bit
of Brightness, add a touch of Clarity,
| | 02:40 | touch of Vibrance, maybe a little
Saturation, and I go to that Temperature
| | 02:44 | slider, and let's warm this up.
| | 02:45 | I want to have this really almost
tropical type of a feel, because this image,
| | 02:50 | when you look at it, you don't
necessarily know where it was captured.
| | 02:53 | Is this in Mexico, in some strange
corner of the world? And it kind of has that
| | 02:57 | nice travel entering to it, especially
with this particular person if you know him,
| | 03:02 | he travels all over the
world to the far corners of the world.
| | 03:05 | All right, well, I think that's
looking pretty good, some nice Camera Raw work.
| | 03:09 | Press the P key.
| | 03:11 | You can see your before and then your after.
| | 03:14 | We're now ready to open
this image up in Photoshop.
| | 03:16 | So let's go ahead and do so by clicking
on Open Image. That will then open this
| | 03:21 | photo up here in Photoshop.
| | 03:23 | We'll press F go to Full Screen View
mode, then click on the Spacebar key
| | 03:27 | and click and drag to reposition
the image near the top of the screen.
| | 03:31 | Next, let's start to work on its
overall color and tone in order to bring out a
| | 03:36 | little bit more of the tonality here
and to add a bit more depth to this image,
| | 03:41 | and we'll explore how we
can do that in the next movie.
| | Collapse this transcript |
| Working with shadows, highlights, and curves| 00:00 | Now that we have this good starting point,
what I want to start to do is work on
| | 00:03 | the overall tone and color.
| | 00:05 | One great way to work on tone that we
have already seen is to copy the layer
| | 00:10 | that we are working on, or merge to top
what we have and here what we can do is
| | 00:13 | simply copy the background layer.
| | 00:15 | We can do so on the Mac by pressing
Command+J. On Windows, you can press Ctrl+J,
| | 00:21 | or you can always click on the
Background layer and simply click and drag this
| | 00:25 | to the New Layer icon.
| | 00:26 | Now we have a duplicate of the background.
| | 00:29 | We'll go ahead and name this shadow/highlights.
| | 00:30 | So we are going to do some
shadow and highlight work there.
| | 00:36 | We'll go ahead and navigate to our
Image pulldown menu, select Adjustments, and
| | 00:40 | we are looking for Shadows/Highlights.
| | 00:43 | And here what I want to do is just
boost some of the overall shadows.
| | 00:46 | I am going to go into my Amount, my
Tonal Width, and then work with Radius until
| | 00:51 | I have some nice detail
in this area of the frame.
| | 00:53 | Now, from my Highlights, I want to
darken those up just a little bit in the
| | 00:57 | background there to add a bit more
depth to the photograph, a bit more separation
| | 01:02 | from the subject in the background.
| | 01:04 | I am just going to modify my overall
amounts here until I see something that's
| | 01:08 | catching my eye, and I think
that's looking pretty nice.
| | 01:11 | Take a look for yourself.
| | 01:12 | Here's before and then after.
| | 01:15 | Subtle yet important, and it's
especially important because I am going to add
| | 01:19 | some more contrast later and if ever
you know that you are going to build up
| | 01:23 | contrast, sometimes it's a good idea
to really brighten up some of those
| | 01:28 | shadows that you have.
| | 01:29 | Even though it feels too bright because
the contrast will then bring that back
| | 01:34 | down later, so you kind of create an
adjustment with a bit of foresight, knowing
| | 01:38 | where you're going next.
| | 01:39 | All right, well I don't need to go that
far with this one, but still I want to
| | 01:42 | have some nice detail in there.
| | 01:44 | In order to apply that, I'll click OK.
| | 01:46 | So here we have it:
| | 01:47 | our before and then our after.
| | 01:50 | Now, one thing that's really fun to
do with these type of adjustments is to
| | 01:55 | create a mask and then to paint in
the adjustments in the particular areas.
| | 01:59 | To do that, you hold down Option on a Mac,
Alt on Windows, and then click on the
| | 02:04 | Add Layer Mask icon.
| | 02:06 | When you hold down that modifier key
and click, it creates a mask filled with black,
| | 02:10 | concealing everything you just did.
| | 02:13 | Next, you can go ahead
and select your Brush tool.
| | 02:16 | Press the B key or just click on the
tool there, and then you can right-click or
| | 02:20 | Ctrl-click and that will open up the
dialog here and we can choose different
| | 02:23 | types of brushes in order paint in this effect.
| | 02:27 | Mostly though, you want no hardness on
that. Now we'll go ahead and increase our
| | 02:31 | Opacity just a little bit here, and I
am just going to start to paint this in.
| | 02:35 | I can paint this into a couple of
areas and I can kind of create a little
| | 02:38 | bit of drama sometimes because you
can control how this light is traveling
| | 02:42 | across the image here.
| | 02:43 | I am going to go ahead and just look
to bring in a little bit of these details
| | 02:47 | here on the shirt, a little bit on the
face, touch on the eyes there, and then of
| | 02:52 | course, on the hair, and then with
regards to the background, which remember,
| | 02:56 | we're just darkening up a bit.
| | 02:57 | We can go ahead and paint that in as
well, some of the midtone areas, get a
| | 03:01 | little touch of brightness too, and
then a little bit there in the surfboard.
| | 03:05 | Nothing huge, but take a look;
| | 03:07 | here is before and then after.
| | 03:10 | Just adding a little visual interest,
painting with light in this case on these
| | 03:14 | areas of photograph.
| | 03:17 | All right, I'll go ahead just a few
more brush strokes, go to the Mask panel,
| | 03:20 | and feather those out.
| | 03:22 | I always like to diffuse these. It just
softens the edges a little bit and makes it a
| | 03:27 | bit more interesting, I think, visually.
| | 03:29 | Okay, well now that we have done that,
the next thing I want to do is work with
| | 03:33 | Curves, and I want to work with
Curves to darken the background a bit.
| | 03:36 | In order to that, let's go ahead
and navigate to the Adjustments panel.
| | 03:40 | We can click on the icon for Curves, and
then I will go ahead and hover over the image.
| | 03:46 | When I hover over the image,
especially with the Target Adjustment tool
| | 03:49 | selected, I see these tones are really
in the upper area of the histogram, up
| | 03:54 | here, the top part of the curve.
| | 03:56 | I want to darken those up.
| | 03:57 | So, I am going to go ahead
and click and drag that down.
| | 04:00 | Now when I do that, the problem is
of course that I am darkening him;
| | 04:03 | I am darkening everything else as well.
| | 04:05 | That's no big deal because we are
going to mask it in where we want it.
| | 04:09 | So once again, what we want to
do is conceal this adjustment.
| | 04:13 | To do that, you want to invert your mask,
and I am sure you remember that shortcut.
| | 04:17 | It's Command+I on the Mac, Ctrl+I
on Windows, then press the B key to
| | 04:21 | select your Brush tool.
| | 04:23 | Change your Brush Size.
| | 04:23 | You can do so by pressing your bracket keys.
| | 04:27 | Left bracket makes it a little bit smaller,
| | 04:29 | right bracket a little bit bigger, and
then we'll go ahead and just darken up
| | 04:33 | some of these little background areas here.
| | 04:35 | We think it might be nice, and again,
all I am looking to do is to separate the
| | 04:40 | subject from the background just a little bit.
| | 04:42 | By darkening that up, it's going to add
a little bit more depth back there and
| | 04:48 | so I want to do that.
| | 04:49 | I am just going to paint
this in a couple of areas.
| | 04:52 | Also, darken up the lower edge here,
and I want to eventually build up a look
| | 04:57 | that has a bit more of a vintage esthetic.
| | 05:00 | Paint over some of the areas that I
brighten there, just a touch too, just to
| | 05:04 | add a little bit more.
| | 05:06 | All right, I think that's kind of fun.
| | 05:08 | Go to your Mask panel and then increase
the Feather amount, diffuse that, really
| | 05:12 | soft edges there as far
as those brushstrokes go.
| | 05:15 | Here is that before and then after, and
I think that's bringing the background
| | 05:20 | down also kind of helps the subject a
little bit, and we've brighten the subject a bit.
| | 05:25 | That's looking nice.
| | 05:26 | Here is overall before and
then after, so far so good.
| | Collapse this transcript |
| Making creative color adjustments| 00:00 | Now that we've worked a little bit on
the tonality of this photograph,
| | 00:02 | let's have some fun with color.
| | 00:05 | There are so many different ways that
we can apply creative color effects.
| | 00:09 | Let's explore a few techniques that we
can use here to add a bit of style or
| | 00:12 | mood to this photograph.
| | 00:14 | Now one of the things that we might want
to do is take a look at the color palette.
| | 00:18 | It's pretty muted, but we have some
nice warm, some of these reds and yellows
| | 00:22 | and green is a dominant color as well.
| | 00:24 | It might be nice to try to bring some
of those out, but then just shift things
| | 00:28 | a bit more as well.
| | 00:30 | So, how can we do that?
| | 00:31 | Well, one technique that we can use is
to click on our Adjustment Layer icon and
| | 00:35 | then go straight to Color Balance.
| | 00:37 | Now Color Balance gives you just a
nice visual way to add or shift color.
| | 00:41 | Here I am going to have some
reds in there and then some yellows.
| | 00:44 | Now if I go too far in the
yellows it looks kind of green, right?
| | 00:48 | So whenever you add yellow you
almost always need to compensate, either
| | 00:51 | with magenta or with red to get it to a
different space there, a different color look.
| | 00:57 | Now, this is way too far, so let's go
ahead and bring this mix down a little bit,
| | 01:01 | but we are starting to see how we
have this real precise control over the
| | 01:05 | look of the color that we have in the image.
| | 01:09 | Now, so far it looks a little bit like the
color is kind of sitting on top of the photograph.
| | 01:13 | Here is before and then after.
| | 01:16 | Yet nonetheless, it's starting to get some warm.
| | 01:19 | The next thing I want to do is
click on my Adjustment Layer icon and
| | 01:21 | choose Hue/Saturation.
| | 01:23 | Now with this Hue/Saturation layer what
I am going to do is desaturate pretty
| | 01:27 | significantly, and then take this to a
blending mode of Soft Light, and what we
| | 01:31 | are going to do is play with Saturation here.
| | 01:34 | So here is with the Saturation all the way up.
| | 01:36 | The color is too strong and too
intense for me, but when I desaturate it,
| | 01:40 | you kind of see that we start to
get this muted color look here.
| | 01:44 | We can also go back to our Color
Balance layer and then modify that.
| | 01:48 | We can modify how much color we want to
bring in so we have a little bit more of
| | 01:52 | this muted contrasty, yet saturated esthetic.
| | 01:57 | Let's take a look at this.
| | 01:58 | Here is the before right here, and
then here is the after, really nice and
| | 02:03 | interesting aesthetic there.
| | 02:05 | Now, if we go to the Soft Light layer,
we can also lower the Opacity here.
| | 02:09 | That's going to be a little bit less
of the contrast, little bit less of the
| | 02:12 | effect, but nonetheless it's giving us
this mood, which we really couldn't have
| | 02:16 | accomplished any other way.
| | 02:18 | Now, if we want to push things even
further, what we might get into doing is
| | 02:23 | modifying either particular areas of
the color or even working with Curves.
| | 02:28 | Let's explore how we can do that.
| | 02:30 | Here I'll click on my
Adjustment Layer icon and go to Curves.
| | 02:33 | Next, I want to jump into my different channels.
| | 02:36 | You remember those shortcuts?
| | 02:38 | On a Mac press Option, on Windows press
Alt, and then it's going to be 3, 4, 5.
| | 02:41 | 3 for that Red channel.
| | 02:44 | What we are going do is just bring up
some of those reds here in the upper part,
| | 02:47 | so we'll make sure the bottom parts
lock down, but I just want to bring up some
| | 02:51 | of the reds in that upper area.
| | 02:53 | Then I'll go to that Green channel and
again I am going to modify just the upper
| | 02:57 | part just a little bit there, adding a
bit of green into that, just looking to
| | 03:01 | modify that. I am just
trying to have some fun here.
| | 03:03 | Go to that Blue-Yellow channel, in this
case I'm going to bring some blue into
| | 03:08 | the darker areas of the image, and I am
going to modify this lower region, and
| | 03:13 | you can see you can set points to
kind of lock down other areas of the
| | 03:17 | photograph, and I'm just looking to
swing this until I see something that's
| | 03:21 | visually catching my eye.
| | 03:23 | We can go back to the other channels
and modify the points until we see a look
| | 03:27 | that perhaps is going to work with our
photograph, and I'll just go into these
| | 03:31 | different channels here, and I think we
are going in a pretty fun direction with
| | 03:35 | this one. I have a lot of green to the
background, so I want to just get that just
| | 03:39 | right there, not quite so high in those
bright areas and then lower the Opacity,
| | 03:44 | and I'll try to lower it maybe to 50% or
something less than that, just to bring in
| | 03:48 | a hint of this little
color shift here with Curves.
| | 03:51 | Here is that before and then after,
again just adding a bit more of that
| | 03:55 | contrast and also a little bit of
this color shift here into the photograph.
| | 04:00 | With the same Curves adjustment, if we
want to work on contrast or brightness,
| | 04:05 | go to the RGB Composite view and here we could
darken up the image or we could brighten it.
| | 04:10 | We could just try to find a nice
resting point for this photograph.
| | 04:13 | Now, at this point, all we're
doing here is simply having fun.
| | 04:17 | I mean there is no real rule about
what you should do at this juncture.
| | 04:20 | Again, it's just about having some
fun with your image and sometimes what
| | 04:24 | you'll discover is that as you click
through your layers, here is where we were.
| | 04:28 | You may decide, you know what, I kind of
like one particular look, like I like this look.
| | 04:33 | I don't quite like this one on top of it.
| | 04:35 | I think it went too far there,
when we had both of those together.
| | 04:39 | Well, if you discover that, fine.
| | 04:40 | We'll go ahead and just commit to one
aesthetic that you like and just modify
| | 04:45 | until you think it looks right for your
image, and I think this is a real viable
| | 04:49 | option for this particular photograph.
| | 04:51 | Now, of course what you can do then is
you can organize these layers together,
| | 04:56 | or you can always turn on your other
adjustments if you feel like another type
| | 05:00 | of a subtle shift with the photograph.
| | 05:02 | Let's go ahead and organize these.
| | 05:04 | I want to turn off that top layer,
click in my Adjustments tab, double-clicking
| | 05:08 | the word, and now I'll click in my
top adjustment, hold down the Shift key,
| | 05:12 | click in the bottom adjustment, then
press Command+G or Ctrl+G for Group, and
| | 05:17 | I'll go ahead and name this color and tone.
| | Collapse this transcript |
| Modifying the tone and sharpening| 00:00 | All right, at this stage of the
project I want to make a few more subtle
| | 00:03 | adjustments in regards to the overall
tone and also sharpen the image and then
| | 00:08 | eventually evaluate our overall progress.
| | 00:11 | All right, well, the last adjustment that I
want to make here has to do with brightness.
| | 00:15 | I realize that I want to bring a little bit
more brightness into this area of the photograph.
| | 00:18 | So, I am going to reopen my color
and tone folder here. I'll click in the
| | 00:23 | topmost layer, then I'll click on my
Adjustment Layer icon, and I'll choose Curves.
| | 00:27 | I want to create a new Curves
adjustment in case I ever want to go back and
| | 00:31 | perhaps turn this one on or something like that.
| | 00:33 | So here I just have a new Curves adjustment.
I am going to brighten this up a little bit.
| | 00:38 | Again, it's brightening up the entire image,
but I am focusing in on the face there.
| | 00:42 | Next, invert this. Press Command+I on a
Mac. Press Ctrl+I on good old Windows.
| | 00:48 | Then press the B key to select your
Brush tool or click on it in the Tools panel.
| | 00:54 | Then I want to paint in this case with white.
| | 00:56 | Currently, you can see I have
black as my foreground color.
| | 00:59 | Well to flip those or
exchange those, you press the X key.
| | 01:03 | Now, once you've done that, you can
then change your brush size and you want
| | 01:07 | to have a brush size
that's a little bit smaller.
| | 01:09 | I just want to bring in some
brightness into the subject here.
| | 01:11 | I am going to go ahead and just paint
around the center area of the image.
| | 01:15 | Next, I am going to go to my Mask
panel and diffuse that pretty strongly.
| | 01:19 | I want to just have a little bit of a
glow, so that the user is going to be
| | 01:23 | drawn into the subject there and
I'll lower my Opacity, but again, I just
| | 01:28 | really want that to be a hot point in
the image so the eye goes to that area of
| | 01:33 | brightness, and I realize I need to
do that because the surfboard's pretty
| | 01:36 | bright, and there is a lot of other
tone happening here. Take a look.
| | 01:39 | Here is before and then after.
| | 01:42 | Again, draws you into that
gaze a little bit more clearly.
| | 01:45 | Well, now that I've done all those things,
the last thing I want to do is sharpen this.
| | 01:49 | So, in order to do that, let's close
this group and then let's merge to top.
| | 01:54 | We can merge to top by pressing
Shift+Option+Command+E on a Mac.
| | 01:59 | Shift+Alt+Ctrl+E on Windows.
| | 02:02 | We'll name this sharpen, and what we want
to do when we sharpen is zoom in to 100%.
| | 02:06 | One easy way to do that is to
double-click your Zoom tool.
| | 02:12 | So here we double-click the Zoom tool.
| | 02:14 | We're at 100%, press the Spacebar key,
and click and drag to reposition the image.
| | 02:20 | Next, there are a number of different
types of sharpening that we can use here.
| | 02:24 | Let's go ahead and use Smart Sharpen.
| | 02:26 | We'll go to our Filter pulldown menu.
| | 02:28 | We'll select Sharpen and
then good old Smart Sharpen.
| | 02:32 | Now, with Smart Sharpen typically what
you want to do is you want to look to
| | 02:36 | have Advanced turned on, remove the Lens
Blur, and you want to try to start with
| | 02:41 | an Amount somewhere above 100 and
then incrementally bring up your Radius.
| | 02:46 | Now the trick with the Radius is that
the lower the resolution of the file,
| | 02:49 | the smaller or the lower the Radius.
| | 02:52 | So, in this case we have a
file that's actually pretty small.
| | 02:55 | This isn't a huge document, not a full-res file.
| | 02:58 | So, we're going to have
a pretty low Radius here.
| | 03:00 | We want it to be pretty
small and detail oriented.
| | 03:03 | All right, we also then can increase
our Amount until we see just the right
| | 03:07 | amount of details, clicking on the
image, showing me that before and after.
| | 03:10 | I've nice detail on the eyes,
texture, in the hair and the shirt,
| | 03:14 | everything like that.
| | 03:15 | Now, it may be tricky to actually see this
sharpening amount when this movie is compressed.
| | 03:19 | So you want to dial in the appropriate
Amount on your own monitor when you're
| | 03:23 | doing the sharpening.
| | 03:24 | Now, if ever you notice that you have
too strong of a highlight or a shadow, you
| | 03:29 | can go into your Shadow and Highlight
tabs, and you can actually fade those back.
| | 03:33 | So you can remove those, so
that it's not as strong of a halo.
| | 03:37 | In this case, I think this is looking
fine and I am not over sharpening the
| | 03:41 | image, so I think it looks pretty good.
| | 03:43 | Here we'll click OK, and then what we
want to do is create a mask that's filled
| | 03:47 | with black, because we don't want to
sharpen an out of focus background.
| | 03:51 | Hold down the Option key on a Mac,
Alt key on Windows, then click on the
| | 03:54 | Add Layer Mask icon.
| | 03:57 | That will create a mask filled with
black, concealing all of the sharpening.
| | 04:01 | Next, press the B key to select your Brush
tool and then go ahead and paint with white.
| | 04:06 | Let's paint with white with a little
bit less Opacity, so that we can paint it
| | 04:11 | in exactly where we want it, because we
want a little bit less of the skin to be
| | 04:16 | sharpened, a little bit more on the eyes
and the jaw line perhaps a little bit
| | 04:21 | more, a little bit on the T-shirt.
The graphic on the T-shirt is nice.
| | 04:24 | And this image we want it
to feel really authentic.
| | 04:28 | So we are not going too far with removing
wrinkles on the shirt or anything like that.
| | 04:32 | Or overdoing the retouching.
| | 04:34 | We want it to have this real natural look.
| | 04:36 | And so, here we have it.
| | 04:38 | That looks pretty good.
| | 04:39 | We can evaluate our overall progress.
| | 04:42 | If we press F to go to Full Screen View
mode and then if we press F7 to bring up
| | 04:47 | our Layers, here is the
overall before and then after.
| | 04:52 | We can also click through the
individual layers as well if we want to, and I'll
| | 04:56 | go ahead and turn these off.
| | 04:57 | You can see our adjustments, we worked with
tone, also background tonality, and we
| | 05:02 | started to have some fun with color,
and we experimented with how we could
| | 05:05 | customize color and also work with
brightness, and then finally, applied some
| | 05:10 | final sharpening to this image.
| | 05:12 | Here it is, our overall before and then after.
| | 05:16 | Nice work!
| | Collapse this transcript |
|
|
11. Underwater PortraitConverting the image to black and white| 00:00 | The interesting thing about
photographing athletes is that they have such a
| | 00:03 | vibrance about them, and that is
definitely true with kid athletes, like this
| | 00:08 | photograph of my daughter Annika
swimming in a pool in Costa Rica.
| | 00:12 | She is diving in the pool looking
straight at me with her eyes open.
| | 00:17 | I just love that expression and that smile.
| | 00:19 | A lot of times when you are doing
photography of different types and you have
| | 00:23 | strong color shifts like you have here
under the water, a lot of times you think
| | 00:27 | how can I work with that color?
| | 00:29 | Yet other times some of things that
you can do is actually remove the color
| | 00:34 | which can change the overall
context of the image, and it can kind of
| | 00:38 | transport it to another space or
another place, and that's what I want to do
| | 00:42 | here with this image.
| | 00:43 | Although I love these vibrant colors,
I want to convert to black-and-white.
| | 00:47 | In order to do that, we will go
ahead and click on our Adjustments Layer
| | 00:50 | icon for Black & White, which is this one
here two triangles, one black, one white there.
| | 00:55 | We will go ahead and select that.
| | 00:56 | Next, we will click on the Target
Adjustment tool and what we can do is click
| | 01:00 | on different areas of the image in
order to brighten those areas and here you
| | 01:04 | can see I can really work on that
background and in this case it looks like
| | 01:08 | she's swimming, but it looks like so much more.
| | 01:11 | We will click on a couple other tones
here and I am just going to work my way
| | 01:14 | through this image, just looking to
try to brighten up a few aspects of this
| | 01:18 | photo and change the overall tonality.
| | 01:20 | Now a lot of times what you have to
do is just to experiment a bit with the
| | 01:24 | overall look of the image until you get
something that you think is going in a good direction.
| | 01:30 | Well, I think we have a pretty nice conversion.
| | 01:32 | The next thing I want to do is work
on a couple other areas of the tone.
| | 01:36 | I feel like her face needs
to be brightened up a bit.
| | 01:40 | So let's do that with Curves.
| | 01:42 | we will go back to Adjustments panel,
we will click on our Curves icon, and then
| | 01:46 | we will go ahead in brighten this
image up, brightening up the overall
| | 01:50 | brightness of the photograph and then
darkening things just a touch here to add
| | 01:55 | a little bit of contrast.
| | 01:57 | Next, let's invert the mask.
Press Command+I or Ctrl+I to invert.
| | 02:02 | If ever you forget that shortcut, you
can always go to the Masks panel and
| | 02:06 | then here just simply click on this
Invert button, and that's a nice quick and
| | 02:10 | easy way to do that.
| | 02:11 | When once we have inverted
this we will grab our Brush tool.
| | 02:14 | Here we want to choose white as the
foreground color and nice high Opacity
| | 02:18 | there, because we are just going to
paint with light with a nice big brush,
| | 02:22 | pressing our Right Bracket key to
make that big and just brighten up this
| | 02:25 | portion of the image.
| | 02:27 | Adding a little bit of glow to this area.
| | 02:29 | Painting with light here, and
then I will press 2 on the keyboard.
| | 02:32 | It goes down to 20%.
| | 02:33 | I want to bring in a little bit a
brightness here on her swim shirt and bring
| | 02:39 | that up a little bit as well.
| | 02:41 | Again, just some simple masking here,
bringing in lights into this foreground
| | 02:46 | area of the photograph and just make sure
I have nice lights all the way through that.
| | 02:51 | Here it is, our before and then after.
| | 02:54 | Let's zoom out to make sure we
are going in a good direction.
| | 02:57 | Again, just before and after,
adds a nice little snap there.
| | 03:00 | Then I am going to lower the Density to
bring a little bit of that brightness in
| | 03:04 | the background as well,
kind of equalizing things out.
| | 03:07 | I increase my Feather, diffuse my
brushstrokes, and then lower the overall
| | 03:12 | Opacity of this adjustment until
I find just the right spot for it.
| | 03:15 | Here's before and then after.
| | 03:18 | Really it's a combination of these
two layers together which is giving us
| | 03:21 | this nice tonality.
| | 03:23 | Well, there are few more things
that I want to do with this photograph.
| | 03:25 | Let's continue to work on
this one in the next movie.
| | Collapse this transcript |
| Improving the eyes| 00:00 | At this stage in this project, what I
want do now is add a bit of contrast and
| | 00:04 | then also work on the eyes because
the eyes are so full of life here.
| | 00:09 | So to add some contrast, we'll click on
our Adjustment Layer icon and choose Curves.
| | 00:14 | What I am looking to do here is just to
darken up these shadows a little bit and
| | 00:17 | also brighten up my whites a touch.
| | 00:20 | Whenever you've brighten an image up like we
did so here, you lose a little bit of dimension.
| | 00:24 | So we needed to bring some of that back
with this simple S-curve layer, and we
| | 00:28 | can just get into these different areas.
| | 00:30 | We want have nice edge definition on
those eyes, and we want to have this
| | 00:35 | contrast which really has a lot of snap to
it, really bring in some vivid tones there.
| | 00:41 | I think that's looking pretty fun.
| | 00:42 | Take a look at this.
| | 00:43 | Here is before, kind of muted.
| | 00:45 | Here is after. The image is now
taking on much more personality.
| | 00:50 | All right, what about those eyes?
| | 00:51 | Let's zoom in a little bit
so that we can work on them.
| | 00:54 | What I am going to do with the eyes is
click on my Adjustment Layer icon and
| | 00:57 | choose Curves, and I am going to
mask in an adjustment into the eyes.
| | 01:01 | Here I want to brighten them up a
little bit, so I'll then invert the mask.
| | 01:05 | One way to do that, click in
your Masks panel and choose Invert.
| | 01:09 | So again, we just have a Curves
adjustment which has a little bit of a
| | 01:12 | brightening effect on it.
| | 01:13 | We have a mask that's black,
concealing all of that effect.
| | 01:17 | Then we grab our brush, we'll paint
with white with a little bit higher Opacity,
| | 01:21 | somewhere close to 100.
| | 01:24 | With our Brush tool selected, we will
target that mask, make our brush nice and
| | 01:29 | small, and zoom in a little bit closer.
| | 01:31 | We want to be really careful with this
that we don't paint with brightness in
| | 01:35 | other areas outside of the eyes.
| | 01:38 | I just want to add a little bit of glow here.
| | 01:40 | So I am going to try to follow the
overall look of the eyes. Add in a little
| | 01:44 | bit, more a snap there.
| | 01:46 | Here's that brightness, before and then after.
| | 01:49 | I'll go to the Mask panel.
Increase the Feather.
| | 01:52 | I should say to diffuse the
edge of our brushstrokes there.
| | 01:55 | If you have high-res files,
typically the Feather goes up even more.
| | 01:59 | Now we have nice brightness there.
| | 02:01 | There's just vivid eyes which are
really coming to life, coming towards you.
| | 02:05 | If this great tone, take a look,
here is before, what we thought was
| | 02:09 | interesting, and now after.
| | 02:11 | Isn't it interesting?
| | 02:12 | The black-and-white conversion, at
least, the first time I saw was like, oh
| | 02:15 | yeah, this is great.
| | 02:17 | But then we incrementally build it up,
adding more and more and more until we
| | 02:23 | get it exactly where we want it.
| | 02:25 | All right, well, there're just a few
more steps to take with this photograph.
| | 02:28 | We will do that in the next movie.
| | Collapse this transcript |
| Sharpening the details| 00:00 | At the stage of the project one of things
that I want to do is organize my layers.
| | 00:04 | So I'll click in my topmost layer of my
adjustment, hold on the Shift key, click
| | 00:08 | in the bottommost layer here
for my black-and-white adjustment.
| | 00:10 | And then press Command+G or Ctrl+G to
group those, and I'll name these color/tone.
| | 00:17 | All right, well, the next thing
that I want to do is sharpen the image.
| | 00:19 | To do so, I'm going to merge all of
these underlying layers to the very top.
| | 00:24 | Or what you can always do is click in
your Background layer and simply copy
| | 00:28 | that, and here is why.
| | 00:30 | We don't necessarily need to merge to
the top, because all of these adjustments
| | 00:33 | can sit on top of our sharpening.
| | 00:36 | So this time let's leave those as is.
Go to Background, press Command+J on a
| | 00:41 | Mac, Ctrl+J on Windows in order to
duplicate that Background layer, and we'll
| | 00:45 | name this layer sharpening.
| | 00:47 | Now one of the things that's a good
idea to do when you're sharpening is to
| | 00:51 | decide what type of sharpening you
want and obviously try to determine the
| | 00:54 | appropriate amount of sharpening.
| | 00:56 | Yet at times you'll find it's tough to
know what's correct, because you don't
| | 01:00 | really know how you going to print an image.
| | 01:02 | So, one of things that I like to do, if
I want extra flexibility, is to convert
| | 01:07 | this to a Smart Object.
| | 01:08 | To do so, right-click or Ctrl+Click and
then choose Convert to Smart Object or
| | 01:14 | just go to your Filter pulldown menu
and choose Convert for Smart Filters.
| | 01:19 | Next, once we've done that, what we
can do is go to our Filter, and this case
| | 01:23 | let's go to Sharpen, and let's try Unsharp Mask.
| | 01:26 | And when we go to Unsharp Mask, what we
can do with this is go ahead and bring
| | 01:30 | our Amount up somewhere in the high 100s.
| | 01:33 | And then we'll go ahead and increase
the Radius looking at the image here,
| | 01:37 | more important the black-and-white version.
| | 01:39 | And then bring up the Threshold and
then just experiment with these settings
| | 01:43 | until we get something that looks good.
| | 01:46 | Click the P key or click on this
radio button to see our before and after.
| | 01:49 | We want to pay attention to the
bubbles there, and to all the little details.
| | 01:54 | What I'm going to do is look to have an
image, which is a little bit over sharpened.
| | 01:58 | And I'm going to do that because
we're underwater and because we're
| | 02:02 | underwater we can have just a touch
more of this, and this gives us some
| | 02:06 | pretty nice sharpening here.
| | 02:07 | I think that looks really good, and
here's before, and then there is after.
| | 02:10 | Click OK in order to apply that.
| | 02:13 | Now, if ever we don't like that Amount,
just double-click the Unsharp Mask
| | 02:16 | icon and then change it.
| | 02:17 | Here we can change that Amount, and we can
change the Radius or Threshold and click OK.
| | 02:22 | The other nice thing about this type
of sharpening is that what you can do is
| | 02:27 | you can dial in a blending
mode by clicking on the icon here.
| | 02:30 | And typically when you sharpen a layer
you want to change the blending mode to
| | 02:34 | Luminosity, so that you're
not exaggerating any noise.
| | 02:37 | Now with this image it's not
essential, because we're converted to
| | 02:40 | black-and-white, yet other
times that is really helpful.
| | 02:42 | All right, next, we can go ahead and
target that mask there, grab our Brush, and
| | 02:47 | then we want to paint with black.
| | 02:48 | And what you want to do when you're
painting with black is you want to find
| | 02:51 | those edges where the
contrast is just too strong.
| | 02:55 | So along the chin, that's
a little bit too strong.
| | 02:57 | A little bit up here in the hair we
can mask out, and then of course we
| | 03:01 | can also mask out anything that we
don't want to have sharpened at all,
| | 03:05 | like the background.
| | 03:06 | So here what we could do is go ahead
and paint with black over this area.
| | 03:10 | And we can do so pretty quickly, because
we don't need to be too careful about this.
| | 03:15 | In this case, I am just limiting the
sharpening in this area and I am painting
| | 03:19 | back and forth over this
with a pretty big brush.
| | 03:22 | If ever we make a mistake, we can
always paint the sharpening back in.
| | 03:26 | Now I do want to get those little
bubbles nice and sharp, so I am not going to
| | 03:30 | get too close to those.
| | 03:31 | I want to make those
bubbles really good looking there.
| | 03:34 | Again, I am just going to go
through and mask this out as I make my way
| | 03:38 | through the image, kind of painting
on the background and limiting the
| | 03:41 | sharpening to those areas.
| | 03:42 | Well, here we have our before and after.
| | 03:45 | It might be a little tricky to see
on this movie as it's compressed.
| | 03:49 | Yet, nonetheless, some pretty nice sharpening.
| | 03:51 | Well, the next thing that I need to do is I
need to sharpen the eyes a little bit more.
| | 03:55 | So, here I am going to
collapse this particular Smart Filter.
| | 04:00 | What I want to do now is I want to apply
a little bit more sharpening to the eyes.
| | 04:05 | Again, another way to do that is to
click above everything and then press
| | 04:09 | Shift+Option+Command+E on a Mac, Shift+
Alt+Ctrl+E on Windows, and you can merge
| | 04:15 | the top as another way to do your sharpening.
| | 04:18 | The nice thing about that is that
what you can do then is really see what's
| | 04:22 | happening with all of these
affects combined together.
| | 04:25 | Here, we'll go ahead and
navigate to our Filter pulldown menu.
| | 04:29 | I am going to select
Sharpen and go to Smart Sharpen.
| | 04:32 | Now, in Smart Sharpen what I'm looking to
do is to bring out some of the small details.
| | 04:37 | So, I am going to turn More Accurate on,
and see if that does anything for me in
| | 04:40 | regards to these little teeny details.
| | 04:43 | Sometimes what that can do is just add a
little bit of sparkle to a few areas in the eyes.
| | 04:47 | In this case, the eyes aren't quite
sharp, so I am going to go ahead and take
| | 04:50 | that off and just increase my Amount, my
Radius, to have a bit more detail in the
| | 04:55 | eyes and then click OK.
| | 04:57 | Next, create a mask, hold down Option
or Alt, click on the Add Layer Mask icon
| | 05:02 | and then grab the brush tool.
| | 05:04 | Here, go ahead and just paint in the
sharpening into this area of the image.
| | 05:08 | So, I have this two pass approach
to my sharpening here, where I'm
| | 05:11 | sharpening the overall image, and then I am
going back and I'm adding a bit more on the eyes.
| | 05:17 | All right, well, so far so good.
| | 05:19 | We have some nice detail here.
| | 05:20 | We've done a lot of work to the image.
| | 05:22 | Our layers are a little bit disorganized,
meaning we have these different layers.
| | 05:27 | Sometimes, I find it kind of just boosts
my confidence or gets my momentum going
| | 05:31 | if I group or organize these
together. So let's do that.
| | 05:34 | Click in your topmost layer, hold
down the Shift key, click in your bottom
| | 05:38 | most layer then press Command+G or Ctrl+G,
and let's just go ahead and call this stage 1.
| | 05:45 | What you want to do is come up with
these naming conventions that kind of wrap
| | 05:48 | up the work you've done.
| | 05:49 | Essentially, this is like, you know,
I've gotten this image to stage 1.
| | 05:53 | It's at a really good place.
| | 05:54 | I mean, it's ready to be printed, but
then what I might want to do is push it
| | 05:58 | further, have some other creative
options and tweak this out a little bit, so
| | 06:02 | I can go beyond that.
| | 06:04 | Then if ever I need to go back and
change anything I've done, I can of course
| | 06:07 | open up this group and look at that.
| | 06:09 | But let's evaluate how we are doing so far.
| | 06:11 | Here it is, our overall before and after,
just a little bit more to do with this
| | 06:16 | photograph, and we'll do that in the next movie.
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| Enhancing the color and tone| 00:00 | One of the things that I want to do at
this juncture with this project is apply
| | 00:03 | a little bit of a color, toning,
and contrast look to the image.
| | 00:07 | The reason why I want to do that is
traditionally black-and-white images aren't
| | 00:11 | truly neutral. Rather they are little
bit cool or a little bit warm, and so I
| | 00:15 | want to push this image one way or
another and sometimes it's a nice way to
| | 00:19 | subtly modify the overall look of the image.
| | 00:23 | In order to do that, what I am first
going to do is go ahead and click on
| | 00:26 | the Color Balance icon here in the
Adjustments panel to create a Color
| | 00:30 | Balance adjustment layer.
| | 00:31 | Next in order to illustrate something,
I am going to really exaggerate my reds
| | 00:35 | and my yellows, so I have just a ton
of colors sitting on top of the image.
| | 00:40 | The problem with this is that it's not really
mapped into the overall tone of the photograph.
| | 00:46 | Well, there are a couple of steps that
we can take in order to get this to look
| | 00:50 | a little bit better.
| | 00:51 | Here is what we can do.
| | 00:52 | Here we are going to go ahead and click
in the Channels panel. Then we can hold
| | 00:57 | down the Command key on a Mac or Ctrl
key on Windows and we can click on the
| | 01:01 | Red channel or any of the
other channels for that matter.
| | 01:05 | What we've done here is we've loaded the
Luminance value of this channel into a selection.
| | 01:10 | Essentially, we've selected
what we have here in this channel.
| | 01:14 | Next, we can go back to our Layers
panel and in our Layers panel we can fill
| | 01:19 | this mask with the
channel that we just looked at.
| | 01:22 | So in order to do that, I am going to
go to my Edit pulldown menu and then
| | 01:26 | choose Fill or select Shift+F5.
| | 01:29 | That will then open up the Fill dialog.
| | 01:32 | We have seen this Fill dialog in other
places with Content-Aware Fill, but here
| | 01:36 | we are just going to go to a simple color.
| | 01:38 | We'll use black and click OK.
| | 01:40 | Now what we've done then is we filled
this with this channel or in this case an
| | 01:44 | inverted version of this channel.
| | 01:46 | So let's go to Select and then
choose Deselect and see what we have.
| | 01:49 | Well, if you Shift+Click the mask,
what that will do is it will disable it.
| | 01:54 | Here is our before, and then our after.
| | 01:57 | Well, what we can do
next is we can invert this.
| | 02:00 | So if ever you get it backwards, it
doesn't matter, and that's how masking is, right?
| | 02:04 | Just press Command+I or Ctrl+I and
here you can see that Shift+Click,
| | 02:07 | it's just limiting the color in some
of the darker areas of the image.
| | 02:12 | The nice thing about that is it helps us
to start and have this color blend into
| | 02:16 | the photograph a little bit more effectively.
| | 02:18 | Next, we are going to take this even
further by taking this entire layer to a
| | 02:24 | blending mode of Soft Light.
| | 02:25 | Well now that we've done that, we
have this really distinct and nice color
| | 02:29 | and tone. Take a look.
| | 02:31 | Here it is, before and then after.
| | 02:34 | We have contrast, but we also have
color in a way that isn't overdone.
| | 02:38 | We still have a nice pure white
in the photograph, but we have this
| | 02:41 | just wonderful hue.
| | 02:43 | Now we can back this color off if it's a
little bit too strong by modifying our sliders.
| | 02:47 | If you just want a little bit more
of a subtle hint of color, or bring it
| | 02:51 | up, take a little bit more into it or
bring a little bit more of that color and tone.
| | 02:55 | Of course, you may want to
experiment with your Opacity slider here, just
| | 02:59 | adding a little bit of a subtle shift there
in the photograph, adding a slight color to it.
| | 03:04 | Now this isn't true sepia toning, rather
it's a little bit of just adding some hue.
| | 03:09 | Now, how far you go with this of
course depends on these sliders.
| | 03:12 | So if you want to do something much more
subtle and just have a little teeny color shift,
| | 03:16 | you can do that that way.
| | 03:18 | In this case, I kind of like having a
bit more color in the photograph, so I'll
| | 03:22 | go ahead, and modify these
sliders that way. All right!
| | 03:24 | Well here, let's press F to
go to Full Screen View mode.
| | 03:27 | Isn't that a fun picture
of my daughter Annika there?
| | 03:31 | I just love how she's
swimming with her eyes open.
| | 03:33 | It captures that stage in life, because
she is not going to keep those eyes open
| | 03:37 | for very much longer as she is underwater.
| | 03:40 | And it's as if she is smiling at me,
and she is really just smiling because
| | 03:43 | she is so happy to swim, and I happened to
be there with a camera capturing that moment.
| | 03:48 | Here it is,
our overall before, and then after.
| | 03:52 | Well, if you've made it this far,
good work and in closing, my hope is that
| | 03:57 | throughout this project, that you've
picked up some simple yet valuable skills
| | 04:01 | which will help you create images
which are more intriguing and also which
| | 04:05 | have more impact.
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|
|
12. JumpCleaning up the image with Content-Aware Fill| 00:00 | One of the things that athletes like
to do whether they're kids or adults is
| | 00:04 | run, jump, and play.
| | 00:05 | Here we have this photograph of
Dylan who is jumping off of this piece of
| | 00:08 | driftwood down in Costa Rica.
| | 00:11 | What I want to do is simply walk
through how we can work on this project and
| | 00:14 | first clean up a few of the small
details and then use this to talk about how we
| | 00:18 | can change the position of an athlete in
regards to removing them from a context
| | 00:23 | and possibly shifting them or
putting them in another context.
| | 00:26 | Well, the first thing that I want to
do is just clean up this photograph.
| | 00:30 | Now, in order to do that, I am
going to copy the background layer.
| | 00:33 | One way to copy the background layer is
to click and drag this to the New Layer
| | 00:36 | icon, and then go ahead and rename the Copy.
| | 00:39 | In this case, we will
just call this one cleanup.
| | 00:42 | Next, I'll press the L key to grab the
Lasso tool and I am just going to go
| | 00:45 | ahead and click and drag around this
little flag that we have over here, and
| | 00:49 | also click and drag around a little
piece of driftwood that I'm seeing over
| | 00:53 | here on the right-hand side of the
frame, and then I'll make a few other
| | 00:57 | selections as well, just selecting a
few areas of the beach that I think would
| | 01:01 | be nice to clean up.
| | 01:02 | Now, all that I am looking to do here
is just reduce and simplify a little bit.
| | 01:06 | You've probably seen this before
how you can do this, which is just make
| | 01:09 | selections and then once you've
made those selections, go back and
| | 01:13 | content-aware fill these different areas.
| | 01:16 | So let's go ahead and do that,
again just make a couple of more little
| | 01:19 | selections here and then press Shift+F5.
| | 01:23 | This will open up the Fill dialog.
| | 01:25 | What we want to do here is use Content Aware.
| | 01:29 | This will then tell Photoshop to
analyze the surrounding areas, look for
| | 01:33 | patterns, and try to patch
over these areas. Let's click OK.
| | 01:36 | Now when we do that, we want to watch
the different areas that we've worked on
| | 01:40 | to make sure that this is looking good.
| | 01:42 | I think that looks great here.
| | 01:44 | Press Command+D on a Mac, Ctrl+D on Windows.
| | 01:47 | That's a shortcut to deselect.
| | 01:50 | Then take a look at your
before and after. Here it is;
| | 01:52 | before and then after.
| | 01:54 | Now if there are other areas you want to
work on, we will just go ahead and make
| | 01:57 | some selections of those areas.
| | 01:59 | You can also do this one at a time.
| | 02:01 | Press Shift+F5, and then go
ahead and fill those areas in.
| | 02:04 | Then press Command+D to deselect.
| | 02:07 | Now, the point here isn't to completely
clean up the beach, but a lot of times,
| | 02:10 | especially with athletic images,
there's a lot happening and you can't always
| | 02:15 | account for that
especially like in this situation.
| | 02:18 | The kid climbs up on the piece of wood,
jumps off, and you're lucky enough if
| | 02:21 | you catch him in mid
flight as I've done so here.
| | 02:25 | Here again is our before and after.
| | 02:27 | A couple more little areas
that I want to retouch out,
| | 02:29 | just making a selection, Shift+F5,
and then click OK. All right!
| | 02:34 | Well now that we've done that, the
next thing that I want to explore is how
| | 02:37 | we can select the subject, and then move
them or remove them from the frame as needed.
| | 02:43 | Let's take a look at how we
can do that in the next movie.
| | Collapse this transcript |
| Removing and repositioning the subjects| 00:00 | With this small project, one of the
things that I am trying to do here is to
| | 00:03 | take this occasion to explore how we
can use Content-Aware Fill in combination
| | 00:07 | with selections in order to
modify the position of an athlete.
| | 00:11 | Like with this image let's say that we
want to make it look like he's jumping
| | 00:15 | even higher. How could we do that?
| | 00:17 | Well on the cleanup layer, what we
want to do is press the W key to select
| | 00:21 | the Quick Select tool and first we want to
build up a decent selection of the subject.
| | 00:26 | In this case of this little guy
Dylan here jumping off of this piece of
| | 00:30 | driftwood down in Costa Rica, and I am
just going to go ahead and click and drag
| | 00:33 | across the image, and as I am doing that
I should point out that this beach that
| | 00:38 | we are out was absolutely amazing.
| | 00:40 | It was so much fun to be there, really
isolated beach, remote beach, way out in
| | 00:44 | the middle of nowhere, and it was my
daughter Sophia's fourth birthday and so we
| | 00:49 | brought a pinata down to the beach
and rigged it up on some other pieces of
| | 00:53 | driftwood, and we had a pinata at the beach.
| | 00:56 | It was a ton of fun and went swimming
and surfing and all of that. All right.
| | 01:00 | Well here, all I am going to do is just
click and drag around the image, trying
| | 01:03 | to get a decent selection, and it's good.
| | 01:05 | It's not perfect, but we have a pretty
good start in regards to what we have here.
| | 01:10 | What I want to do just for safety's sake,
and also for demo purposes, is I want to
| | 01:15 | create a mask, but I want
to do so on a new layer.
| | 01:17 | So I am going to duplicate cleanup.
| | 01:19 | I will go ahead and click and drag that
to the New Layer icon, and then I will
| | 01:22 | click on my Add Layer Mask icon.
| | 01:25 | This, in turn, will create a layer mask
so that if I turn off the visibility of
| | 01:28 | the other layers, we can see that I
have a pretty decent selection of Dylan
| | 01:32 | here on his own layer.
| | 01:33 | Now the next thing that I need to do
though is I need to figure out, well okay I
| | 01:38 | have him on his own layer.
| | 01:40 | How then can I remove him from the
context and perhaps reposition him to new spot?
| | 01:45 | Well, what we could do is go ahead
and turn on the visibility of our other
| | 01:49 | layers and turn off the visibility of
this top layer and let's name this top layer,
| | 01:54 | just so we don't get confused, jump.
| | 01:57 | Next, I am going to go ahead and hold
down the Command key on a Mac, Ctrl key on
| | 02:01 | Windows, and click on the layer mask.
| | 02:03 | This just activates it as a
selection, and it's a decent selection, not
| | 02:07 | perfect but pretty good.
| | 02:09 | Then I will target or click on the
cleanup layer and here what you want to do in
| | 02:13 | order to effectively do this is go
down to your Select pulldown menu, go to
| | 02:17 | Modify, and then choose Expand.
| | 02:20 | Whenever you are working with Content-
Aware fill, it's always a good idea to
| | 02:23 | have a selection which is broader or
bigger than the area that you want to work on.
| | 02:28 | So here we will click on Expand and we
will expand this a certain number of pixels.
| | 02:32 | Let's try out this setting of five,
which I had used previously on another image
| | 02:36 | we will see how that works.
| | 02:37 | Well it looks like that isn't quite big enough.
| | 02:40 | So I am going to go back to Select.
| | 02:41 | I will choose Modify and then Expand
again and this time I will expand it five
| | 02:46 | more pixels and again just see how
that's going to look, and it should look like
| | 02:49 | we kind of have these cut out lines
around the subject here, and I think that's
| | 02:53 | pretty good, perhaps we can expand this
even further, and I am going to do that
| | 02:57 | just to be safe for another five pixels.
| | 02:59 | Now as you get more familiar with this
process, you may get the number right
| | 03:02 | from the get-go, but it's worth
illustrating that you can always change that or
| | 03:06 | continually grow that selection as needed.
| | 03:09 | Now the next thing that I want to do
here on this cleanup layer is I want to get
| | 03:13 | rid of the subject completely.
| | 03:15 | In order to do that, we pressed Shift+F5.
| | 03:18 | That opens up the Fill dialog.
| | 03:21 | What you want to use here from the
Contents pulldown menu is Content-Aware and
| | 03:25 | what this tells Photoshop to do is to
say, hey look at the surrounding area and
| | 03:29 | try to map that over this selected area.
| | 03:32 | Here we will click OK, we will cross
our fingers, and Photoshop will do its
| | 03:36 | magic and what it has done here is
pretty successfully removed the subject from
| | 03:40 | this area of the frame.
| | 03:42 | Next, we need to deselect.
Press Command+D or Ctrl+D to do so.
| | 03:46 | Now again for the most
part this is looking good.
| | 03:49 | There are few little strange areas that
I notice in particular the ocean here.
| | 03:53 | Now you can continually fix this up.
| | 03:55 | So in this case I will go ahead and
select this little blip in the ocean there
| | 03:59 | and then press Shift+F5. That will
Content-Aware Fill that area, and you can see
| | 04:03 | it created a little bit of a better
line there, a little bit less noticeable.
| | 04:07 | I am going to do the same thing over
this wave area here pressing Shift+F5, and
| | 04:11 | I am just looking to try to modify
these little areas so that it's not quite so
| | 04:14 | noticeable where the subject was in
case I need that extra flexibility.
| | 04:18 | One of the things I am noticing over
here too is that it's repeating this
| | 04:22 | straight line right there.
| | 04:24 | So that's a little bit of a problem.
| | 04:26 | So I am going to go ahead and select
that and then press Shift+F5 and a lot of
| | 04:30 | times when you are using Content-Aware
Fill, you may need to go back and make
| | 04:33 | these small little adjustments just to
sweeten it up so you have it perfect.
| | 04:38 | Now let's say, at this point, you know what?
We cannot even tell that there was someone there.
| | 04:41 | We have done a pretty good job.
| | 04:43 | Now if it's not perfect, another thing
you can do of course is select some of
| | 04:46 | your other tools, say like the Healing Brush.
| | 04:49 | Go in and Option+Click or Alt+Click to
set your source area,then cleanup the
| | 04:53 | little area that it patched in just
to make sure there aren't any repeating
| | 04:56 | patterns and go back and forth until
you have a really good and clean area.
| | 05:00 | Also, we may want to do that a little
bit up here in the clouds just to hide our
| | 05:04 | tracks and to blend over the texture and
tone of this area and make sure this is
| | 05:08 | looking really good.
| | 05:10 | Now again, you don't always have to do that.
| | 05:11 | But I did want to point it out
because certain images, it will be essential
| | 05:16 | that you go to that next step, use a
few of the other tools just to make it
| | 05:20 | absolutely perfect.
| | 05:21 | Well now that we have removed the
subject completely from the frame, now we have
| | 05:27 | flexibility to modify his position.
| | 05:29 | So here when we turn on the visibility
of this jump layer we can then target
| | 05:33 | that layer, select the Move tool by
pressing the V key or by clicking on it in
| | 05:38 | the Tools panel and here we can go
ahead and click and drag the subject area or
| | 05:42 | this person up a little bit higher.
| | 05:43 | We can have some fun with this, you know,
and we could really play with where we
| | 05:46 | want to position him in
regards to the overall frame.
| | 05:49 | Now in this case it's just a bit of fun,
making him look like he is a little bit higher.
| | 05:54 | Here is the before and then the after.
| | 05:57 | Yet in other situations, it can be
really critical because it can be helpful
| | 06:01 | just to have an athlete subtly in a
different spot, maybe a little bit more to
| | 06:05 | the right or little bit more to left or
a have a different position or focus in
| | 06:09 | regards to the overall image.
| | 06:12 | You can use this technique
in some pretty amazing ways.
| | 06:15 | In other situations it can be just
a ton of fun in order to do this and
| | 06:19 | especially with Dylan, we could
have him jumping super high or doing
| | 06:22 | something kind of crazy.
| | 06:24 | You can imagine that that's a ton of fun,
whether it's a photograph of your kid
| | 06:28 | going off of a little jump
on her bike or something else.
| | 06:31 | Yet most importantly, I hope that
through this small project you have learned a
| | 06:36 | little bit more effectively how you
can work with Content-Aware Fill and how
| | 06:40 | you can combine that with creating
good selections in order to be able to
| | 06:44 | modify your images and make some
important movements in those situations where
| | 06:48 | you are photographing athletes and
where those type of movements or changes are
| | 06:52 | really essential.
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|
|
13. Father and Son PortraitMaking basic adjustments with Adobe Camera Raw (project 1)| 00:00 | In this chapter we will be working on
a couple of short and brief projects.
| | 00:04 | What we are going to do is work on these
images are these portraits of a father and a son.
| | 00:08 | Now there is something interesting
about the connection that happens between a
| | 00:11 | father and son when both are athletes,
when both get out there and do things, and
| | 00:16 | what I want to do here in this chapter
is take a look at how we can add some
| | 00:19 | intensity to both of these images and
explore a few techniques that we can use
| | 00:23 | in order to creatively enhance these images.
| | 00:26 | Let's start off by working on martyn_dylan_01.
| | 00:30 | Let's open that one up in Camera Raw.
| | 00:32 | To do so, we can go to the File
pulldown menu here, then choose Open in Camera
| | 00:36 | Raw and here is the image as captured.
| | 00:40 | Now, of course, this was actually
captured in a RAW format, but then I just
| | 00:43 | saved it out as a JPG so that it was a
little bit smaller and could be included
| | 00:48 | in this training title.
| | 00:49 | Yet here is the image as it
was captured by the camera.
| | 00:52 | I had a water housing, and we
are out in the ocean playing.
| | 00:55 | So one of the first things that I want
to do is I want to convert this image
| | 00:58 | to black-and-white.
| | 00:59 | We will be doing the same
thing with the other photograph.
| | 01:02 | Now when I do that, I all of a sudden
discover that everything is a little bit
| | 01:05 | too muddier, a little bit
too dark, a little bit too deep.
| | 01:08 | So what I will do is hold down Option
on Mac, Alt on Windows, and then click on
| | 01:12 | the Exposure slider.
| | 01:13 | This will show as where clipping will occur.
| | 01:16 | So you can see here that we can add over
a stop of exposure without any clipping,
| | 01:21 | except we have that clipping
just a little bit up in the top.
| | 01:24 | So we can really bring this in pretty
high up there and if we want to go even
| | 01:28 | higher, we can do so and then hold
down Option or Alt again, and then go ahead
| | 01:33 | and use the Recovery slider just to
bring back some detail in that area.
| | 01:37 | Now already the image has more impact.
| | 01:39 | Here it is before, and then after, and
that Exposure adjustment is pretty key.
| | 01:44 | Next thing I want to do is bring in
some Fill Light to bring in some of the
| | 01:47 | shadows, increase the Contrast a little
bit, add a touch of Clarity, and we are
| | 01:52 | in a pretty good spot now with this photograph.
| | 01:55 | The next thing that I am
interested in doing is cropping in.
| | 01:57 | I was using a 50 mm lens and so I
wasn't quite close enough, and I want a
| | 02:02 | closer, more intense image.
| | 02:04 | So to crop this image we will press C key.
| | 02:06 | We will go ahead and click and drag
this across the entirety of the image, and
| | 02:10 | then hold down the Shift key and
just drag one of the corner points to
| | 02:13 | constrain the aspect ratio.
| | 02:16 | What I am looking for here is something
where we are really drawn into the subject.
| | 02:20 | I will try right there
and press Enter or Return.
| | 02:23 | Well in this case I feel like it's a
little bit too far over to the left.
| | 02:26 | So I will press the C key to
reactivate the Crop tool and then I will
| | 02:30 | double-click to apply that again.
| | 02:32 | And I will keep pressing the C key and
moving this until I feel like I have a
| | 02:36 | nice crop with this particular image.
| | 02:38 | Now all of these decisions are
completely subjective, but you can see what I am
| | 02:42 | trying to do is really draw the
viewer into being in the water and kind of
| | 02:46 | almost, at this point now, looking
up at these two people and also really
| | 02:51 | absorbing the intensity of this moment.
| | 02:54 | Now one of the things that's
interesting here is that there is a wave in the
| | 02:57 | background so that this isn't level.
| | 03:00 | I am okay with that, and I
want to keep it that way.
| | 03:02 | I like the way that the water looks.
| | 03:04 | Now if we wanted to straighten that
out what would happen is they would look
| | 03:07 | like they are leaning too far forward.
For example, press C key, and then here
| | 03:12 | what we could do is try to level out
that line there in the background and then
| | 03:17 | go ahead and apply that.
| | 03:18 | Now we have a straighter line, but
again it's too much of a forward lean.
| | 03:22 | So I am going to undo that.
| | 03:24 | Press the C key to go ahead
and undo that type of a movement.
| | 03:27 | I will go back to something a little
bit more straight there and just see if I
| | 03:31 | can find a nice crop for this.
| | 03:33 | Now cropping is so essential.
| | 03:34 | There is so much that happens in
regards to changing the feel of an image and
| | 03:38 | the overall intensity of it by working
with the Crop tool, and I like doing this
| | 03:43 | in Camera Raw because it's nondestructive,
and as you can see you can almost see
| | 03:47 | my thought process. I am going back
and forth, back and forth, trying to find
| | 03:51 | just the right sweet spot for the image.
| | 03:53 | Well now here at this point I think
we are going in a pretty good direction.
| | 03:57 | We have a strong black-and-white conversion.
| | 03:59 | We have lots of really nice detail.
| | 04:01 | There is some intensity
or strength in this image.
| | 04:03 | I am ready to open this up and
start modifying it in Photoshop.
| | 04:07 | So let's go ahead and simply click Open
Image. That will then exit out of Adobe
| | 04:11 | Camera Raw and bring the
image open in Photoshop.
| | 04:14 | Next, let's start to begin to work in
Photoshop on the image, and we will do
| | 04:18 | so in the next movie.
| | Collapse this transcript |
| Cleaning up the small details| 00:00 | With this portrait, there isn't
going to be a ton of Photoshop work.
| | 00:03 | Yet I do still want to clean
up a few little elements here.
| | 00:06 | That being said, I want to keep things
pretty natural and raw and authentic,
| | 00:10 | because here we are out in the ocean and
they both have this connection and also
| | 00:14 | this intensity about them.
| | 00:15 | I don't want to soften that.
| | 00:16 | So let's create a new layer by way
of a shortcut so that we can name the
| | 00:20 | layer while we create it.
| | 00:22 | On a Mac, you press Shift+Command+N.
On Windows you press Shift+Ctrl+N. We will
| | 00:27 | go ahead and type out clean up.
| | 00:28 | Next I will press the J key to select
one of my Healing tools and then press
| | 00:32 | Shift+J until I have the Healing Brush.
| | 00:34 | Here we want to make sure Aligned is
checked on, Sample All Layers is turned on.
| | 00:39 | That is right there, great, and then we
will make our brush a little bit smaller
| | 00:43 | and Option+Click or Alt+Click, and I
am just going to go ahead and clean up a
| | 00:46 | little bit of variation I am
noticing back here in the sky.
| | 00:50 | Also a little bit over here
in the clouds in this way.
| | 00:52 | Again, I am just trying to reduce and
simplify, but it's pretty subtle but
| | 00:55 | nonetheless, I am just evening
out some of the sky details there.
| | 00:59 | The next thing I am going to do is zoom
in and one of things that I want to do
| | 01:02 | is get rid of this little spot
that I am seeing right there.
| | 01:06 | Now how can we do that?
| | 01:08 | Well there are a couple of
different approaches that we could take.
| | 01:10 | One of things that might work
well is to use Content-Aware Fill or
| | 01:15 | Content-Aware Spot Healing.
| | 01:17 | So here what we can do is go ahead
and select the Spot Healing Brush.
| | 01:21 | We can do so by clicking on it, or you
can press J and then Shift+J until you
| | 01:25 | see the icon with a little shape next to it.
| | 01:28 | Here we want to use the option of
Content-Aware, Sample All Layers is turned on,
| | 01:33 | make our brush a touch bigger
here, and what we are going to do is just
| | 01:37 | paint over this little water drop on the chin,
and it did a pretty good job in removing that.
| | 01:43 | I will go ahead and make my brush a
little smaller and work on these edges over
| | 01:45 | here and just look to try to
clean this up a little bit.
| | 01:49 | Next, I may do this in a few other
little places here as well, just to kind of
| | 01:53 | reduce and simplify a bit more. Take a look.
| | 01:56 | Here we have that before, and then after.
| | 01:58 | Now the only other thing I want to do
here with this is use the Clone Stamp tool,
| | 02:02 | take my Opacity up, and use a
Normal blending mode and then bring the
| | 02:08 | brush down and paint a little bit
over this area, and as I look at that I
| | 02:13 | realize, you know what I do need
to have this Opacity down lower.
| | 02:17 | I wasn't quite thinking
about how I want that to blend.
| | 02:19 | So I took it down to 30% here, and
then I am just going to go ahead and just
| | 02:23 | kind of paint over this area, and
I will select above this as well.
| | 02:26 | I am kind of going above
and below and from each side.
| | 02:29 | I am looking to try to just reduce the
detail that I am noticing here on the chin.
| | 02:33 | We don't want to be quite so
prominent as far as how this looks.
| | 02:38 | Then I will go ahead and bring over a
little bit more of the shadow in there and
| | 02:42 | just look to try to darken that up a little bit.
| | 02:44 | All right, well so far so good.
| | 02:46 | We are now getting closer to a having
a good strong chin line and I am just
| | 02:51 | going to go ahead and paint this around
just a little bit more here, looking to
| | 02:54 | try to have nice strong line there and
all that this is is clone stamping on low
| | 02:59 | Opacity so that we have
good detail there. Okay.
| | 03:01 | Let's zoom out and make sure that chin
looks natural and normal and why I did I
| | 03:06 | want to remove that drip?
| | 03:07 | Well I want them to be dripping and
wet and all that, but I just felt like it
| | 03:11 | wasn't necessarily adding much of the
photograph so in my opinion I decided to pull that out.
| | 03:16 | All right. Well now that we have cleaned up
the image, we are ready to move to our next up,
| | 03:20 | and we will do that in the next movie.
| | Collapse this transcript |
| Modifying the tone| 00:00 | Now that we have done some basic
cleanup work, we are ready to work on tone.
| | 00:04 | One of the things I notice is that
these midrange tones right here are
| | 00:07 | little bit too dark.
| | 00:09 | Also, I know that I am going to want to boost
the contrast and the sharpness of this image.
| | 00:13 | I am also going to want to add a
bit more grit to it, some film grain.
| | 00:17 | So with that in mind, I am going to
create a curves adjustment here and paint it
| | 00:21 | into the faces and the eyes a little bit.
| | 00:23 | So we'll click on our adjustment
layer icon for Curves and just go to the
| | 00:26 | middle and click and drag up, because these
tones really are right there in the midrange.
| | 00:30 | Next we want to invert that mask, press
Command+I or Ctrl+I to do so, or you can
| | 00:35 | always go to the Mask panel and click on Invert.
| | 00:38 | All right, once you have done that
select your Brush tool and then go ahead and
| | 00:43 | paint with white with the pretty
low Opacity, somewhere less than 50%.
| | 00:46 | I will try 25 and on Dylan here I
am going to go ahead and use a big
| | 00:52 | brush, and just start to really bring in some
brightness into this area of the photograph.
| | 00:57 | You can see that because we are using
a lower Opacity, we can incrementally
| | 01:01 | paint that in, and I will go ahead and
just bring this up a little bit here.
| | 01:06 | Next, I will work with a smaller
brush on the eyes for Dylan's dad and then
| | 01:12 | a little bit bigger here on the face and just
add a touch of brightness, not as much on him.
| | 01:16 | I want more brightness on Dylan
because he is kind of back in the shadow a
| | 01:20 | little bit more there.
| | 01:21 | All right, I am going to bring up
brightness in a couple of other little
| | 01:24 | areas here as well.
| | 01:26 | Okay, well here we have our before
and after, before and then after, just
| | 01:30 | bringing in some brightness
into that area of the image.
| | 01:33 | I am going to bring up my Curves
adjustment here even a little bit more.
| | 01:37 | Now I have too much brightness in that
area, but I am okay with that because
| | 01:41 | later I am going to be adding some
contrast to the image in this area.
| | 01:46 | All right next, let's go to the Mask
panel and go in to our mask and just blur
| | 01:50 | out our brushstrokes a little bit,
diffuse those so that we have light that's
| | 01:54 | coming in, but it isn't quite so
painted in, but it's a little bit more of a
| | 01:58 | diffused light source.
| | 02:00 | The next thing I want to do
is start to sharpen the image.
| | 02:03 | If we zoom in on this photograph, you
will notice it isn't very sharp, yet
| | 02:07 | that's okay because we can bring some
back, and I want to sharpen it and also
| | 02:11 | add a bit of grit to this
as you will see in a minute.
| | 02:14 | So let's merge everything to top,
and let's do so by way of a shortcut.
| | 02:18 | Press Shift+Option+Command+E if you
are on a Mac. Press Shift+Alt+Ctrl+E if
| | 02:22 | you are on Windows.
| | 02:24 | We'll name this one high pass
or hp for high pass sharpening.
| | 02:28 | Here what we are going to do is
navigate to our Filter pulldown menu.
| | 02:31 | We are going to go to Other,
and then choose High Pass.
| | 02:34 | The great thing about High Pass is
what you can do is you can bring in your
| | 02:38 | Radius or increase your Radius amount
until you see the detail that you know
| | 02:41 | will be good amount of sharpening.
| | 02:43 | Typically, you are looking for a bit
of texture or edge detail here, nothing
| | 02:47 | that's too high, but you should see a
faint resemblance of the image. Next click OK.
| | 02:52 | Whenever you are working with High
Pass, you always want to go to Image >
| | 02:56 | Adjustments and then choose Desaturate.
| | 02:59 | Now this is a black-and-white image, so
it's not critical, yet you want to get
| | 03:02 | in the habit of doing that whenever you
are working with High Pass just to make
| | 03:05 | sure you are not increasing the chance
of having any kind of color artifacts
| | 03:09 | that don't look very good.
| | 03:11 | Next step, we choose a blending mode of
either Overlay or Soft Light or Hard Light.
| | 03:15 | Let's try these out.
| | 03:16 | Well, here we have Overlay.
| | 03:18 | Here is our before and then after. That
looks pretty good at least on my monitor.
| | 03:23 | Soft Light will be a little bit more
subtle and then Hard Light will be a little
| | 03:26 | bit different, again bringing out
some of that real intense texture.
| | 03:29 | Well, in this case I am
thinking Overlay looks pretty good.
| | 03:32 | It has a lot of intensity to it, and I like
how it's bringing out some of those details.
| | 03:36 | Now the next thing that I want to do
is I want to increase the Contrast even
| | 03:40 | further, and I want to do that with film grain.
| | 03:43 | Here is how we are going to do it.
| | 03:44 | Again, we are going to merge to top.
| | 03:46 | If you are on a Mac, Shift+Option+
Command+E, if you are on Windows
| | 03:50 | Shift+Alt+Ctrl+E. Let's go ahead and
name this one grain and what we are going
| | 03:54 | to do at the film grain,
it actually takes a few steps.
| | 03:57 | So let's go ahead and stop here and then
we will pick up right where we left off
| | 04:01 | with adding the film grain in the next movie.
| | Collapse this transcript |
| Adding grain| 00:00 | At this stage, one of things that I
want to do is add some film grain to this
| | 00:03 | image and also a bit of contrast.
| | 00:06 | Well, here you can see that we have
merged the top, so that this top layer all
| | 00:09 | that it is, is a merge of all of our
underlying layers, and we did this at the
| | 00:13 | end of the last movie.
| | 00:14 | So here when we turn on the visibility
of this layer, what we are going to do is
| | 00:18 | we are first going to create a
mask based on the Red channel.
| | 00:22 | Now there is a really quick way to do this
and it works incredibly well. Here it is.
| | 00:27 | On a Mac, you press Option+Command+3;
| | 00:32 | on Windows you press Alt+Ctrl+3.
| | 00:34 | Now if you are not keen on shortcuts,
what you can do is always go to the
| | 00:40 | Channels panel and then just Command+
Click or Ctrl+Click on the channel you want
| | 00:44 | to load the luminosity of,
in this case the Red channel.
| | 00:47 | Or either way, we want the load the
luminosity of the Red channel and then click
| | 00:52 | on the Add lLayer Mask icon.
| | 00:53 | This in turn will create a layer mask
which looks just like the Red channel and
| | 00:58 | if I go ahead and select
that you can see it here.
| | 01:01 | It doesn't look that impressive, but
what it will do for us is it will help us
| | 01:04 | create an interesting grain effect.
| | 01:07 | Next thing we want to do is target the image.
| | 01:10 | So you want to click in the image so
that you see the little brackets around
| | 01:13 | your layer thumbnail for
the image, not for the mask.
| | 01:16 | From here, we go to Filter.
| | 01:19 | We choose Noise and then add some noise.
| | 01:22 | In the Add Noise dialog what we are
looking to do is to add some Gaussian,
| | 01:26 | monochromatic noise and here we can
control our amount, and what's interesting
| | 01:31 | about this is that with this mask, it's
going to limit the way that the noise is
| | 01:35 | going to come across the image.
| | 01:37 | The amount of noise that you are going
to want to add here is going to be higher
| | 01:40 | than seems reasonable.
| | 01:42 | In this case, we have too much noise, which I
am comfortable with and here is why. Click OK.
| | 01:48 | What we are going to do is
apply blending mode on this layer.
| | 01:51 | So we have this mask.
| | 01:52 | If I Shift+Click it, here
is before and then after.
| | 01:55 | The mask already is really
helping this blend in nicely.
| | 01:59 | Then we go to our blending mode of say
Soft Light, what it's going to do is add
| | 02:03 | this to the image with this
really nice feel. Take a look.
| | 02:07 | Here is before, and then here is after.
| | 02:10 | So not only is it adding film grain,
but it's also adding contrast or mapping
| | 02:16 | that film grain into the tonality of
the image, building up more intensity and
| | 02:22 | so really it's these last two layers
here where we sharpened and also added grain
| | 02:26 | and contrast, that help make this
image come to life in a new way.
| | 02:31 | Let me show you what I mean.
| | 02:32 | If we zoom in here is
that before and then after.
| | 02:36 | Of course, it's all of these images
together, it's the cleanup work, it's a
| | 02:40 | little bit of that brightening effect, and
then the other adjustments that we have made.
| | 02:44 | Now without this brightening layer it
wouldn't have looked so good, so that's
| | 02:48 | why we over brightened a bit there,
knowing that layer we would be adding this
| | 02:53 | grit back to the image.
| | 02:55 | In this case, this photograph feels a
little bit more like a film photograph.
| | 02:59 | It feels like it has a little bit more
timelessness to it in the sense that you
| | 03:04 | don't necessarily know when it was
taken or how it was captured and you really
| | 03:08 | have the sense like you are out in the
ocean, and there is this intensity to the
| | 03:11 | image or at lease that's how I feel about it.
| | 03:13 | All right, well the last thing I want
to do here is simply apply a few little
| | 03:17 | Curves adjustments, so I am going to do
zoom out, and I will go ahead and click
| | 03:20 | on my topmost layer and then choose Curves.
| | 03:23 | What I am looking to do here is to
create a darkening curve and then I am going
| | 03:27 | to paint this into a few areas.
| | 03:28 | So, invert the mask, Command+I, press
the B key to select your Brush tool and
| | 03:33 | then hover over the image and choose
an Opacity that you want to use, maybe a
| | 03:37 | little bit higher, and then go
ahead and just start to paint this in.
| | 03:40 | I think it will be nice to have some
more darkness here in the trees and I am
| | 03:45 | going to go ahead and try to create a
little bit more sense of depth there with that,
| | 03:49 | also in the foreground I would
like to have some more darkness here so I
| | 03:52 | am just painting with white which in
turn is allowing this dark adjustment to
| | 03:56 | come through in these areas.
| | 03:58 | If you want to change your Opacity
because you feel like you need more, well you
| | 04:02 | can do so by clicking and dragging,
or you can click and drag over the word
| | 04:07 | Opacity or just press a
number key like press 9 for 90%.
| | 04:12 | That in turn will help you to apply that.
And here I am going to go back to my
| | 04:16 | curve and just bring that brightness
value down even further darkening up these
| | 04:21 | little areas of the image.
| | 04:22 | I am trying to add a little bit more to that.
| | 04:25 | Here is before and after.
| | 04:27 | Next, one more Curves adjustment.
| | 04:29 | Click on the Adjustment
Layer icon. Choose Curves.
| | 04:32 | Here I want to do a little bit
of brightening, invert the mask,
| | 04:36 | Command+I, and then with my Brush tool
I am just going to bring a little bit
| | 04:39 | more in on the faces here, just because
I really like the users to be drawn into
| | 04:44 | the eyes, into the face, and I
painted with pretty big brushstrokes.
| | 04:47 | I am not super-concerned because I am
going to diffuse this so highly that it's
| | 04:52 | just going to be a little
tiny snap of color there.
| | 04:54 | I want to do the same thing with
this one as well for those darker areas.
| | 04:58 | Again, just so it really blends
in nicely to the overall image.
| | 05:01 | All right well now that we have done
all that, let's organize our layers.
| | 05:05 | We'll click in our topmost layer, hold
down the Shift key, click in the bottommost
| | 05:09 | layer of all of our adjustments
and then press Command+G on a Mac, Ctrl+G
| | 05:13 | on Windows, and then we'll go ahead and
name this work or something like that.
| | 05:17 | This is all of the work that
we have done on this image.
| | 05:20 | Let's press F to go to Full-Screen
View mode. Zoom in a little bit so we can
| | 05:23 | evaluate our progress.
| | 05:25 | Then press the F7 key to see how we have done.
| | 05:27 | Here it is, before and then after.
| | 05:31 | All of this work that we did with Camera
Raw and then in Photoshop, let's really
| | 05:35 | bring this image to this place, and we
can click through our layers just make
| | 05:38 | sure we are doing good work bringing up
the brightness that sharpness and also
| | 05:43 | that contrast and then a few little
final adjustments here in order to get this
| | 05:48 | looking just right, and I am just
going to modify the Opacity here, so I have
| | 05:52 | a nice look and feel in regards to
those areas. Again before and after.
| | 05:58 | Now the only other thing you may want
to do at this juncture, as we have talked
| | 06:01 | about before with black-and-white
images, is add a bit of hue to the photograph.
| | 06:06 | If you are interested in doing that,
there are number of great techniques.
| | 06:10 | One really simple technique if we want
to keep things super simple is to simply
| | 06:14 | choose Color Balance and then
decide if we want this to go cool.
| | 06:18 | We could have this become a little bit
more of a cool image and then apply a
| | 06:23 | Blending mode say of Soft Light and
then lower the Opacity way down on that, so
| | 06:27 | you're just mapping that color into
the contrast or tone, or you could always
| | 06:32 | swing this another way. It might be nice
to have this go a little bit warm with
| | 06:36 | that touch of contrast in there.
| | 06:38 | Now sometimes what you will find when
you do this is you like the tone and
| | 06:41 | contrast but you want a bit more color.
| | 06:44 | In those cases, duplicate this layer.
| | 06:48 | Take the Blend mode to Normal and
then just play with the Opacity here.
| | 06:52 | You can consider this one as
your layer that controls color.
| | 06:55 | Here you can see I can have a lot of
color or just a little bit more color, just
| | 06:59 | a hint there, and I think that
might look good for this image.
| | 07:02 | All right, well let's organize these last top
two layers that I kind of added on just for bonus.
| | 07:07 | Click in our top one, hold down the
Shift key, click in the bottom one, and press
| | 07:10 | Command+G on a Mac to group those.
Ctrl+G on Windows to group those.
| | 07:15 | We'll name these color, and I like
grouping so much,. One, it's easier to work
| | 07:20 | with my files later.
| | 07:21 | Two, I can control that overall effect,
and just have it dialed in exactly where
| | 07:26 | I want it or shift it as needed
when I am printing the photograph.
| | 07:30 | All right, well there you have it,
our overall before and then after.
| | Collapse this transcript |
| Making basic adjustments with Adobe Camera Raw (project 2)| 00:00 | In this brief project, we again will
be working on a portrait of father and
| | 00:03 | son Martyn and Dylan.
| | 00:06 | Martyn is a great dad.
| | 00:07 | They were out playing in the ocean.
| | 00:08 | They came out at the beach, and I
snapped this quick portrait here.
| | 00:11 | I like the intensity of it, and I like
the intimacy and the connection of it
| | 00:15 | between father and son, but I want to
bring it out even more, convert it to
| | 00:19 | black and white, work on the
composition and also explore how we can use
| | 00:23 | Camera Raw in order to work with
exposure situations to combine multiple
| | 00:28 | exposures together.
| | 00:29 | Well, first, let's open
this image up in Camera Raw.
| | 00:32 | To do so, navigate to the File pulldown
menu, then select Open in Camera Raw, or
| | 00:38 | press Command+R on Mac, Ctrl+R on
Windows, or you can always right-click or
| | 00:44 | Control+click and choose Open in Camera Raw.
| | 00:48 | Now once this is opened in Camera Raw,
one of the things that I want to do is
| | 00:51 | figure out what's wrong with the exposure.
| | 00:53 | So if I just drag the Exposure slider
and bring it down, it makes me realize you
| | 00:56 | know what, it was a bit overexposed,
but when I bring it down so that the
| | 01:00 | exposure is perhaps a
little bit better on this side.
| | 01:03 | Well then the other side's a bit too dark.
| | 01:05 | So what we're going to need to do
eventually is to create two different
| | 01:09 | exposures that we'll combine together.
| | 01:11 | Before we get to exposure,
I want to crop this image.
| | 01:14 | So here we can press the C key,
or we can click on the Crop tool.
| | 01:18 | I'll go ahead and click and drag this
across the entirety of the photograph and
| | 01:22 | then hold down the Shift key
and just drag these points in.
| | 01:25 | Again, one of things that I've been
trying to get you to think about is how
| | 01:28 | sometimes if you have a bit of a
tighter crop, it can add to the overall impact
| | 01:34 | of certain types of photographs.
| | 01:35 | Here I'm going to go ahead and just
reposition this and also just modify this a
| | 01:40 | little bit by clicking and dragging
these points and then press Enter or Return.
| | 01:45 | So again, I have a slight rotation here
and sometimes if you press the C key and
| | 01:49 | you experiment with these rotations and
press Enter or Return, press the C key
| | 01:54 | again and try to find the right spot for it,
| | 01:56 | you can find a position for the
image, which may look really good for
| | 02:00 | that particular frame.
| | 02:01 | Here again, all I'm looking to do
is to have this really kind of close
| | 02:05 | magical moment portrait. All right.
| | 02:08 | Well next, let's desaturate here.
| | 02:09 | So we'll go ahead and
convert to black-and-white.
| | 02:12 | Let's work on a few of our basic
adjustments, like Clarity would be nice to
| | 02:15 | increase, perhaps a little bit of
Contrast there, a touch of Fill Light, some
| | 02:20 | Recovery there to try to get the
exposure a little bit more equalized.
| | 02:24 | I really want to focus in
on this side of the image.
| | 02:26 | So I'm going to brighten this up a
little bit more, a touch more contrast.
| | 02:30 | Perhaps right about there, I think it looks
pretty good in regards to a starting point.
| | 02:34 | Then open the image.
| | 02:37 | Now once I open the image, you notice
the image is updated inside of Bridge.
| | 02:42 | Let's go back to Bridge and
let's reopen this in Camera Raw.
| | 02:46 | Now to go File > Open in Camera Raw.
| | 02:49 | Well, here what I'm going to do is
bring my Exposure way down, really focusing
| | 02:53 | in on this side of the face over here.
| | 02:56 | Recovery slider's going to go up, even further.
| | 02:58 | I'm going to play with my sliders
here, a little bit of Fill Light, modify
| | 03:03 | the Contrast as well.
| | 03:05 | I'm just looking to get a better
exposure on the brighter side of the image.
| | 03:09 | Next, click Open Image.
| | 03:11 | What we can then do is we can combine these
two together to get the best of both worlds.
| | 03:16 | Here's how we'll do it.
| | 03:18 | We'll select the Move tool.
| | 03:19 | We'll go ahead and drag these so
that they're next to each other.
| | 03:23 | Then hold down the Shift key and click and drag.
| | 03:26 | If you hold down the Shift key,
they will come in perfectly aligned.
| | 03:30 | So here you can see both
layers are perfectly aligned.
| | 03:33 | Now in this case the forehead, we don't
quite have that much detail there, but
| | 03:37 | we'll see if this will work.
| | 03:38 | We'll go ahead and name this top layer
"lower exposure" or something along those lines.
| | 03:44 | It will help us know that this
is the one that's a bit darker.
| | 03:47 | Next, hold down Option on a Mac, Alt on
Windows and click on the Add Layer Mask
| | 03:52 | icon which will create a mask filled with black.
| | 03:55 | Now at this juncture, it probably be a
good idea to press F to go to Full Screen
| | 03:59 | View mode, so we can really start
to focus in on the task at hand.
| | 04:03 | Here's what the task is.
| | 04:05 | It's going to be to select the Brush tool,
choose white as our foreground color,
| | 04:10 | lower the Opacity pretty significantly,
so we want to have nice low Opacity
| | 04:13 | there, little bit bigger brush, make
sure your brush has no hardness there.
| | 04:18 | You want a soft edge brush, so
we have no hardness on that one.
| | 04:21 | Then here we'll go ahead and
just start to paint this in.
| | 04:24 | As we paint across this multiple times,
what we'll be able to do is darken up
| | 04:28 | this brighter side of the image.
| | 04:30 | Now at certain point, we're not going
to be able to darken this all the way,
| | 04:34 | but at first, we want it really just do
these rough brush strokes, just kind of
| | 04:37 | say okay, well, how far can we go with
this, is this going to be worthwhile,
| | 04:41 | how can we equalize things.
| | 04:43 | Here you can see that my
brush strokes are a bit patchy.
| | 04:45 | They're a bit overdone, but I'm going to do
that just kind of playing with this tonality.
| | 04:50 | What you can do, of course, is once
you've made a few brush strokes, even this
| | 04:55 | bad of brush strokes.
| | 04:56 | I mean these are really bad.
| | 04:57 | You can see the lines there.
| | 04:59 | Well, then you can choose a
bigger brush. Press the X key.
| | 05:02 | You can start to paint these away with a
softer brush to create some transitions.
| | 05:07 | You can do so down here on the arm.
| | 05:09 | You can see I'm starting to soften
that up here on the top of the arm.
| | 05:13 | Then you can go into your Mask panel.
| | 05:15 | This is sometimes a helpful way to view this.
| | 05:18 | Option+click or Alt+click your
mask and then increase the Feather.
| | 05:22 | You can see that as I do that, all
those brush strokes, which were too patchy,
| | 05:26 | are now blended together.
| | 05:27 | We also have this nice diffused edge
which goes to gray which can help us out.
| | 05:32 | Well, now we can Option+click or Alt+
click this again which will take it off and
| | 05:36 | here we have that control before and after.
| | 05:39 | We can start to see how we're
bringing the brightness down in that area.
| | 05:43 | We can still mask in these areas too if
the forehead right there is a little bit
| | 05:46 | too dark or the shoulder right there.
| | 05:48 | You just have to keep in mind, when
you have that high of a Feather, your
| | 05:52 | brushstrokes are going to be pretty broad,
even though you have a smaller brush.
| | 05:55 | So you just want to be careful with how
you are doing this to keep in mind that
| | 05:59 | it's going to be pretty broad in
regards to how you're working on these
| | 06:02 | different little areas of your photograph.
| | 06:05 | Well, here in this case, I think we
have a nice darkening effect on this
| | 06:08 | portion of the image.
| | 06:09 | Let's lower the Opacity to
get it exactly where we want it.
| | 06:13 | Now in my case, I want to just kind of
knock that brightness down a little bit.
| | 06:17 | We did that by having
these two separate exposures.
| | 06:21 | Now we also might want to
do that on Dylan here touch.
| | 06:24 | So I'll go ahead and paint with a
lower Opacity here and just bring down this
| | 06:29 | highlight as well, little bit on the
arm and just bring this down a little bit
| | 06:33 | to kind of equal out the tone.
| | 06:35 | Now I know that later, one of the
things I'm going to do is add some more
| | 06:38 | contrast because an image like this
is just begging for contrast, isn't it?
| | 06:43 | In this case, what we could do then is
keep that in mind and say to ourselves,
| | 06:47 | you know, we're going to do that a
little bit of this, but of course, what will
| | 06:50 | happen eventually is this is
going to get much brighter.
| | 06:53 | Now if ever we haven't darkened this
enough, what we could always do is create
| | 06:58 | another exposure and bring it in, or
you can always click on Adjustment Layer
| | 07:02 | icon and choose Curves.
| | 07:03 | Bring down your top point.
| | 07:05 | That's the brightest area.
| | 07:06 | Bring down the curve in general.
| | 07:08 | Then see if you can paint in some more detail.
| | 07:11 | Now here on this image, we're not
going to get a ton more detail here, but
| | 07:14 | maybe a little bit.
| | 07:15 | So Command+I to invert that mask, grab
your brush, and then go ahead and paint
| | 07:21 | with white in a few little areas, again
just darkening things up a bit on these edges.
| | 07:26 | We'll go ahead and just
go through this along here.
| | 07:29 | You can see I'm just darkening
those edges up there a little bit more.
| | 07:33 | Then press the X key if you make
any mistakes, like I made there.
| | 07:36 | I've painted a little bit too far near
the ear, but again, I'm just looking to
| | 07:40 | try to bring that tone down a bit,
equalize things up a little bit here so that
| | 07:44 | we have a bit more of an even tone,
not so overexposed on this side.
| | 07:49 | Go to the Mask panel,
feather that up a little bit.
| | 07:53 | Then let's take a look at how
we're doing. Here we have it,
| | 07:55 | before and then after.
| | 07:58 | Now I spent quite a bit of time on this,
yet the point was to really get you to
| | 08:02 | begin to think about how you can work
with multiple images which you bring from
| | 08:07 | Adobe Camera Raw, how you can combine
those together and then in addition, how
| | 08:12 | you can also integrate in all the other
skills that you have in order to create
| | 08:16 | stronger, better, more powerful photographs.
| | 08:19 | All right, well, now that we've gotten
through this stage, let's go ahead and
| | 08:22 | group these layers together. Click in
the top layer, Shift+click in the bottom
| | 08:26 | layer, press Command+G on
Mac, Ctrl+G, on Windows.
| | 08:30 | We'll just name this little group, tone;
| | 08:32 | some really simple tone adjustments,
yet nonetheless, they're kind of setting
| | 08:35 | the stage for us for
what we're going to do next.
| | Collapse this transcript |
| Working with curves| 00:00 | The next thing I am going to work
on is our overall contrast and color.
| | 00:04 | In order to do that, let's click on
our adjustment layer icon for Curves.
| | 00:07 | What we're going to do here is go
down to the lower level of the curve and
| | 00:10 | we're going to click on the
bottom point and just lift it up a bit.
| | 00:13 | That will boost our shadows so
they're not quite so dark, and then we will go a
| | 00:17 | little bit above that, and darken the
other shadows, not the deepest ones but
| | 00:22 | the ones a little bit up from that,
and then click in the higher part of the
| | 00:25 | curve and we can just level this out a bit.
| | 00:27 | Then just look to try to bring in some
darkness into these darker tones down here.
| | 00:31 | Here is that before and after, just adding
some nice details into that area of the image.
| | 00:37 | Now one of the problems with this is
the eyes became a little bit too dark.
| | 00:41 | So let's zoom in, press the B key to
select your Brush tool, and then you want
| | 00:45 | to paint with black with a higher
Opacity, because we don't want the eyes to
| | 00:48 | become so dark here.
| | 00:49 | So we're just going to mask this off, so
that we're not darkening these eyes up.
| | 00:54 | Rather we want to have a little
bit of brightness there in the eyes.
| | 00:57 | Now there's a lot of ways to work with
the eyes, but so far all that I'm doing
| | 01:00 | as you can see is just trying to
limit this darkening effect to that area.
| | 01:05 | One great technique with eyes is this.
| | 01:07 | Click on your Adjustment Layer icon,
choose Curves, and then go ahead and just
| | 01:11 | change the blending mode to Screen.
| | 01:13 | You can also brighten this up a
little bit if you want to or just leave it
| | 01:16 | right there on Screen.
| | 01:18 | You can look to work on contrast too,
just really focusing in on the eyes there.
| | 01:22 | So we have Screen blending, and then we're
applying a little bit of a Curve adjustment.
| | 01:26 | Next, invert your mask.
| | 01:28 | Command+I on a Mac, Ctrl+I on Windows.
Grab your Brush tool. Go ahead and press
| | 01:34 | the X key to exchange those,
so you're painting with white.
| | 01:37 | Now, make your brush pretty small.
| | 01:39 | What we want to do is we want to paint
with white over this area of the eye and
| | 01:43 | what this will do is it will have
that brightening effect, also the Curve
| | 01:46 | adjustment which was a
little bit of contrast in there.
| | 01:49 | The S-curve, and then we can bring
that light into this area of the image.
| | 01:55 | Again, just adding a little bit more
glow or luminance value to the eyes, kind
| | 02:00 | of adds to the surreal
nature of this image I think.
| | 02:04 | Here's before and after.
| | 02:06 | Now here the eyes feel like
they're a little bit too strong.
| | 02:09 | So I'm going to modify my curve, and
then lower my Opacity, so I have just a
| | 02:14 | nice snap in those eyes, and
you should be able to see that.
| | 02:17 | If we zoom in, here's our before
and then now here's our after.
| | 02:22 | Now, if you want a bit more of course you
can always increase this a little bit higher.
| | 02:25 | Well one of the next things
I want to do is sharpen the image.
| | 02:28 | Let's go ahead and take a look at
how we can do that in the next movie.
| | Collapse this transcript |
| Sharpening the details| 00:00 | Here, let's take a look at
how we can sharpen the image.
| | 00:03 | In order to do that, let's
organize our layers a little bit.
| | 00:06 | So I'll click on my top Curves adjustment.
| | 00:08 | Hold down the Shift key.
| | 00:09 | Click in the bottom Curves adjustment.
| | 00:11 | Then press Command+G or Ctrl
+G in order to group these.
| | 00:15 | Here you can see we have
some more tonal adjustments.
| | 00:17 | So I'll go ahead and name this tone - 2.
| | 00:19 | All right, next thing I
want to do is merge the top.
| | 00:23 | So let's click in our top layer.
| | 00:24 | Then press Shift+Option+Command+E on
a Mac, Shift+Alt+Ctrl+E on Windows.
| | 00:29 | We'll name this layer sharpen.
| | 00:31 | Then here we want to zoom in to 100%.
| | 00:34 | You can do so by double-clicking your Zoom
tool, or you can also use a great shortcut.
| | 00:39 | Here it is.
| | 00:40 | You press Command+Option+0 on
a Mac. Ctrl+Alt+0 on Windows.
| | 00:46 | Next, we'll go to our Filter pulldown menu.
| | 00:48 | Here we're going to choose Sharpen.
| | 00:50 | Then we're going to go to Smart Sharpen.
| | 00:52 | Now with Smart Sharpen, what you
typically want to do is you typically want to
| | 00:56 | use Lens Blur. Typically want Advanced on.
| | 00:59 | You start off by having a real low
Radius and then incrementally bringing up
| | 01:03 | your Amount, bring up your Radius a little bit.
| | 01:06 | Go back and forth until
you see some nice sharpening.
| | 01:09 | Now here what we want to do is I want
to apply little bit more sharpening that
| | 01:13 | I'm comfortable with.
| | 01:15 | A lot of times you need to do
that in order to get good prints.
| | 01:18 | If this is going to be printed, we
need to have a bit more sharpening than
| | 01:21 | we're comfortable with.
| | 01:22 | So the reason I'm not comfortable with
the sharpening is that there is a glowing
| | 01:27 | edge along the face here.
| | 01:29 | That doesn't look good.
| | 01:31 | So we have to keep in mind those if we want
to have a really crisp high contrast esthetic.
| | 01:37 | We can apply that kind of sharpening,
but then you have to add that layer mask.
| | 01:41 | Grab your Brush tool and paint
the sharpening anywhere you want it.
| | 01:45 | In this case, we want it in
very few areas, right, just the faces.
| | 01:49 | So we'll go to our Mask panel. Invert that mask.
| | 01:52 | So now we have no sharpening.
| | 01:54 | Now we'll paint with white
with a pretty high Opacity here.
| | 01:58 | Right Bracket key gives me a bigger brush.
| | 01:59 | I'm going to paint in some sharpening
on the eyes, on the eyes over here as
| | 02:04 | well, a little bit on the
lips, a little bit on the nose.
| | 02:08 | Then I'm going to lower my Opacity.
| | 02:10 | I'll lower it down.
| | 02:11 | I want to bring in some
sharpening on the face here.
| | 02:14 | Get some of those freckles in.
| | 02:17 | Right Bracket key makes my brush a bit bigger.
| | 02:19 | I want to get some of the hair
detail, a little bit sharper there.
| | 02:24 | All right, well, I'm liking that.
| | 02:26 | Next thing I want to do is just pane
around the image, press the Spacebar key,
| | 02:30 | and make sure we have
appropriate sharpening across the image.
| | 02:33 | That's looking really good.
| | 02:34 | If we zoom in close here,
you should be able to see.
| | 02:36 | Here is our before and after.
| | 02:39 | If you look at the eyes, they look good.
| | 02:41 | Yet, we don't have any problems like
the edge of the face there, even though we
| | 02:44 | have this super high amount
of sharpening. All right.
| | 02:46 | Well next, I want to apply some more sharpening.
| | 02:49 | I want to apply it to
everything that I've done so far.
| | 02:52 | So once again merge the top. Shift+Option+
Command+E on Mac, Shift+Alt+Ctrl+E on Windows.
| | 02:58 | We're going to go ahead
and name this sharpen - 2.
| | 03:01 | Next, we can reapply the last filter
that we have just applied with the dialog
| | 03:07 | open so we can modify the settings by pressing
a great, very valuable shortcut. Here it is.
| | 03:12 | Press Command+Option+F on a
Mac, Ctrl+Alt+F on Windows.
| | 03:18 | This will reopen this dialog.
| | 03:20 | What I'm looking to do here is to have
a sharpening amount that I'm going to
| | 03:23 | mask in to particular areas.
| | 03:26 | So I'm going to go to my Highlight.
| | 03:27 | I'm just looking to try to fade off
that highlight edge just a bit there, but
| | 03:31 | still I have a real high
amount of sharpening. Click OK.
| | 03:35 | Next, click on the Add Layer Mask icon,
but this time, you know you want it to
| | 03:40 | be black, so hold down Option on Mac,
Alt on Windows while you click on the
| | 03:45 | Add Layer Mask icon.
| | 03:47 | Next step, you have your Brush tool.
| | 03:49 | You're painting with white.
| | 03:51 | You have a nice low Opacity.
| | 03:53 | You have a brush with no hardness here at all.
| | 03:54 | So if we go to our brush, no hardness there.
| | 03:56 | We want to change its size. Left
bracket key is a nice way to do that.
| | 04:00 | Let's start to hit a few of these little
areas, like some of the details in the eye.
| | 04:04 | We're just going to paint in
some of these details here.
| | 04:06 | Bring out a little bit more of the
subtlety of the sharpening, a little bit on
| | 04:10 | the lips there as well.
| | 04:11 | We're just going to hand paint in this
extra amount of sharpening into few areas
| | 04:17 | where we think it will help bring out the image.
| | 04:20 | Again, we're looking for this high
contrast, really nice looking image.
| | 04:24 | So we'll go ahead and paint back and
forth across these areas, just making sure
| | 04:28 | we have that sharpening looking good.
| | 04:30 | All right, there it is, before and after.
| | 04:33 | Again, it will be tricky to see once
this movie is compressed, but here on my
| | 04:37 | monitor, it's looking really nice.
| | 04:39 | Our sharpening overall is doing some
good work and so far the image in general,
| | 04:44 | it went from here to here,
| | 04:45 | it's really starting to take
on a little bit more depth.
| | 04:48 | Well, let's continue to work on this image.
| | 04:51 | We'll do so in the next movie.
| | Collapse this transcript |
| Enhancing the color and tone| 00:00 | At this stage of our work on this image, what I
want to do is I want to work on color and tone.
| | 00:05 | We've already talked a little bit about
how we can do this if we want to shift
| | 00:08 | the hue just a little bit.
| | 00:10 | Let's do that with Color Balance.
| | 00:11 | Then finally, I want to make some last-
minute tonal adjustments, organize our
| | 00:15 | layers and review our overall
progress,. So first, color and tone.
| | 00:20 | If we go to the Adjustments tab, here
we're going to go to Color Balance. Just a
| | 00:23 | really nice way to work on color and tone.
| | 00:25 | We can bring color into
different areas of the image.
| | 00:28 | We can go under our deep shadows and
make those a little bit more red or add a
| | 00:32 | little bit of yellow and
magenta into the mix as well.
| | 00:36 | One of the things that you typically
want to try whenever you're using these
| | 00:39 | layers is to either try channel
luminance masking or layer blending.
| | 00:45 | So here what I'm going to do
is simply duplicate this layer.
| | 00:48 | I'm going to apply a blending mode to
one of these on top, Soft Light, and then
| | 00:52 | turn off my underlying layer.
| | 00:54 | So what that Soft Light one is doing
for me is bringing in this color into the
| | 00:58 | tone, and it's kind of
blowing out my highlights a bit.
| | 01:02 | To fix that, double-click the layer.
| | 01:04 | That will open up Layer
Style or Advanced Blending.
| | 01:07 | In the Advanced Blending dialog, we can
control how this is blending into the whites.
| | 01:11 | You can see I'm saving those, or I
can save the blacks as well and then
| | 01:16 | Option+click or Alt+click on this little icon
to split that to create a little transition.
| | 01:20 | We can do this if we want to have
this effect not be quite so strong.
| | 01:25 | Click OK to apply that.
| | 01:27 | Again, it's just a nice way to
kind of limit the intensity of that.
| | 01:32 | If you didn't catch that, here
it is again. You double-click.
| | 01:35 | Then you drag your slider. For example,
we can see it's bringing back some
| | 01:38 | detail on this area on the face,
| | 01:41 | on the arm, over here, background.
| | 01:44 | Then you Option on a Mac, Alt on
Windows, click on this triangle icon.
| | 01:49 | It creates more of a transition.
| | 01:51 | So it's not so noticeable.
| | 01:53 | Then you can do the same
thing in your shadows as well.
| | 01:55 | Again, it's just a nice way when you're
using blending modes like Soft Light or
| | 01:59 | Overlay or Hard Light to just protect
some of those areas and to back this off.
| | 02:05 | I'm just going to try to find a
nice amount there and click OK.
| | 02:08 | Here we have the before and then the after.
| | 02:11 | Well, still too strong for me.
| | 02:13 | So I'll lower the Opacity.
| | 02:14 | So I just have this little bit
of a subtle contrast and color.
| | 02:18 | Next, in this underlying layer, what I
can then do is control the Opacity here
| | 02:23 | to control how strong the
color is that comes into the image.
| | 02:26 | Again, we can just kind of
see that before and after.
| | 02:29 | I'm looking for nuance here.
| | 02:31 | I don't want to go over the top.
| | 02:33 | I don't want someone to look at the image
and necessarily even think that it's toned.
| | 02:37 | Rather, I want them to experience
the intensity of the photograph.
| | 02:41 | So in this case, I'm going for this look.
| | 02:44 | Now if you don't like these
types of warm tones, no big deal.
| | 02:47 | Make them cool or make them cross
processed or do whatever you want.
| | 02:50 | The point is that you can use
Adjustment layers like Color Balance, like
| | 02:54 | Hue/Saturation, like Curves and
then use blending modes as well.
| | 02:59 | Sometimes, when you do that, it can give
you that little extra edge with your photos.
| | 03:04 | Okay. Well, now that I have all of this,
I just want do some burning down of some detail.
| | 03:09 | So I'll click in my topmost layer.
| | 03:11 | Then I'll create a new
layer by way of our shortcut.
| | 03:13 | It's Shift+Command+N on a
Mac. Shift+Ctrl+N on Windows.
| | 03:19 | Here we want this to be called burn.
| | 03:21 | We'll take this to a blending mode of
Soft Light and then go ahead and click OK.
| | 03:27 | Now that we have that,
we'll grab our Brush tool.
| | 03:29 | We're going to paint with black.
| | 03:31 | We want to have a really nice soft
edge brush, again no hardness there.
| | 03:35 | I am going to make my brush a little bit
bigger, I think, and just start to paint.
| | 03:39 | Looks like I need to lower my Opacity a
little bit more because there are some
| | 03:43 | areas that I want to darken up here,
especially the lower edge of the frame.
| | 03:48 | I really want to darken over here,
because your eye's going to go to these
| | 03:52 | areas of brightness.
| | 03:54 | In my case, I want to darken those up
so that the eyes really go to the face.
| | 03:59 | Your eyes always are attracted to
brightness, contrast, sharpness.
| | 04:05 | So what I'm looking to do here is to
experiment with dodging or darkening a few
| | 04:10 | areas of the photograph in order to
redirect how someone views this image.
| | 04:17 | Then you can see I'm just painting at
this real low Opacity to crank it up a
| | 04:21 | little bit more just to speed up my workflow.
| | 04:24 | I'm looking to try to have this a
little bit darker look here around some of
| | 04:30 | these areas, a smaller brush over there.
| | 04:33 | If ever you're doing this and you
really wish that you could diffuse it out, if
| | 04:38 | your brush strokes are a bit
too strong here, you can do that.
| | 04:43 | An interesting way to do that
is with Gaussian Blur filter.
| | 04:47 | So as you make your brush strokes, at
some point, go to the Filter pulldown menu.
| | 04:51 | Choose Blur and then Gaussian Blur.
| | 04:55 | Then you can increase your Radius.
| | 04:57 | As you do that, it's going to diffuse
those brush strokes and then click OK.
| | 05:01 | It will help them blend in a bit more.
| | 05:04 | Next, if you notice that you've done
this in a way that you don't like,
| | 05:08 | you can always limit it.
| | 05:09 | Let me show you what I mean.
| | 05:10 | So here is my before and then here is my after.
| | 05:13 | Now as I look at this, one of things
I'm realizing is stylistically I don't
| | 05:17 | like how much I darken the lower
edge of the image. I went overboard.
| | 05:20 | So, click on the Add Layer Mask icon.
| | 05:24 | With my brush, I'm going to paint
with black, a little bit higher Opacity.
| | 05:28 | I'm just going to mask this out.
| | 05:29 | The great thing about that is it's
still there if I want to mask it back in.
| | 05:35 | I just realized that I
kind of went too hard on that.
| | 05:37 | I was too focused on that lower edge.
| | 05:40 | Hit the X key. A little bit of a lower brush.
| | 05:42 | You can paint a little back of that
back in if you want to touch of it.
| | 05:46 | You can use this masking to then
really bring in the exact amount of this
| | 05:50 | effect that you want.
| | 05:52 | So here, I'm just going
to lower my Opacity a bit.
| | 05:54 | I think right around
there it looks pretty good.
| | 05:57 | It has lot of nice depth to it.
| | 06:00 | I like the darkness of the
image, the contrast, and whatnot.
| | 06:03 | All right, well now that we've
made it through all of these different
| | 06:06 | adjustments, let's go ahead and organize
our layers and review all of what we've
| | 06:11 | done in our overall progress.
| | 06:12 | Let's do that in the next movie.
| | Collapse this transcript |
| Final project review| 00:00 | Here at this juncture what I want to
is organize all of my layers and review
| | 00:04 | the progress that we have made.
| | 00:05 | So I will press F to go
to Full-Screen View mode.
| | 00:08 | Whenever you are in Full-Screen View mode,
if you find that the background color
| | 00:12 | is distracting, you can go ahead and
Ctrl+Right-click and you can change that.
| | 00:16 | And sometimes it's interesting to
see your images with different colors.
| | 00:20 | You can also go to a custom color.
| | 00:21 | Say if you wanted to see it on white,
it might be interesting to see in that
| | 00:25 | context, if you know that you are
going to frame this image in that context.
| | 00:30 | Sometimes, for example with an image
like this, it may make you realize,
| | 00:33 | you know what, it's a little bit too
dark surrounded by all this light.
| | 00:37 | It just feels too dense.
| | 00:39 | Well, if it does, press F7, brings up
your layers, click on your Adjustment
| | 00:43 | Layer icon, go to Curves, and then
just create a little bit of a brightening
| | 00:46 | effect, so that you can
see it in this context here.
| | 00:49 | So we have a little bit of a
brightening up of some of those tones down there.
| | 00:52 | Now in this case with this image
I don't think we really need that.
| | 00:55 | It's not that significant of an
adjustment, but nonetheless, the point here
| | 00:59 | is that as you change your background color,
it will affect how you view your overall image.
| | 01:05 | Well now, onto organizing our layers.
| | 01:08 | Here let's double-click the
Adjustments tab, and we have a lot of different
| | 01:12 | adjustments that we have made.
| | 01:13 | Let's click through these
last few adjustments here.
| | 01:16 | In this case we have some
sharpening that we have done.
| | 01:18 | We did some sharpening and
then another level of sharpening.
| | 01:22 | Probably it would make
sense to group those together.
| | 01:24 | We will click in one of the layers,
Shift+Click in another, then press
| | 01:27 | Command+G to group those.
| | 01:29 | We will go ahead and name that sharpen.
| | 01:30 | Next thing I notice is that I have
two whole groups of tone adjustments.
| | 01:35 | Well, I don't really need two
separate groups. So let's click in one group,
| | 01:40 | Shift+Click in another, then press Command+
G to group those, and just name these tone.
| | 01:45 | In this way it's just simplifying
our groups, and we can have these
| | 01:49 | subgroups inside of these that we
could go and drill down to if we need to
| | 01:52 | make those changes.
| | 01:54 | Again, it just can be a helpful way to
organize your layers, so you can focus
| | 01:58 | in on the art and craft of image making,
not necessarily focusing on all your layers.
| | 02:03 | You will get distracted with what was done.
| | 02:05 | Well, here we have a few little color
adjustments and burning and dodging and
| | 02:09 | then possibly some final adjustments here.
| | 02:11 | Well, as I look at my burning and
dodging layer, in this context I realize I
| | 02:15 | went too far with that, and I think
somewhere around there it looks good.
| | 02:19 | Let's click in our top layer, hold down
the Shift key, click in the bottom layer,
| | 02:23 | and then press Command+G or Ctrl+G to
group those. Command+G on a Mac, Ctrl+G on
| | 02:29 | Windows, and I will call this color and tone.
| | 02:32 | Again, if we want to get really
organized, we could group all these together,
| | 02:36 | and the point here isn't that you have
to organize your layers this way. Rather,
| | 02:41 | my point is to get you to begin to
think about how you work with layers and a
| | 02:45 | lot of times what I see happen with my
students is they have so many layers,
| | 02:48 | it's so disorganized, that if ever they
have to go back to make changes, they
| | 02:53 | really get bogged down.
| | 02:54 | Therefore, they don't make the changes.
| | 02:57 | Also, I notice that when you are new
to Photoshop you have lots of layers.
| | 03:00 | As you get better and better at Photoshop,
many people have fewer and fewer layers.
| | 03:04 | They merge or they commit to what they
have done. Rather than keeping all their
| | 03:08 | adjustments and layers,
| | 03:09 | they just flatten it or work on one, two,
three, four or five layers, not 15, 20 or 30.
| | 03:15 | Now that being said, you are going
to want to come up with the workflow
| | 03:17 | which works best for you.
| | 03:19 | There is never one correct way to work
in Photoshop. Rather, it's what works well
| | 03:23 | for you in regards to the images that
you work on, the way you work on them, and
| | 03:27 | how you do this in order
to achieve your artistry.
| | 03:30 | All right, well, finally let's review
our overall progress with this photograph.
| | 03:34 | Here it is. Our original image after
Camera Raw, and then after our adjustments,
| | 03:40 | our overall before and after here.
Let's zoom in a little bit more, so that we
| | 03:44 | can really see this image
in all of its intensity.
| | 03:46 | That might be a nice crop for it, right,
a little square crop. That could be fun.
| | 03:50 | Anyway, here it is, our
overall before and then our after.
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ConclusionGoodbye| 00:01 | Welcome back and congratulations on
making it through this training title.
| | 00:05 | My hope has been that this course has provided
you with a bit of information and inspiration.
| | 00:10 | Now here is where the fun
and the challenge begins.
| | 00:13 | Here is where you get to take all that
you have learned and begin to integrate
| | 00:16 | that into your overall workflow.
| | 00:18 | Well, I hope that you've enjoyed this
course and thanks for joining on this one.
| | 00:22 | Bye for now!
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