IntroductionWelcome| 00:05 | Hi! I am Janine Smith.
| | 00:06 | Welcome to Photoshop Elements 9,
Scanning and Restoring Photos.
| | 00:10 | The papers and chemicals used to create your
original photographs can and will disintegrate.
| | 00:15 | But by digitizing and restoring them,
you can preserve and share these
| | 00:19 | images with others.
| | 00:20 | We will begin by identifying the
different types of images you might need to
| | 00:23 | restore and showing you how
to get them into your computer.
| | 00:27 | Next, I'll demonstrate how to use the
organizer to categorize and tag your images.
| | 00:32 | Then we will hop into Photoshop Elements
to fix some of the most common problems.
| | 00:36 | We will see how to use levels to
restore color to faded photographs.
| | 00:40 | I will demonstrate how to use the Clone
Stamp tool to remove spots and dust and
| | 00:45 | we will even explore options for
digitally repairing ripped and torn photos.
| | 00:49 | I've been restoring photographs for
ten years and I love to share some of the
| | 00:54 | tools and tips I've learned along the way.
| | 00:56 | So gather up those old photos and
let's start restoring your images.
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| Using the exercise files| 00:00 | If you're a premium member of the
lynda.com Online Training Library or if you're
| | 00:04 | watching this tutorial on a DVD-ROM,
you have access to the exercise files used
| | 00:10 | throughout this title.
| | 00:11 | These files can be found in a
folder called Exercise Files.
| | 00:15 | Double-clicking this folder will reveal
several subfolders for the chapters of
| | 00:19 | this title and double-clicking one of
these folders will reveal the JPEGs that I
| | 00:24 | will be using throughout this course.
| | 00:27 | If you're a monthly subscriber or an
annual subscriber to lynda.com, you don't
| | 00:31 | have access to these exercise files,
but you can follow along from scratch
| | 00:35 | with your own assets.
| | 00:37 | So let's get started.
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1. Getting StartedIdentifying your media| 00:00 | If your old family pictures are not
already on your computer's hard drive,
| | 00:04 | scanning or digitizing your photos is
a critical step in digital restoration.
| | 00:09 | But it's not actually the first step.
| | 00:12 | The first thing you'll need to do is
identify what you have so you can determine
| | 00:16 | how it needs to be scanned.
| | 00:17 | For instance, if you have slides or
negatives, we will need a scanner with a
| | 00:21 | transparency adapter.
| | 00:24 | If you have a photo that's so damaged
it's falling apart or one that's in a
| | 00:28 | frame, you may need to photograph it.
| | 00:30 | It's always a good idea to know just what
you're dealing with before you start scanning.
| | 00:35 | So what's in your attic?
| | 00:38 | Gather all your old photographs, film,
negatives, slides and documents to take
| | 00:42 | stock of what you have.
| | 00:45 | While going through the photos, try to
have an older relative on hand to tell
| | 00:49 | you the story behind the
photos and who the subjects are.
| | 00:52 | Make notes for inclusion later.
| | 00:56 | Have a number of archival storage or
photo boxes like this, handy to helping
| | 01:01 | categorizing your images.
| | 01:05 | Separate newer from older photos.
| | 01:09 | Then further divide the
photographs into category by damage.
| | 01:12 | Put photos that seemed to be
lightly damaged into one pile.
| | 01:18 | Perhaps they're just a little
faded or have a slight bend.
| | 01:23 | Create another pile for the ones
that are the most heavily damaged or in
| | 01:26 | generally delicate condition.
| | 01:28 | These along with older frame photos
might have to be digitized using a camera
| | 01:35 | rather than a scanner.
| | 01:38 | If your framed photos are fairly
recent or in flat frames, you'll probably be
| | 01:44 | able to remove them from their frames
to scan them or if they haven't got glass
| | 01:49 | on them, you can simply
lay them on your scanner.
| | 01:53 | If photos are very old, in original
frames, in cases rather than frames as many
| | 02:00 | old photos such as daguerreotypes are
or are in a frame with the glass shaped
| | 02:05 | bubble known as convex ovals, be careful.
| | 02:09 | Damage can occur when you're
trying to take them from their frames.
| | 02:13 | Especially in the case of convex
ovals, the photograph which is simply a
| | 02:18 | photograph printed on a very thin
cardboard like paper and shaped into a oval by
| | 02:23 | steaming will cave in on
itself once the frame is removed.
| | 02:27 | Do not remove them from the
frame without the help of an expert.
| | 02:32 | Identifying your images and scanning
them the right way for the best possible
| | 02:36 | image will not only preserve your
photos digitally but will also help you have
| | 02:42 | the best restoration
experience and the very best result.
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| Determining your equipment needs| 00:00 | There are few tools you
might need to get started.
| | 00:03 | If you have framed or delicate
pictures, you might need a camera.
| | 00:08 | Otherwise, you'll need a scanner.
| | 00:10 | For negatives or slides, you'll need
a scanner with a transparency adapter,
| | 00:14 | which I'll be going over in a later video.
| | 00:16 | So let's talk about scanners.
| | 00:19 | Scanners come in many shapes,
sizes, types, and price ranges.
| | 00:24 | The difficult part is deciding, which
scanner will do the best job for you.
| | 00:29 | If you just need a scanner to digitize
your family photo collection, you need to
| | 00:33 | be able to capture a very
good high-resolution image.
| | 00:37 | An inexpensive scanner that adds
unwanted lines or graininess to an image
| | 00:41 | won't preserve a high enough quality copy
and will only add more work to a restoration.
| | 00:47 | Use a flatbed scanner.
| | 00:48 | It's the safest for your
photos, especially the older ones.
| | 00:53 | Look for a scanner with a dedicated
transparency adapter, if you have any film at all.
| | 01:00 | Most of these are only for standard
sizes, but there are some workarounds,
| | 01:04 | especially when the adapter isn't
built into the top of the scanner.
| | 01:09 | Also, look for a scanner that has
settings for newspaper, magazines, and film
| | 01:14 | for the most versatility.
| | 01:17 | Even though there are a lot of
scanners to choose from, look for the one that
| | 01:20 | will fit your budget, and
will do the best job for you.
| | 01:23 | Invest in a better quality scanner if
you have a lot of photos, or see scanning
| | 01:28 | as a long-term project.
| | 01:30 | Before you begin scanning your family
photos, always handle them with care.
| | 01:35 | Since our hands contain acid, which
burns through photographs over time, wash
| | 01:40 | your hands and avoid touching
the image itself with your fingers.
| | 01:44 | Also, be very careful where you actually
hold the photo, keeping to the back and
| | 01:49 | the outside edges only.
| | 01:52 | If you feel overwhelmed by scanning
your images yourself, you might consider
| | 01:56 | using a scanning service.
| | 01:58 | If you decide to go that route, I
recommend you find a trustworthy local service.
| | 02:03 | Think twice about mailing your images,
because if they get lost or damaged,
| | 02:08 | those items are gone forever.
| | 02:11 | One final suggestion, it's easier for
most people to use a digital drawing pad
| | 02:16 | to do restoration work.
| | 02:18 | It's definitely something
to consider investing in.
| | 02:20 | There are very good
inexpensive models available.
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| Setting your scanner| 00:00 | There are certain settings that should
be the minimum for scanning photos when
| | 00:04 | archiving your photographs digitally,
or for digital photo restoration.
| | 00:09 | If you're making an archival copy of
your photographs to capture them in their
| | 00:12 | current state of decay for future
preservation, you should get the best possible
| | 00:16 | image in the highest resolution you can manage.
| | 00:20 | Resolution is referred to as either DPI or PPI.
| | 00:24 | DPI or Dots Per Inch refers to the
printer and print resolution, or how many
| | 00:30 | dots of ink is printed per inch.
| | 00:33 | PPI or Pixels Per Inch refers to how
many actual pixels are present per inch.
| | 00:39 | This is directly related to scanning.
| | 00:42 | If you scan an image as 72 PPI, the
traditional standard for the web, the image
| | 00:48 | will have 72 pixels in each inch
of the, let's say, 4x5 image.
| | 00:54 | If you scan at 600 PPI, there will be
600 pixels per inch in the same size image.
| | 01:01 | Obviously, the higher resolution will be
clearer, sharper, and easier to enlarge.
| | 01:07 | Although some scanners scan up to 9600
pixels per inch or PPI, that's probably overkill.
| | 01:14 | Run a test scan as high as 1200
PPI to see the clarity you get.
| | 01:19 | Some photos don't scan well
at this higher resolution.
| | 01:22 | Go down in increments of 300 PPI.
| | 01:26 | In other words, run a 900
PPI scan next, then a 600 PPI.
| | 01:32 | Save the archival scan as a
non-compressed TIFF image.
| | 01:35 | JPEGs lose a little of their
information each time they're opened, resulting in
| | 01:40 | a loss of quality over time.
| | 01:42 | TIFF images are lossless, meaning they will
remain the quality at which they're scanned.
| | 01:47 | High-resolution TIFF images will
take up a lot of hard drive space.
| | 01:52 | If you're archiving your family photo
collection, consider storing the files on
| | 01:56 | an external hard drive.
| | 01:58 | The resolution doesn't need to be quite
as high for photo restoration projects,
| | 02:02 | but still should be at least 300 PPI,
if at all possible to be able to have the
| | 02:08 | most clarity when working close-up, for
general image quality, and to have the
| | 02:12 | potential of enlargement in the future.
| | 02:15 | Always scan your photos in color, even if
the photo you're scanning is black and white.
| | 02:20 | I can't stress enough how important this is.
| | 02:22 | If a photo is scanned in color,
it will have color channels.
| | 02:27 | In this case, RGB color channels.
| | 02:30 | Even if the photo is black and white, there
will be information in each of these three;
| | 02:35 | Red, Green, and Blue channels.
| | 02:38 | Usually one channel, most likely the
red, will be lighter, the green a little
| | 02:42 | darker, and the blue darker still.
| | 02:45 | But most importantly, it will allow you
options you won't have if the photo is
| | 02:50 | scanned in black and white,
which it flattens into one channel.
| | 02:54 | Photoshop Elements doesn't have color
channels as a separate entity, but it does
| | 02:59 | have color channels and
levels, and you will use them.
| | 03:02 | Another option you won't be able to
take advantage of if you scan in black and
| | 03:06 | white, are the midtone adjustments
such as midtone sliders, and eyedropper's
| | 03:11 | in Levels Adjustments.
| | 03:13 | Scanning your photos, weather for
restoration purposes or for digital archiving,
| | 03:19 | should be done with certain minimum
settings in mind to ensure the best quality
| | 03:23 | image for the intended purpose.
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| Scanning negatives, slides, and film| 00:00 | Most transparency adapters that come with
scanners are for 35-millimeter film and slides.
| | 00:06 | But 35 millimeter probably won't be the
only film and negative size you'll see
| | 00:10 | in your family photograph collection.
| | 00:12 | Many old cameras use large format film,
resulting in negatives that were very
| | 00:16 | much larger than 35 millimeter film.
| | 00:20 | Negative sizes are extremely varied.
| | 00:22 | The large formats include 4 x 5,
5 x 7, 4 x 10, even 8 x 10.
| | 00:29 | Over 8 x 10 is considered ultra
large format, and these are very rare.
| | 00:34 | If you have anything this large,
they won't fit on your adapter.
| | 00:38 | You'll have to lay them down, scan them,
turn them around, scan them again, and
| | 00:46 | then stitch them together in Photoshop Elements.
| | 00:50 | Some will fit in your
transparency adapter, and some won't.
| | 00:54 | If it doesn't fit in the adapter, you
can either invest in a higher-end scanner,
| | 00:58 | or use a local scanning service.
| | 00:59 | Even though there may be a few
exceptions where professional scanning is
| | 01:04 | necessary with a little ingenuity,
most of your transparent images should be
| | 01:08 | easily scanned with today's home scanners.
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| Digitizing damaged and delicate photos| 00:00 | Most of your photos, whether old or new,
should be able to be scanned safely
| | 00:04 | using a flatbed scanner.
| | 00:06 | There are, however, a few
exceptions you'll want to keep in mind.
| | 00:10 | Determine the general condition of older photos.
| | 00:14 | If they seem to be in fairly good
condition lying flat, not flaking or losing
| | 00:18 | pieces, they should be
fine to scan on the flatbed.
| | 00:22 | If the photos are torn in several
pieces, rather than trying to fit the
| | 00:26 | pieces together before scanning, put
them face down in general order with
| | 00:31 | spaces between them, to make it easier to put
them back together when you go into Photoshop.
| | 00:37 | Do not under any circumstance;
| | 00:39 | you use tape to piece them together.
| | 00:42 | When removing photos from
albums, keep a few things in mind.
| | 00:47 | Very old album pages were highly acidic.
| | 00:50 | If the photo has been in them for
years, the acid is most likely eating its
| | 00:54 | way through the image.
| | 00:57 | The photo needs to be removed.
| | 01:01 | There are a few challenges such as
pictures that have been glued to the pages
| | 01:05 | of those old albums.
| | 01:07 | Rubber cement either breaks down over
time, allowing you to remove the photo
| | 01:11 | easily, or it literally sticks like glue.
| | 01:16 | If the photo doesn't remove easily,
take the whole page out of the album and
| | 01:20 | tear or peel off as much as you
can from the back of the photo.
| | 01:24 | If you can't get it off the back, it's
better to leave it than to rip your photo.
| | 01:30 | Another worst offender is the
mainstay of the 70s, magnetic album pages;
| | 01:36 | bad enough on their own, it only gets
worse if they were stored in sweltering
| | 01:40 | garages or attics for years.
| | 01:44 | Even in the best case scenario, the
photo should be removed with extreme care.
| | 01:49 | Slide your fingernail under the
corner of the photo to gently test just
| | 01:53 | how stuck the photo is.
| | 01:54 | There is a wonderful little inexpensive
tool called a microspatula that will be
| | 01:59 | well worth a few dollars it cost,
even if you only have a few photos to pry
| | 02:04 | loose from a magnetic page.
| | 02:07 | Slide the microspatula under
the photo, and work it gently.
| | 02:12 | Continue only if it comes up easily.
| | 02:14 | If it sticks at all, don't force it.
| | 02:18 | If you have very damaged framed or
extremely delicate photos or documents, you
| | 02:23 | may have to take a picture of
them with your digital camera.
| | 02:26 | It doesn't matter if you're
not a professional photographer.
| | 02:30 | You can just use a little
point and shoot camera like this.
| | 02:33 | When you have no other alternatives,
it's a great way to digitize heirlooms that
| | 02:37 | may not be around much longer.
| | 02:40 | In the case of delicate unframed
photos and documents, try to get a photo
| | 02:44 | of them laying flat.
| | 02:46 | If you're capturing the photo, you
can't take off the wall, take a lot of shots
| | 02:50 | from different angles, so you have options.
| | 02:53 | Adjust the lights, and try to cover
windows, so no glare shows up on your image.
| | 02:59 | If the photo is flaking, losing pieces,
or turning to dust, it might not be a
| | 03:03 | good idea to put it on the scanner.
| | 03:06 | In fact, you might want to put it in
a plastic sleeve, and keep it there.
| | 03:12 | If an old unframed photo isn't
completely flat, either because of age or design
| | 03:17 | such as a convex silver
portrait, don't try to scan it.
| | 03:22 | Use your camera to capture your image.
| | 03:25 | Even though, you'll be able to safely
scan most of your photos on your flatbed
| | 03:29 | scanner with little fear, it's still
a good idea to check their condition
| | 03:33 | before you start.
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2. Importing and Organizing Your PhotosImporting photos into the Organizer| 00:00 | Once you have your photo collection
scanned on your hard drive, you will need to
| | 00:04 | organize them because there's nothing
harder than trying to find one specific
| | 00:07 | photo especially if you have a lot of them.
| | 00:10 | Photoshop Elements 9 has a built-in
feature that can be your best friend when it
| | 00:14 | comes to photo organization called Organizer.
| | 00:17 | In the Edit workspace which we are
in right now, the Organizer icon is
| | 00:21 | located top right of the screen next to this
icon that looks like a little six pane window.
| | 00:27 | Click on it and you will
enter the Organizer workspace.
| | 00:32 | You can either add your photos
individually or by folder by going up to your
| | 00:37 | File menu>Get Photos and
Videos and From Files and Folders.
| | 00:43 | It also gives you the option of
getting them directly from your scanner which
| | 00:46 | can be a big help if
you're scanning in your photos.
| | 00:49 | Select right now From Files and Folders,
we will be working in Exercise Files
| | 00:54 | Chapter 2 right now.
| | 00:57 | Again, you can either bring
them in individually or by folder.
| | 01:01 | Right now we will take all the
contents from this folder by selecting the top
| | 01:07 | one, the Shift key, the
bottom one and opening them all.
| | 01:12 | You may see this pop up that just tells
you that the only items are the ones you
| | 01:19 | just imported, it's no big just hit OK.
| | 01:22 | Once your photos are in the Organizer,
you'll want to separate them in the
| | 01:26 | albums to make it even
easier to find them later.
| | 01:29 | To do that you go up to the green Plus
sign right here, click the down arrow
| | 01:34 | and select New Album.
| | 01:36 | You want to name your album something
that you can find later easily when you're
| | 01:41 | looking for those specific photos.
| | 01:42 | If you have a lot of photos of
your mother, name the photo album mom.
| | 01:48 | If your grandmother is
the subject name it grandma.
| | 01:51 | We will name this one Family Photos
and when you're done naming it go down to
| | 01:59 | the bottom and click Done.
| | 02:01 | Now you will need to get these photos
into your album that you just named.
| | 02:06 | I'll start by selecting one image
and dragging and dropping it into the
| | 02:09 | Family Photo album.
| | 02:11 | You can also select multiple photos
again, clicking one holding down your Shift
| | 02:16 | key, going to the end of the ones you
want and dragging and dropping them again
| | 02:21 | into your Family Photo album.
| | 02:22 | You will notice, after you have
dropped them into the album that there is a
| | 02:27 | little green icon, a little folder all
that's doing is telling you that they're
| | 02:31 | in an album that will come in very
handy when you're trying to find these.
| | 02:35 | Now that they're in the photo album you
can customize your views, you can make
| | 02:40 | them bigger and smaller.
| | 02:42 | However it makes it easier for you and
you can also at any time go back and edit
| | 02:49 | the album you just made by clicking on
that album and going up here to this box
| | 02:54 | with the pencil and renaming it
whatever you want to do with it.
| | 02:58 | You can rate your photos by importance
or that are more important for you to fix
| | 03:04 | it at any time by giving them star rating.
| | 03:06 | Let's give this one a star rating of
four, you can give this one two, doesn't
| | 03:11 | need much fixing and that will always
be there so you'll know if you have a
| | 03:15 | higher rating that's one it's
more important for you to fix sooner.
| | 03:19 | We can all use a little help when
organizing our family photo collection.
| | 03:23 | It just makes things easier when you're
looking for that one specific photo or
| | 03:26 | trying to decide where to start
with your restoration projects.
| | 03:30 | The Photoshop Elements Organizer
makes the organization process easier.
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| Adding captions and notes| 00:00 | An important part of photo restoration
that often gets overlooked by the family
| | 00:03 | historian is the inclusion of historical data.
| | 00:06 | The little details of who's in the
picture and what's happening that will get
| | 00:11 | lost down the road and nobody knows who that is.
| | 00:14 | How do you attach
historical data to a photograph?
| | 00:18 | We use to type out the information and
make a copy of it with the photo to put
| | 00:22 | in our records or heaven forbid we'd
write on the back of the photograph itself.
| | 00:26 | But with the millions of electronic
copies of photos being passed around the
| | 00:30 | Internet today that no longer works very well.
| | 00:33 | You can however attach information to
a photo electronically in the form of
| | 00:37 | metadata, or as it's known in the
Elements organizer, captions and notes.
| | 00:42 | Still in the Organizer workspace, we
will select this photo and go up to Window
| | 00:48 | and Properties and here you have a
space to make all your notes and a caption.
| | 00:55 | Then you Caption you want a good description
of what's going on in the photo? Who it is?
| | 01:01 | So we will put Nana and this is her
graduation photo, so Nana's graduation.
| | 01:14 | Down here in Notes, you will want
everything you know such as the year of the
| | 01:18 | photo and I believe this is around
1915 and if you know where the photo was
| | 01:24 | taken and this was in New York, and
I think that's all I know of this.
| | 01:33 | If you know anything else about your
photo it's vital that you put it in there.
| | 01:37 | And you also might want to put things
down like what's wrong with this photo?
| | 01:41 | What needs to be fixed?
| | 01:43 | In this, I think there are some Minor dust
problems, may be a scratch or two and that's good.
| | 01:56 | Everything you know about your photo,
anything you can put in there that will
| | 01:59 | help somebody who's never seen this before.
| | 02:02 | Just say, you're sending it to a
distant cousin who hasn't got this picture and
| | 02:08 | in order for them to pass this down to
their children who won't know who this
| | 02:14 | person is at all, you need
to put these things in there.
| | 02:17 | You can also add audio recordings if
you choose by clicking the speaker.
| | 02:21 | Once you're through putting in all
the information you know then close this
| | 02:25 | screen and do this with every photo you can.
| | 02:30 | It's vital for all the information we
know about a photo to be attached to that
| | 02:34 | photo so future generations
have the information we do.
| | 02:37 | The old ways don't work anymore but
Photoshop Elements 9 gives us a great way to
| | 02:42 | input the data electronically so that
it's attached to the photo permanently.
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| Adding keyword and smart tags| 00:00 | Another helpful feature that Photoshop
Elements 9 Organizer workspace is the
| | 00:05 | Keyword Tags option.
| | 00:07 | Found in the Organizer pallet under
Albums is just one more way to help you
| | 00:12 | organize your potentially
confusing family photo collection.
| | 00:16 | The default keywords are People,
Places, Events and Other is your very good
| | 00:23 | tags to start with.
| | 00:24 | What we will do with this, is you take
this tag and drag and drop it onto say
| | 00:31 | People or drag and drop it onto Places
and keep doing this until you have all
| | 00:40 | the tags you want in their proper place.
| | 00:43 | You can also drag an image and
drop it onto the keyword,, like so.
| | 00:49 | You will see that it's adding a tag in
the lower right-hand corner that shows
| | 00:54 | you that it's been tagged.
| | 00:57 | Continue on People and here's
Places, there's a green tag.
| | 01:05 | There is the last one.
| | 01:10 | You can also make your own Keyword Tags.
| | 01:13 | Let's say you have a number
of old 100 year plus photos.
| | 01:18 | Go over here to the screen Plus sign
and select New Keyword Tag and you can
| | 01:25 | name your keyword anything you want,
let's say we name it Over 100 and you can
| | 01:32 | make a Note Photos over 100 years or
whatever you like, and click OK and now
| | 01:43 | you have your own keyword.
| | 01:44 | So now I click this tag I made
onto this photo of this house.
| | 01:49 | Another category in the keywords are Smart Tags.
| | 01:54 | Smart Tags can be useful with your old
photos even though you can't add your own.
| | 01:59 | The default Smart Tags are High
Quality, Low Quality and Medium Quality.
| | 02:04 | Smart Tags are all about the
quality of the photo which is what photo
| | 02:09 | restoration is all about.
| | 02:10 | There are also other categories
subcategories on the bottom which might prove useful.
| | 02:17 | Another option is the Auto
Analyzer in the Edit menu.
| | 02:23 | The Auto Analyzer allows Photoshop
Elements to automatically tag your images
| | 02:28 | based on the subcategories of High
Contrast, Low Contrast, Blurry etc.
| | 02:33 | However, I choose to tag my images
manually as it gives me more control.
| | 02:38 | But feel for you to try,
remember you won't break it.
| | 02:41 | So I am going to click out of here and
take you back into the Keyword Tags panel
| | 02:46 | and a feature in the Organizer Smart
Tags, it can be one of the most important
| | 02:51 | for you is People Recognition.
| | 02:53 | When you run it on a photo or a batch of
photos, it'll ask you to identify names and faces.
| | 02:58 | So we will click on this photo right
here and we will go over here to this
| | 03:02 | little photograph Start People
Recognition and click on that.
| | 03:07 | It'll ask you, Who this is?
| | 03:09 | So you write the name and click under
it and then click Save and you've labeled
| | 03:17 | everyone your selection.
| | 03:18 | If there's more than one person
they will come up with other windows.
| | 03:22 | Go to another photo of the same person,
click on the icon and it will finish it
| | 03:30 | for you and Save and click OK.
| | 03:34 | This is wonderful all on its own
because it's adding information to the photo
| | 03:38 | electronically but what makes it
even better is that it adds a Smart Tag
| | 03:43 | category for that person.
| | 03:44 | If you will notice over here on the
side Nana has her own category now, plus it
| | 03:50 | can identify other photos that
have the person in it automatically.
| | 03:55 | So now that we have created
some tags, let's see how they work.
| | 03:59 | Let's go over here and
click on Nana and there she is.
| | 04:03 | And now let's deselect Nana
and check out some places.
| | 04:07 | So as you can see people recognition
and Smart Tags are a wonderful way to
| | 04:13 | organize your photos so that you can
find them, anytime you need them by
| | 04:17 | person, place or thing.
| | 04:19 | An organization of your photos is an
essential to your restoration project.
| | 04:23 | It can certainly help and Photoshop
Elements 9 organizer makes the process a lot
| | 04:28 | easier and more enjoyable.
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|
|
3. Fixing Faded PhotosUsing Levels| 00:00 | Why do photos fade?
| | 00:02 | It's understandable when they have
been hanging on the wall, in a frame, in
| | 00:05 | direct sunlight for 20 years.
| | 00:07 | But what about the ones that fades while
hanging up in the dark hall or stored in a box?
| | 00:12 | It's all just a simple case of
chemical reaction, the most common fading, a
| | 00:16 | light fade occurs due to exposure
either to sunlight or incandescent light but
| | 00:21 | fading also occurs in the dark.
| | 00:24 | So we know they fade, how do we bring them back?
| | 00:28 | I am going to open fade1 in the exercise files.
| | 00:32 | And with the most extreme fading where
none of the original photo can be seen at
| | 00:41 | all can be brought back.
| | 00:44 | One of the best ways to do that
in Photoshop Elements is with a
| | 00:47 | levels adjustment layer.
| | 00:49 | To open an adjustment layer, go to Layer>
New Adjustment layer>Levels or you can
| | 00:57 | go to the Create new fill or adjustment
layer icon at the bottom of the layers
| | 01:02 | panel and choose Levels.
| | 01:05 | One way you adjust levels is with the sliders.
| | 01:07 | We will go up here to this dropdown
menu and we will choose the Red channel.
| | 01:13 | What we are going to do is take this
slider, this black slider is for the shadows.
| | 01:19 | We are going to move the shadow
slider over to where the histogram starts,
| | 01:23 | where the information is.
| | 01:26 | We are going to take the highlight
slider or the white one and bring it over
| | 01:32 | again where the
information starts in the histogram.
| | 01:35 | We are going to continue that in
each channel, this time with the green.
| | 01:41 | Move the shadow slider over to where the
information starts in the histogram and
| | 01:46 | again with the highlight slider.
| | 01:47 | Now we are going to repeat that in the blue
channel, black slider over, white slider over.
| | 01:55 | And you can see that the picture has come back.
| | 01:59 | There is a lot to be done with this
still but you have your information back.
| | 02:04 | We are going to go back to where
we were by clicking the Reset to
| | 02:08 | adjustment defaults button.
| | 02:11 | Basically the same thing can be
accomplished by using the Auto button but doing
| | 02:15 | it manually gives you both the control
and allows you to learn more about your
| | 02:19 | software and what you can do with it.
| | 02:21 | Again, we're going to take it back by
using the Reset to adjustment default
| | 02:25 | button and this time we are
going to use the eyedroppers.
| | 02:29 | The eyedroppers are basically like the
sliders and that the black adjust the
| | 02:35 | shadows, the white adjust the highlights and
the grey is the grey point or the midpoint.
| | 02:43 | We will start out by choosing the
black and going into your photo and finding
| | 02:49 | what the dark point is.
| | 02:50 | Sometimes it's hard to tell but you
can usually tell where there might be a
| | 02:54 | shadow, like here in the corner of
the building might be a good part or his
| | 02:58 | pants are very black, we will try his pants.
| | 03:00 | And then we will go up to the white dropper
and we will find a white point on the photo.
| | 03:08 | You can either go in the sky, one of
the areas where the sun is hitting or
| | 03:15 | sometimes you can try the
frame of the photo if it was white.
| | 03:19 | It's not always a good idea
but we will try it this time.
| | 03:22 | That's good and the midpoint sometimes
it doesn't do anything to the photo at
| | 03:28 | all but if you try, it might work.
| | 03:32 | So find something that's midpoint and
a good place might be here where the
| | 03:37 | shadow is on his shirt, makes it little blue.
| | 03:41 | Try different places, click around, that
makes it very blue, go down here to the
| | 03:49 | concrete and that looks pretty good.
| | 03:51 | Anything you don't like, remember
you can always go over to your Reset to
| | 03:55 | adjustment default button
and get back to where you were.
| | 03:58 | As you can see, the levels adjustments
is in quick and easy way to bring some
| | 04:03 | life back into even the most faded photos.
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| Fixing fades with Threshold| 00:00 | Most of the time we can figure out
the darkest and lightest points in the
| | 00:03 | photograph by just looking at it,
but that may not be easy if the whole
| | 00:07 | photograph is faded and that makes it harder
to find points to use the Levels Eyedropper.
| | 00:13 | There's an adjustment in Photoshop
Elements 9 that can help you find those
| | 00:17 | black-and-white points.
| | 00:18 | With your faded photos selected go to
the layer menu, New Adjustment layer,
| | 00:27 | Threshold or you can go over to the
create new fill or adjustment layer icon
| | 00:35 | and go to Threshold.
| | 00:37 | Threshold nondestructively converts
your photo into black-and-white and allows
| | 00:41 | you to find the black-and-white points.
| | 00:44 | When you select Threshold the new
adjustment layer will appear in your layer
| | 00:47 | stack and the histogram will appear in the
Adjustments panel under the layers panel.
| | 00:53 | Note that there's only one
slider under the histogram.
| | 00:56 | To find the white point move the
slider all the way to the right, the entire
| | 01:03 | photograph turns black, don't
panic remember this is nondestructive;
| | 01:09 | it's only the Adjustment layer itself
that's affected not the whole photograph.
| | 01:14 | With the slider all the way to the right
start moving it slowly towards the left
| | 01:21 | and let's get to where you're out of
the frame and in the photograph itself.
| | 01:26 | Now notice small areas sometimes just
specks start to show up white, when you
| | 01:33 | have a large enough white area to use as
the Eyedropper selection you found your
| | 01:39 | photographs white point, the lightest area.
| | 01:42 | There's no way to mark your light and
dark points in Photoshop Elements, so
| | 01:46 | you'll need to make a mental note of the area.
| | 01:49 | To find a darkest area repeat the
procedure by taking the slider all the way to
| | 01:54 | the left and the whole photo turns white.
| | 01:57 | Now bring slider over slowly toward the
right, same as we did before and you'll
| | 02:04 | see the black start to appear.
| | 02:07 | Make sure you get into the photo
itself until you get a large enough area
| | 02:11 | black to use your Eyedropper
selection tool, be sure you use only the
| | 02:15 | black-and-white points within the
photograph itself and avoid areas like the
| | 02:19 | white area around the photo.
| | 02:21 | If there is one or many areas
that have been torn try to find your
| | 02:25 | black-and-white points with in
the area of the original photograph.
| | 02:30 | When he found your black-and-
white points simply move the threshold
| | 02:33 | adjustment layer into the trash can in
your layers palette and you back your
| | 02:40 | original photograph.
| | 02:41 | Now that we found the lightest and
darkest areas in this photograph the
| | 02:44 | lightest being the top of her shirt
and the darkest being in the doorway
| | 02:47 | behind, let's see how our Eyedroppers
work, lets go again down to the Create
| | 02:52 | new fill or adjustment layer and
choose Levels and take our black eyedropper
| | 02:59 | and take it to the point we found in
the darkest area and let's get our white
| | 03:04 | eyedropper and go right here and that
looks a lot better and you can adjust it
| | 03:10 | manually as you need to.
| | 03:12 | Even if your photos so faded you
can't tell easily where the darkest and
| | 03:16 | lightest areas are, Photoshop Elements 9
Threshold Adjustment layer can help
| | 03:20 | you out.
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| Adjusting contrast using Color Curves| 00:00 | While used most often to repair color
problems, Curves are also a wonderful way
| | 00:05 | to bring back a faded photo.
| | 00:07 | Curves are sort of levels 2.0.
| | 00:10 | Levels is great for adjusting tones and
contrast and Curves moves it to the next well level.
| | 00:17 | Where Levels have three points of
correction blacks, whites and mid tones,
| | 00:21 | Curves adjust all the ranges in between.
| | 00:24 | Adjust Color Curve is not an Adjustment
layer which means the changes you make
| | 00:30 | will be made on the layer you are working on.
| | 00:32 | So the first thing you need
to do is duplicate the layer.
| | 00:36 | To do this you go up to layer and
Duplicate layer or you can use keyboard
| | 00:43 | shortcut Ctrl or Command+J. With layer
1 selected go to the top menu and select
| | 00:50 | Enhance, go to Adjust
Color, Adjust Color Curves.
| | 00:57 | The dialog box that comes up will have
two images of the photograph, the one on
| | 01:02 | the left shows the image before the
adjustments, the other on the right shows
| | 01:07 | real time the adjustments you're making.
| | 01:10 | This is a great feature;
| | 01:11 | this photo restoration is
all about the before and after.
| | 01:15 | At the bottom right hand corner under
Select a Style are a list of default
| | 01:20 | styles you may want to go through
just to get an idea of what the different
| | 01:23 | styles will look like on your photo,
you can always go back to the original by
| | 01:27 | selecting the Default style
option third down on the list.
| | 01:32 | So play around and see what they do,
lets try a couple of right now and see
| | 01:35 | if anything happens.
| | 01:36 | Let's go to Backlight and Darken
Highlights, Increase Contrast, not really like
| | 01:45 | what any of those do and I would liked
to be in a little more control so let's
| | 01:50 | hit default to go back to where we
were and move over to the Adjust sliders.
| | 01:55 | Adjust Highlights lighten our darken
the lightest areas of the photo, you need
| | 02:00 | to use caution going too far with
this adjustment as you can blow out your
| | 02:03 | highlights and make it to light loose detail.
| | 02:07 | But just play around see what they do,
because you never know until you try, go
| | 02:15 | back, go forward that
looks pretty good right there.
| | 02:22 | The Midtone Brightness slider adjust
the lighter areas of the Midtones, if you
| | 02:26 | go too bright or toward the plus sign
on the slider, it can result in sort of a
| | 02:31 | hazy, muddy look that's because the
Midtones are the grays and making the photo
| | 02:36 | too gray to make it appear hazy.
| | 02:38 | So you want to go down into this area,
like that and that looks pretty good we
| | 02:43 | will keep that right there.
| | 02:45 | The Midtone contrast filter adjusts the
darker areas of the Midtone's, if you go
| | 02:50 | too far toward this negative area,
that's where this one gets muddy.
| | 02:56 | So you want to keep this one up toward the
positive area, there that looks pretty good.
| | 03:02 | The Adjust Shadows slider adjusts the
shadows or the darker areas of the photos.
| | 03:07 | Just as making the lights too bright
can blowout details so can making the
| | 03:10 | shadows too dark and all areas
strive for moderation and subtlety.
| | 03:15 | So we want to go up here just a little
bit and see what this does and this is
| | 03:21 | looking a little dark lets mess around
this here bring the Midtone Contrast down
| | 03:27 | and that actually looks pretty good.
| | 03:30 | If it any time you don't like the way
the adjustments are looking and you want
| | 03:33 | to start over, simply hit the third
button down on the right hand corner to
| | 03:37 | reset all the sliders and bring them
back to their original default positions.
| | 03:43 | So let's see how this looks, I click
okay so that looks pretty good let's see
| | 03:49 | what before and after look like?
| | 03:52 | and you will see there is a great improvement.
| | 03:55 | While both Curves and Levels have
their own charms and of course can be used
| | 03:58 | alone, its sometimes a good idea to
actually use curves after a Levels
| | 04:03 | Adjustment to get the best result,
it's always a good idea to at least try.
| | 04:08 | Experimenting with tools, Adjustments,
Filters and Combinations is the best
| | 04:12 | way to learn and become comfortable
with your software and the art of photo
| | 04:16 | restoration itself.
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| Darkening images with blend modes| 00:00 | When a photo fades, all the tones in
the photo have lightened, so it stands to
| | 00:04 | reason that if you darken the
tones, the fading will lessen.
| | 00:08 | Layer blend modes are a sort of one step
process to darken a faded photo without
| | 00:13 | using sliders and histograms.
| | 00:15 | The layer blend modes are destructive
in a sense, meaning they change the layer
| | 00:19 | you're working on, so you need to make
a duplicate layer of your original by
| | 00:22 | using keyboard shortcut Ctrl+J or
Command+J or right-click on the thumbnail and
| | 00:28 | choose Duplicate layer.
| | 00:30 | Let's rename this Blend mode, and click OK.
| | 00:38 | layer blend modes, found in the dropdown
box, above the layers, are divided into
| | 00:42 | six unmarked mode categories, Normal,
Darken, Lighten, Light, Invert and Color.
| | 00:54 | For darkening the contrast in a faded
photo, the Darken mode category containing
| | 00:59 | Darken, Multiply, Color Burn and
Linear Burn will be your top options.
| | 01:04 | Nine times out of ten, you'll probably
end up using the Multiply Blend mode, but
| | 01:09 | don't get stuck in that rut, it's
always a good idea to scroll through the
| | 01:12 | entire layer Blend mode list.
| | 01:14 | It doesn't take much time and it's good
to see the effect the Blend modes have
| | 01:18 | on different photos.
| | 01:19 | Let's run through them right now just
to see what happens, start with Darken.
| | 01:23 | On a PC use your Downward Arrow key
to scroll through the Blend modes.
| | 01:28 | Next, we have Multiply, Color
Burn, Linear Burn and Darker Color.
| | 01:35 | Naturally, we'll probably go with Multiply.
| | 01:38 | If you need to darken or lighten the
photo a little more, duplicate the layer
| | 01:41 | containing the Blend
mode and adjust the Opacity.
| | 01:45 | You duplicate again by hitting Ctrl+J
or Command+J and then you can go to your
| | 01:50 | Opacity and lower it until
you find a place you like.
| | 01:57 | layer blend modes are just one
more tool you can use on faded photos.
| | 02:02 | All photos are different and what
works on one, may not work on another.
| | 02:06 | The more ways you know to tackle
your photo challenges, the better your
| | 02:10 | chances of success.
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| Adjusting brightness and contrast| 00:00 | Well, I have to admit, I hardly ever
find myself adjusting the contrast of a
| | 00:04 | photo using the
brightness/contrast adjustment layer.
| | 00:07 | It's always a good idea to know all
your options and to at least try them on
| | 00:12 | every photo you restore.
| | 00:14 | The properties of each individual photo
are just that individual and different.
| | 00:19 | You may eventually have a pretty good
idea what may or may not work just by
| | 00:23 | looking at a damaged photograph,
but you can never know for sure.
| | 00:26 | So you should try everything.
| | 00:28 | You're looking for the best restoration
possible and sometimes an option you've
| | 00:33 | hardly ever found yourself using may
surprise you by giving the best result.
| | 00:37 | With your original photo selected, go
to Create new fill or adjustment layer
| | 00:41 | icon at the bottom of the layer
panel and select Brightness/Contrast.
| | 00:49 | The Brightness slider
controls the highlights and shadows.
| | 00:52 | If you move it over to the right too far,
you can blow out everything, too far
| | 00:58 | to the left and it gets too dark.
| | 01:01 | You want to find a nice midpoint that
leaves your photo looking really good and
| | 01:06 | not blowing anything out.
| | 01:07 | Let's try it about -60. That looks good.
| | 01:16 | The Contrast slider
controls the mid tone values.
| | 01:20 | Towards the left, make your photo a little
grayer, and towards the right a little brighter.
| | 01:28 | Again, you want to find a nice moderate place
that looks good, about 75 in this case I think.
| | 01:35 | Yeah, that looks good.
| | 01:37 | Now let's see our before and after
and see how much difference that made.
| | 01:41 | That made a pretty good difference.
| | 01:44 | In this case, it's usable.
| | 01:45 | Even though levels and curves work
better for adjusting contrast, the
| | 01:49 | Brightness/Contrast adjustment
shouldn't be completely discounted and should
| | 01:54 | always have a chance to show you what it can do.
| | 01:56 | It can even be used to make little
adjustment tweaks to a photo that's
| | 02:00 | nearly perfect.
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| Using Quick Fix for lighting| 00:00 | The QuickFix menu, in Photoshop
Elements 9, gives you a number of options for
| | 00:04 | making quick fixes to your photos.
| | 00:06 | One of the choices, Lighting, is
another way to adjust contrast and bring a
| | 00:10 | faded photo back quickly and easily.
| | 00:12 | It's not something you'll want to use on
every photo, but it's certainly another
| | 00:16 | option for you to try.
| | 00:18 | Quick menu lighting is sort
of like levels on the fly.
| | 00:22 | You're using sliders to adjust;
| | 00:24 | you're just not seeing the
histogram or using the eyedroppers.
| | 00:27 | Be aware that when you're adjusting
the Quick menu, the adjustments happen on
| | 00:31 | the layer itself, not on an adjustment
layer, so you'll need to duplicate the
| | 00:35 | original layer by using keyboard
shortcut Ctrl+J or Command+J or by
| | 00:40 | right-clicking on the original
and selecting Duplicate layer.
| | 00:43 | Let's do that right now and let's
name it something like Quick, click OK.
| | 00:56 | The Edit menu, located at the top-right
of the screen in Photoshop Elements 9,
| | 01:01 | is broken up into three
categories Full, Quick and Guided.
| | 01:05 | Let's click on Quick.
| | 01:07 | If your Project Bin is opened at the
bottom of the window, double-click on
| | 01:11 | the tab to hide it.
| | 01:12 | You'll want to see your whole photo.
| | 01:16 | Something that's very helpful in the
QuickFix menu is the option to change your view.
| | 01:21 | At the lower left-hand corner over the
Project Bin and under the photo, is a
| | 01:25 | dropdown menu labeled View.
| | 01:27 | Clicking on it, you'll see a number of view
choices including some for Before & After.
| | 01:33 | If you choose Before & After -
Horizontal, you get a nice before and after
| | 01:37 | shot next to each other.
| | 01:39 | This allows you to see the
changes you make side-by-side.
| | 01:42 | On the right of the photo under
Smart Fix is the Lighting dialog box.
| | 01:46 | At the top is Levels and next
to Levels is the Auto button.
| | 01:51 | Let's hit the button just to see what happens.
| | 01:54 | The best way to learn is to try, so
you should hit buttons and the adjust
| | 01:57 | sliders all the time.
| | 01:59 | You won't blow it up and you can
always get back to where you started by
| | 02:03 | pressing the Reset button here at the bottom.
| | 02:05 | Let's do that now and then we'll try the
next Auto button down, this one for Contrast.
| | 02:12 | You may look out and find that one or
both of the Auto buttons was the magic
| | 02:15 | bullet after all and fixed everything up,
well, automatically, but there are two
| | 02:20 | reasons you shouldn't start
and stop with hitting Auto;
| | 02:23 | one, you may miss out finding
something else that works better and makes the
| | 02:27 | restoration look better and two, it
will prevent you from being better both at
| | 02:31 | learning your software and photo restoration.
| | 02:34 | Let's hit the Reset button again and
look at the three sliders located under the
| | 02:38 | Auto adjustment buttons,
Shadows, Midtones and Highlights.
| | 02:44 | The Shadow slider is set by
default to the far left, representing the
| | 02:47 | darkest areas in the photo.
| | 02:50 | Moving the slider to the right
will lighten the darks in the photo.
| | 02:54 | Let's find a good point here at about 23.
| | 03:00 | The Midtones slider is by default in the middle.
| | 03:02 | We'll leave that there for right now
and go to the Highlights slider and if
| | 03:07 | you'll notice, it's also set by
default to the far right, but the gradient is
| | 03:12 | switched on this, having the lights on
the left side moving over to the darks.
| | 03:17 | Let's move this over and see what happens.
| | 03:21 | We'll keep that at about 7.
| | 03:22 | You can move these around after you've
done them all and see what happens if
| | 03:27 | anything -- let's move the Midtones
slider a bit and keep that about 26.
| | 03:32 | That looks pretty good.
| | 03:33 | It's pretty yellow, but it did a decent job.
| | 03:36 | Something you'll want to keep in mind,
when we move these sliders in Lighting,
| | 03:40 | the Reset button doesn't
automatically become selectable.
| | 03:43 | You'll need to come over to your
Project Bin and click on it and then you can
| | 03:49 | hit your Reset button to get back to
where you were. Let's do that now.
| | 03:54 | Basically, Quick Lighting is a very
simple way of applying levels adjustments to
| | 03:58 | your photograph using sliders
instead of histograms and eyedroppers.
| | 04:02 | As you can see, it can make quite a
difference in a short amount of time.
| | 04:06 | It shouldn't be the only tool you use
when restoring your photos by any means,
| | 04:09 | but it's definitely worth a look.
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| Fixing automatically with Guided Edit| 00:00 | Especially, when you're just
starting out and getting used to Photoshop
| | 00:03 | Elements, it can be pretty
intimidating to try to wrap your head around
| | 00:07 | things like Shadows, Highlights, Midtones,
and to have terms like Histogram thrown at you.
| | 00:13 | As with most things all will become
clear and easier as time goes on and you
| | 00:17 | become more familiar with the user
interface and all the options with tools,
| | 00:21 | filters and adjustments.
| | 00:23 | In the meantime now, Elements has a
nifty little feature that actually
| | 00:27 | guides you through some of the
more mind-boggling tasks called, aptly
| | 00:31 | enough, the Guided menu.
| | 00:33 | For the purpose of adding contrast to a
faded photo, we're going to have a look
| | 00:37 | at the Lighting and Exposure option.
| | 00:39 | First thing you'll want to do is
to duplicate your original layer by
| | 00:43 | clicking Command+J or Ctrl+J or
right-clicking on your original layer and
| | 00:47 | choosing Duplicate layer.
| | 00:49 | You'll want to name your layer
something like Guided and click OK.
| | 00:56 | At the top right of the screen
in the Edit menu, choose Guided.
| | 01:01 | If your Project Bin is there on the bottom,
double-click on the tab to minimize it.
| | 01:07 | The second submenu in the
Guided menu is Lighting and Exposure.
| | 01:11 | Let's click on Lighten or Darken.
| | 01:14 | In the dialog box that
pops up, is an Auto button.
| | 01:18 | Let's select it just to see what happens.
| | 01:21 | Sometimes Auto does a really
good job and sometimes not so much.
| | 01:25 | This time that photo looks a little dark.
| | 01:28 | You can always adjust the sliders and
see how that affects the whole photo.
| | 01:32 | At any time, if you don't like what
it's done, you can always hit the Reset
| | 01:35 | button at the bottom to
get back to the original.
| | 01:38 | The same sliders appear here as are in
Levels and in Quick menu Lighting, only
| | 01:42 | here you get a little written
explanation of just what it is you're doing and
| | 01:46 | the exact areas of the photo that
are being affected by the sliders.
| | 01:50 | The first slider, Lighten
Shadows, affects only the dark areas.
| | 01:54 | If we side that over, with can see what
happens and it lightens it up pretty well.
| | 02:00 | The second slider, Darken
Highlights, affects only the light areas.
| | 02:04 | If we move it over, it
lightens the darker areas.
| | 02:09 | Third slider, Midtone Contrast,
affects only the medium bright areas.
| | 02:13 | We can move that over and see how things
are looking there, put that at about 37.
| | 02:20 | Now let's take it down and
lighten that up just a little.
| | 02:24 | That looks pretty good.
| | 02:25 | Again, if you don't like what you've
done, hit the Reset button and get it back
| | 02:30 | to the original photo.
| | 02:32 | To get back to the main Guided menu,
select the Done button at the lower left
| | 02:35 | of the Guided panel. Let's do that now.
| | 02:39 | Now, we'll take a quick look
at Brightness and Contrast.
| | 02:43 | Again, you see the Auto button,
let's click it and see what happens.
| | 02:47 | As you can see, it darkened the contrast a bit.
| | 02:51 | Again, we can use the sliders on the
bottom to adjust the brightness and
| | 02:54 | contrast, but Auto is a good place to start.
| | 02:58 | Under the Auto button are the
individual Brightness and Contrast sliders, along
| | 03:02 | with the explanations of how the
adjustment is affecting the photo.
| | 03:06 | These explanations are clear and helpful,
simply telling you that the Brightness
| | 03:09 | slider makes the image lighter or
darker and the Contrast slider affects the
| | 03:13 | difference between light and dark.
| | 03:15 | At any time you don't like what
you've done, again, hit the Reset button.
| | 03:20 | Now let's click the Done button to get back
to the Guided menu and choose Adjust Levels.
| | 03:27 | We adjusted the levels basically back
in the Lighten or Darken a photo guide,
| | 03:31 | but that's not what this is.
| | 03:33 | It's a little crash course on
histograms and it's wonderful.
| | 03:37 | It took me many years working in
Photoshop before I understood and really
| | 03:41 | utilized histograms.
| | 03:42 | They since become a critical part of my
workflow and I highly recommend you get
| | 03:46 | to know them and make friends
with them at the very beginning.
| | 03:49 | There is also a handy little button to
make a levels adjustment layer in the
| | 03:53 | Guided dialog that lets you name the layer
and then goes right into the Levels panel.
| | 03:58 | Let's do that right now.
| | 04:00 | Let's call this Guided Levels and click OK.
| | 04:10 | Now you have your Levels dialog
complete with your histogram and sliders.
| | 04:14 | Levels would be one of your most used
adjustments in photo restoration, so you
| | 04:18 | should try to become comfortable using them.
| | 04:21 | Let's move this box over, so we can see
the photo and just move your slider over
| | 04:26 | to where the dark area of the Histogram is.
| | 04:29 | This way you have control and you can
move it back a little bit if it's a little
| | 04:33 | too dark and click OK.
| | 04:35 | If you're not comfortable with your
workspace, it's hard to do good work.
| | 04:39 | That comfort level will come in time
with familiarity and experimentation.
| | 04:44 | The Guided menu in Photoshop
Elements gives you a bit of a head start in
| | 04:48 | learning what your tools
are and how to use them.
| | 04:50 | You can learn more about this and all
the features in the lynda.com training
| | 04:54 | course Photoshop Elements 9 Essential Training.
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|
|
4. Fixing Color CastUsing Levels to fix color | 00:00 | Colorcast in photos is caused by the
same culprit that makes photograph fade,
| | 00:04 | light, in particular,
sunlight and incandescent light.
| | 00:07 | By far, the most common colorcast
you'll see is red, but cast can also appear
| | 00:11 | blue, yellow, orange, purple and green.
| | 00:15 | The colorcast maybe so heavy that it
looks like all the color has gone, but
| | 00:19 | chances are it's still there.
| | 00:21 | The first thing we'll do is add a levels
adjustment layer by clicking the Create
| | 00:25 | new fill or adjustment layer icon
at the bottom and choosing Levels.
| | 00:30 | The Levels dialog will appear in
the Adjustments panel under layers.
| | 00:33 | First, let's try the Auto
button just to see what happens.
| | 00:37 | As you can see, the Auto button
took away much of the red cast.
| | 00:40 | Now, let's click the Reset to
adjustment defaults icon at the bottom of the
| | 00:44 | panel to go back to the original.
| | 00:45 | The other options you can
try are the Eyedropper tools.
| | 00:49 | If you're having trouble determining
your light and dark point, Levels can find
| | 00:52 | it for you right in the histogram.
| | 00:54 | By moving your black slider all the way
over to the right, you'll see it becomes
| | 01:00 | really dark, except for
certain areas that show green.
| | 01:04 | These are your light areas.
| | 01:06 | In a normal photograph, these would be white
or black, but this shows the color of the cast.
| | 01:12 | There's no way to mark this.
| | 01:13 | So make a mental note of where the light areas
are, in this case it's on the arm of the couch.
| | 01:19 | Now go to your Reset to adjustment
defaults button to get your sliders back
| | 01:23 | to original and do the same with your white
slider taking it all the way over to the left.
| | 01:28 | We can end right about here
where we can see the darkest spots.
| | 01:32 | It's being the leg of the chair right
here that's what we'll keep in mind when
| | 01:37 | we use our Eyedropper.
| | 01:39 | Go back again to your Reset to
adjustment defaults to get back to the original.
| | 01:43 | Now with the areas in mind that you
found with the histogram, take your black
| | 01:47 | eyedropper and click it on that chair
leg, which we determined was the darkest
| | 01:52 | area, and take your white eyedropper
and click it on the arm of the couch where
| | 01:57 | we determined the lightest area was.
| | 02:00 | Now let's look at before and after,
there's little eyeball down here with the
| | 02:03 | arrow, and see where we were before.
| | 02:07 | That's a really nice change.
| | 02:09 | You have your color back now.
| | 02:10 | Let's hit the Reset button now and let me
show you another way to get the color back.
| | 02:15 | You can go up here to your histogram and
move your black slider into the area of
| | 02:20 | information on the histogram, move your
white over a little if you want to and
| | 02:25 | that looks better already.
| | 02:27 | For a little more control, first hit
the Reset button and go up here to your
| | 02:31 | dropdown Color Space menu, at the top
of the Levels panel, over the Histogram
| | 02:36 | and choose your Red channel.
| | 02:38 | Again, take your black slider button
and move it into the area where the most
| | 02:43 | information is on your histogram, move
your white over if you need to a little
| | 02:46 | bit and repeat in the Green channel.
| | 02:49 | Let's move it over to your histogram
information and move the white slider over
| | 02:55 | if you need to and repeat one more time
in the Blue channel, and the white over.
| | 03:02 | This gives you a little bit more control.
| | 03:05 | Again, let's look at the before and
the after to see how much difference the
| | 03:10 | little levels adjustment can make.
| | 03:12 | As you can see, all trace of colorcast
has gone and the photo looks like it did
| | 03:16 | when it was taken with
just a few levels adjustments.
| | 03:19 | Don't let a dramatic fade
or color cast intimidate you.
| | 03:22 | It never hurts to try Color Correction
and you may just be pleasantly surprised
| | 03:26 | how much better your photo can look.
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| Correcting color automatically with Enhance| 00:00 | The Enhance menu in Photoshop Elements 9
gives us a few options when it comes to
| | 00:04 | color correction in the
form of some auto buttons.
| | 00:07 | Some of them may work better than
others and some may require further work to
| | 00:11 | get the result you're looking for,
but you should give them a try on each
| | 00:14 | individual photo you work on.
| | 00:16 | The first thing to do before working
with the Enhance menu is to duplicate
| | 00:19 | your original layer.
| | 00:21 | The options in the Enhance menu are not
adjustment layers and the results will
| | 00:25 | be on the layer you working on itself.
| | 00:26 | So duplicate the original.
| | 00:28 | This time, I'll duplicate using
keyboard shortcut Command+J or Ctrl+J. Be sure
| | 00:35 | to double-click on layer
1 and rename your layer.
| | 00:38 | I'll name this one Mom and
click next to it to set it.
| | 00:43 | Going into the Enhance menu, the
first thing you'll see is Auto Smart Fix.
| | 00:47 | Let's click on that.
| | 00:49 | There's definitely some improvement and
it's always good to try just don't stop there.
| | 00:53 | There's no Reset button for the
adjustments we make in the Enhance menu, so
| | 00:57 | you'll either need to duplicate the
original layer again especially if you want
| | 01:01 | to keep the results in each step to
compare later or by using keyboard shortcut
| | 01:06 | Command+Z or Ctrl+Z to undo
the Auto Smart Fix correction.
| | 01:10 | Let's do that right now
using Ctrl+Z or Command+Z.
| | 01:12 | The second option in the
Enhance menu is Auto Levels.
| | 01:16 | You see it does a pretty good job for
the most part, but tends to render the
| | 01:21 | correction a bit dark.
| | 01:23 | It's still worth a try and may work
especially well if you have a very light
| | 01:26 | photo that needs color correction.
| | 01:29 | Again, let's use Command+Z or
Ctrl+Z to go back to the original.
| | 01:32 | Again, in the Enhance menu, the
third option is Auto Contrast.
| | 01:37 | Let's click that and see what it does.
| | 01:39 | We see it does just what it supposed to
do which is darken and define areas or
| | 01:43 | improve the contrast, but it doesn't
do anything to remove the colorcast.
| | 01:47 | So again, let's do Command+Z or
Ctrl+ to get back to the original.
| | 01:51 | Let's go back to the Enhance menu
and choose Auto Color Correction.
| | 01:56 | It does get rid of the red colorcast, but
seems to be a little heavy on the blue side now.
| | 02:01 | One thing that's worth trying in a case
like this is to take the Opacity down on
| | 02:06 | your duplicate layer to let some of
the original colorcast show through.
| | 02:09 | Let's take this down to all about 65%,
and see that lighten the blue up a little
| | 02:15 | bit just by letting the
original red show through.
| | 02:19 | In this case if you want to back to
the original, click on your layer and hit
| | 02:23 | Ctrl+Z twice to get back to the original.
| | 02:27 | Let's go back to the Enhance menu
one more time and down to Adjust Color.
| | 02:31 | The first item on the menu is Remove Color Cast.
| | 02:35 | Select that and you'll see a dialog box pops
up and at the bottom you see an eyedropper.
| | 02:41 | The instructions tell us to click on an
area of the photo which should be grey,
| | 02:45 | white or black and the Elements will
adjust the image based on where you click.
| | 02:49 | There is a Reset button here, so you can
keep trying until you get the result you like.
| | 02:54 | Let's go and find a black area.
| | 02:57 | Let's try this down here in
the foliage and click on that.
| | 03:00 | In this particular photo clicking on the
black area moves the red colorcast only
| | 03:05 | to replace it with a blue cast.
| | 03:07 | Let's try a white area
somewhere here in the uniform.
| | 03:12 | The white areas work better, but the
results are still less than perfect.
| | 03:15 | However, it is one more tool to try.
| | 03:17 | While, these auto buttons may not
be a magic bullet, they're definitely
| | 03:21 | worth your time to try.
| | 03:22 | At the very least, you can eyeball
the result and get some idea of what you
| | 03:26 | think might make the color correction better.
| | 03:28 | So in that way, these three auto
features might prove a great starting place.
| | 03:33 | Sometimes the results might surprise
you and they maybe closer to a magic
| | 03:37 | bullet than you think.
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| Correcting color with complementary colors| 00:00 | I know it sounds odd using color to
neutralize color, but it really works.
| | 00:05 | There is a pretty nifty trick that
I call the Color Wheel principle.
| | 00:08 | Remember the Color Wheel?
| | 00:10 | The Color Wheel is an organization
of colors hues around a circle with
| | 00:13 | relationships between primary,
secondary, and complementary colors.
| | 00:18 | Complementary colors are located
opposite one another on the wheel, orange
| | 00:22 | opposite blue, red opposite green, etcetera.
| | 00:25 | The Color Wheel principle is to use a
complementary color over the color cast to neutralize it.
| | 00:32 | One way to use color to neutralize
color is to use a Photo Filter Adjustment.
| | 00:36 | Sometimes this works really well and
sometimes it doesn't, but it's always
| | 00:40 | worth at least to try.
| | 00:41 | With your photos selected go to the
Create New Filter Adjustment layer icon at
| | 00:46 | the bottom of the layer
panel, and select Photo Filter.
| | 00:50 | The Photo Filter dialog now appears in the
Adjustments panel under the layers panel.
| | 00:54 | Make sure the Preserve
Luminosity Box is unchecked.
| | 00:58 | Luminosity gives the photo filter a
translucent look, otherwise it will look a
| | 01:02 | bit hazy and just not as clear and sharp.
| | 01:05 | The first selection is Filter.
| | 01:07 | With the radio button selected click on
the dropdown menu, there is a long list
| | 01:11 | of filter presets, click on the first
one and scroll through all of them using
| | 01:16 | your Downward Arrow key.
| | 01:18 | Note the changes that they are making to
your photos you're scrolling through them.
| | 01:21 | You can continue to go through all
your presets if you choose, but if you
| | 01:25 | look at the Color Wheel you'll see
that green to blue color filters are the
| | 01:29 | complementary colors of red and orange
cast, which this photo has a reddish cast.
| | 01:35 | So let's look at just
primarily the blue filters right now.
| | 01:39 | Let's go to Blue even Violets give that
a try, down here to Deep Blue and let's
| | 01:48 | just try Underwater, which
is a turquoisey aqua look.
| | 01:52 | I think we are going to
go with that one right now.
| | 01:54 | It didn't make the color cast go away
completely but it lessened it a bit.
| | 01:58 | We are not going to keep the photo
filter adjustment so let's go up here to the
| | 02:02 | dropdown menu, go to the bottom of
the menu and choose Close Tab Group.
| | 02:07 | Now click on your layers tab to bring
that backup and then go down here to your
| | 02:12 | Visibility icon and click
on it to hide that later.
| | 02:16 | Reselect your Background layer and now
I am going to show you another way to
| | 02:19 | correct color balance by
making your own color filter.
| | 02:22 | Let's go down here in the bottom and
choose Create a New layer and now you have
| | 02:27 | a fresh blank layer above your background photo.
| | 02:30 | Let's move over here to the toolbar on
the left and select your Eyedropper tool
| | 02:36 | and find an area of your photo that's
fairly clear that a lot of pattern and
| | 02:40 | sample the color with your Eyedropper tool.
| | 02:43 | Up here in the sky it looks pretty good
so let's just click on that and you'll
| | 02:47 | see the color is now your foreground color.
| | 02:48 | Back in the layers panel click on your
New Blank layer make sure it's selected,
| | 02:54 | and let's fill it with that foreground
color by either going up to your Edit
| | 02:58 | menu and selecting Fill layer and
choosing Foreground Color, or by choosing Alt
| | 03:06 | on a PC, option on a Mac plus Backspace.
| | 03:11 | Now I'll go back down to the bottom of
the panel and choose the Create a New
| | 03:15 | Filter layer Adjustment icon and select Invert.
| | 03:20 | Let's go back to the layers panel
and check out what happens here.
| | 03:24 | This adjustment has inverted the
color to its complementary color.
| | 03:28 | The only problem is its inverted
everything in the layer stack including
| | 03:32 | your background photo.
| | 03:34 | To fix this with the Invert Adjustment
selected choose Ctrl on a PC or Command
| | 03:40 | on a Mac + E to merge the two layers.
| | 03:44 | With the now merged fill layer active,
let's go up to the layer Blend mode
| | 03:48 | dropdown menu and select Soft Light.
| | 03:51 | Go up to your Opacity slider and bring
it down, if you like if it's a little
| | 03:58 | much for you and just play with it and
see what you like best, I think we're
| | 04:02 | actually just going to keep it at 100%,
come back down here to your Fill layer
| | 04:07 | and let's see if that made a difference.
| | 04:10 | It's still got a color cast
but it lessened it a little.
| | 04:13 | Let's go back to the Create a New
Filler Adjustment layer and select Levels.
| | 04:18 | Use the black-and-white eyedroppers on
the darkest and lightest points in the
| | 04:21 | photo, we will take the black and we'll
choose, let's go over here, beside the
| | 04:28 | house and try that, and let's get our
white eyedropper and go right here on the
| | 04:34 | window frame and that
took to red out pretty much.
| | 04:38 | If you don't like this result,
again you can go to the layers panel and
| | 04:42 | play with the Opacity.
| | 04:45 | Bring it down, let's say all about 65%,
and now let's look at the before and after.
| | 04:53 | Still not perfect but it's a vast improvement.
| | 04:56 | Photo Restoration fixes for things like
color cast are rarely one-click fixes.
| | 05:01 | Sometimes often in fact we need to
build upon little improvements rather than
| | 05:06 | getting a miracle fix
with one click of a button.
| | 05:08 | Fixing a color cast problem with an
overlay or a complementary color may be the
| | 05:13 | answer or it may be a step on the way
to the answer, either way it's worth the
| | 05:18 | time to check it out.
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| Using Color Variations| 00:00 | Removing a color cast is like
stripping paint off a piece of furniture.
| | 00:04 | You are removing the top coat to
reach the original color underneath.
| | 00:08 | A feature of Photoshop Elements 9 that
makes stripping the color cast easier
| | 00:12 | is called Variations.
| | 00:14 | Variations require you to eyeball the
results, but it's not as hard as you might think.
| | 00:18 | Variations isn't an adjustment layer,
the changes happen on the photo itself.
| | 00:23 | So be sure to duplicate the layer by
using keyboard shortcut, Ctrl on a PC,
| | 00:29 | Command on a Mac + J.
| | 00:32 | Double-click on layer 1
and we'll rename our layer.
| | 00:36 | I'll name this one Variations and
click Next to it to accept the change.
| | 00:42 | With your Variations layer selected
go up to your Enhance menu, down to
| | 00:47 | Adjust Color and in the pop-out menu
go to the bottom where it says Color
| | 00:50 | Variations and select.
| | 00:53 | The Variations dialog contains a before
and after image to gauge your progress
| | 00:57 | and little thumbnails that show you step
-by-step what increasing or decreasing
| | 01:02 | certain colors will do to your photo.
| | 01:05 | There's also an area where you can
select the area of the image to adjust,
| | 01:09 | midtones, shadows, highlights or saturation,
and you can also adjust your Color Intensity.
| | 01:15 | Feel free to play with these
settings to see what they do for you.
| | 01:18 | For right now we'll stick with the
Midtone adjustments and leave the Color
| | 01:22 | Intensity at the default midrange
setting, that's always a good place to start.
| | 01:26 | Looking at the thumbnails see if you can
tell by eyeballing them what colors you
| | 01:32 | need to Increase and Decrease?
| | 01:34 | In this it looks like maybe if we Increase
the Blue and then perhaps Decrease the Red.
| | 01:41 | If at any point you don't like how your
adjustments look simply press the Undo
| | 01:45 | button over here at the right.
| | 01:47 | What's nice about this is you can undo
each change you've made individually, if
| | 01:52 | you hit Undo once it takes away the
last change you made, do it again and the
| | 01:56 | one before that and now
it's back to the original.
| | 01:59 | That kind of liked what we did with that,
so let's increase the Blue again and
| | 02:03 | then Decrease the Red and select OK.
| | 02:07 | Now to get a really great result you can
do quick levels adjustment by selecting
| | 02:11 | the Create a New Filler Adjustment
layer icon at the bottom and select Levels.
| | 02:18 | Take your Black Eyedropper tool and
find the darkest portion of your photo and
| | 02:22 | here it looks like they are in the
rosebush and then take your White Eyedropper
| | 02:27 | and find a nice white area.
| | 02:29 | I think we'll use this area in the little
girl's skirt, and that came out really bright.
| | 02:35 | So what you need to do is go over to
your layers panel and lower the Opacity.
| | 02:41 | We'll keep it down about 65%, looks
good, and click on your Levels layer.
| | 02:47 | Variations is an often overlooked but
very useful tool for color correction
| | 02:51 | and photo restoration.
| | 02:53 | With very little effort simply
determining the color of the cast on your photo
| | 02:58 | then decreasing that color can
bring the color of your photo back.
| | 03:02 | So let's take a look at our original
image by hiding the Levels layer and the
| | 03:07 | Variations layer and then we'll bring
them back, here is our Variations layer
| | 03:11 | and our Levels layer.
| | 03:13 | Variations is an often overlooked but
very useful tool for color correction
| | 03:17 | and photo restoration with very little
effort simply determining the color of
| | 03:22 | the cast on your photo and then
decreasing that color you can bring the color
| | 03:26 | of your photo back.
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| Using Quick Fix for color| 00:00 | I'm not usually an auto button kind of girl;
| | 00:03 | I like to move the settings
and sliders around myself.
| | 00:07 | In other words I like to be in
control of my settings and adjustments.
| | 00:11 | But there are a few auto buttons in
the Quick menu that especially when used
| | 00:15 | together can work really well
and are worth taking a look at.
| | 00:18 | Begin by duplicating your layer by
right-clicking on it and selecting
| | 00:22 | Duplicate layer, name your layer, I will name
this layer Quick Color and click OK to select.
| | 00:32 | With the Quick Color layer active go to
the upper right-hand corner and select
| | 00:37 | Quick in the Edit menu, if your PROJECT
BIN is showing double-click on the tab
| | 00:42 | to hide it, you can choose your view
during Before or After, After Only, Before
| | 00:47 | Only and you're Before and After you
can choose to have Horizontal or Vertical,
| | 00:53 | I find horizontal better because
you can check them side by side.
| | 00:57 | At the top is Smart Fix and next to
that is an Auto button, go ahead and click
| | 01:02 | that you can see it did a good job of
lessening the red cast but by combining
| | 01:07 | this step with another auto
selection it could look even better.
| | 01:11 | Let's go down to the Color Selection and hit
that Auto button, now that got the red out.
| | 01:17 | But let's see if we can make it even
better, lets go back up to the Lighting
| | 01:21 | menu and hit Auto Levels and you can
see that really didn't do much but you can
| | 01:27 | always go down to the sliders
and see if it makes it any better.
| | 01:31 | Let's move the Shadows over and see if
that works any or keep it down here and I
| | 01:38 | think that's looks a little
better down at the bottom.
| | 01:40 | Now let's move Midtones now, its what we
would really like to do and I think the
| | 01:45 | Midtones can do the best is take care
of this hazy gray around the photo, we're
| | 01:51 | going to try to get rid of that and if
we bring the midtones over, that works.
| | 01:55 | Now let's try the Highlights, oh!
| | 01:57 | And that works even better.
| | 02:00 | Keep it right around 40.
| | 02:02 | Notice after you move the sliders
there's a Check and an X that appear,
| | 02:07 | select the check mark if you want to keep the
adjustment or the X if you would rather not.
| | 02:11 | Keep in mind though that this option
is only available while you're in that
| | 02:16 | particular adjustment, if you don't
choose to check or the X and move on to
| | 02:21 | another slide or adjustment, the changes are
kept and this option to get out of this goes away.
| | 02:27 | If we go down to Color and move the
Saturation slider the Checkmark and the X is
| | 02:32 | gone away and it now appears next to Color.
| | 02:35 | So be sure to keep that in mind while
you're in that dialog, if you want to
| | 02:39 | go back to your original photo and start
again, click the reset button at the bottom.
| | 02:43 | So you can see that even if you're not
an auto button kind of person, you should
| | 02:48 | still give them a chance to
show you what they can do.
| | 02:50 | Play around experiment and combine auto
buttons it's always worth a try and may
| | 02:55 | very well surprise you.
| | 02:57 | Sometimes various techniques and
settings may not work perfectly on their own,
| | 03:01 | but can be just the
thing when used in combination.
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|
|
5. Removing Dust, Spots, and TextureUsing the Clone Stamp tool| 00:00 | Removing things like dust, scratches,
stains, those little specs and spots
| | 00:05 | caused by dirt and dust even
fingerprints is the groundwork of photo
| | 00:09 | restoration, the basics.
| | 00:11 | Not every photo will be faded or have
a color cast or be ripped or torn but
| | 00:16 | you can be sure that every photo you work
on will have at least some specs and spots.
| | 00:21 | Begin by duplicating your original photo
by using keyboard shortcut Ctrl on a PC
| | 00:26 | or Command on a Mac+J.Be sure you name
your new layer, double-click on the layer
| | 00:34 | name and enter the new name you like;
| | 00:37 | I will name this Dad, click
next to it to accept your change.
| | 00:43 | Next go to the toolbar on the left
side of your workspace and find and select
| | 00:47 | the icon that looks like a rubber
stamp, this is the Clone Stamp tool.
| | 00:52 | Now let's increased the zoom on your
photo using keyboard shortcut Ctrl or
| | 00:56 | Command and the Plus key.
| | 01:00 | Zoom in as tight as you need to, to
see all the damage up close and then get
| | 01:06 | to the point you want.
| | 01:10 | Let's work on this area with these
red spots and white spots, looks like a
| | 01:16 | good place to start.
| | 01:17 | If you need to be decrease your zoom
use Ctrl or Command and the Minus key.
| | 01:22 | Also if you need to you can increase or
decrease the size of your brush, you do
| | 01:27 | this by using the left and
right bracket keys on your keyboard.
| | 01:31 | You want to keep your brush fairly small
in relation to the size of your screen.
| | 01:36 | This is at 8 pixels and I think
we'll go down to lets try 6 pixels.
| | 01:43 | The Clone Stamp tool clones exact pixels
from one area of your photo to the other.
| | 01:48 | You have to hold down the Alt key on
the PC or the Option key on a Mac, then
| | 01:53 | click on the area of your photo
you want clone the information from.
| | 01:59 | This will be your reference point.
| | 02:04 | The reference point moves with the
cursor as it moves from area to area.
| | 02:14 | So check your reference area often so
you don't accidentally start cloning areas
| | 02:19 | with other areas you don't mean to.
| | 02:23 | Let's work on his hair a little bit and
try this be careful of this area you see
| | 02:32 | right here, where there's an
obvious repetition of reference point.
| | 02:39 | Grab reference points from different
areas to give a sense of randomness.
| | 02:46 | Keep changing your reference point and
keep in mind where the darks and lights
| | 02:51 | in the photo are, there is darker area
here and lighter area here and any time
| | 02:59 | if you need to make your brush smaller,
it you'll make it easier to work with do
| | 03:03 | so by using your right and left bracket key.
| | 03:10 | One benefit of the Clone Stamp tool is
that you can use it on a blank layer over
| | 03:14 | your photo layer if you choose.
| | 03:16 | I'm going to create a new blank layer by
clicking on the Create a new layer icon
| | 03:21 | at the bottom of the layers panel, be
sure to name that layer also, we'll name
| | 03:28 | this one clone, click Next to except.
| | 03:33 | If you do choose to work on a blank
layer make sure they sample all layers box
| | 03:38 | at the top of the work area is checked.
| | 03:41 | Be sure to look at the big picture the
photo at 100% often during your work,
| | 03:46 | just to make sure you're on the right
track and that everything is looking good.
| | 03:49 | I'll Ctrl+Minus to zoom out on my PC
and I see an area that I think could use a
| | 03:57 | little work, so we'll zoom back in.
| | 04:03 | The reason this might not look as good
as it could, is because I was sampling
| | 04:08 | everything from one side only and it
made it a little darker, to fix that just
| | 04:14 | go to the other side and
start fixing from their.
| | 04:20 | Also get above it where the
transition in colors happen and click there.
| | 04:34 | You need to move your reference
point often to get a good blend.
| | 04:45 | Use caution when choosing areas to
clones so you don't have the same small
| | 04:49 | reference area over and over again.
| | 04:52 | Too much repetition in the same area
can cause obvious patterns that won't look
| | 04:56 | natural, if at any time you don't like
what you've done, just Ctrl or Command+Z
| | 05:02 | to undo the last procedure.
| | 05:08 | If removing dust and scratches is the
groundwork of photo restoration, the Clone
| | 05:12 | Stamp tool is the workhorse.
| | 05:14 | Probably one of the most used tools in
the restoration workflow, it can raise
| | 05:19 | areas of damage without a
trace with just a bit of work.
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| Using the Healing Brush | 00:00 | The Healing Brush is very much like
the Clone Stamp tool and that it borrows
| | 00:05 | pixels from the surrounding
area to repair damaged areas.
| | 00:09 | But it goes one step further and that
it blends the new pixels it's borrowing
| | 00:13 | into the newly healed area.
| | 00:15 | Begin by duplicating your original
photo by using keyboard shortcut;
| | 00:19 | Ctrl on a PC or Command on a Mac plus J.
Double-click on your layer name to rename it.
| | 00:25 | We will name this happy, and
click next to it to accept the change.
| | 00:30 | Go to the toolbar and
click the Healing Brush tool;
| | 00:34 | this icon that looks like a band aid.
| | 00:36 | There are actually two Healing Brush tools;
| | 00:39 | the Healing Brush and the Spot Healing Brush.
| | 00:42 | The difference in these two
tools is the simplicity of use.
| | 00:45 | We will see that in a minute.
| | 00:46 | We will select Healing Brush tool for right now.
| | 00:49 | I want a smaller brush
because I'm going to zoom-in close.
| | 00:52 | So I will need to go back
and adjust the diameter again.
| | 00:55 | To zoom-in your screen, use Ctrl on a PC,
Command on a Mac, plus the Plus key;
| | 01:02 | zoom-in nice and tight so you can see
all the damage up close and personal.
| | 01:07 | You want it really, really close.
| | 01:10 | Now see how big the brush
is relative to the screen.
| | 01:14 | So go back up to your Brush Engine and
change the Diameter slider, bringing that
| | 01:20 | Brush down to about 7 pixels. We'll try that.
| | 01:26 | Click here;
| | 01:27 | don't click in your screen, if you do,
you're going to get this pop up, because
| | 01:31 | you have to Alt+Click on the Healing Brush.
| | 01:34 | The Healing Brush like the Clone
Stamp tool requires an Alt+Click or an
| | 01:38 | Option+Click to select the area
of pixels you want to heal with.
| | 01:42 | Choosing an area as close as you can
to the area you are healing will help
| | 01:46 | ensure a good match.
| | 01:48 | So get as close as you can to
the area you're going to heal.
| | 01:52 | I am going to hold down the Alt button once
to click the reference area and click in it.
| | 02:00 | Change your reference point often;
| | 02:02 | you want a randomness.
| | 02:04 | You don't want to click in the same
area all the time or it will be too
| | 02:09 | repetitive and they'll be a pattern.
| | 02:12 | The Spot Healing Brush tool doesn't
require you to Alt or Option+Click on the
| | 02:17 | surrounding area to set a source area from.
| | 02:20 | Again, we want to adjust our brush size
and this time we'll do so with our Left
| | 02:27 | and Right-bracket keys.
| | 02:28 | Hit your Left-bracket key to lower the
diameter of your brush, go up a little
| | 02:34 | more, and let's keep this one at about 5.
| | 02:37 | A huge advantage to the Spot Healing
Brush tool is the Content-Aware setting;
| | 02:41 | new in Photoshop Elements 9.
| | 02:44 | This setting automatically uses pixels
from the surrounding area based on the
| | 02:49 | content of the area you're healing.
| | 02:51 | So make sure this Radio button is selected.
| | 02:54 | With the Spot Healing Brush, you can
just click to heal without selecting
| | 03:00 | your reference point.
| | 03:04 | This does a good job most of the time,
but it won't all the time, and if you
| | 03:09 | find an area that doesn't look very good,
you can always go back to your Healing
| | 03:14 | Brush tool to select your reference point.
| | 03:18 | Content-Aware is a wonderful high powered
tool that does a great job most of the time.
| | 03:25 | For the best result, keep your brush size
slightly larger than the area you're healing.
| | 03:29 | If the area of damage is smaller,
simply lower the size of your brush.
| | 03:35 | If you need it a little bigger,
adjust the size accordingly.
| | 03:39 | When working on a large or long area of
damage, don't try to fix it all at once.
| | 03:47 | Let's go over here to this
area of damage that's a long line.
| | 03:52 | Keep your work area small;
| | 03:54 | healing just a small
portion of the damage at a time.
| | 03:59 | If you try to do too much damage at
once and bring this sliding down like this,
| | 04:04 | it could come up blurry.
| | 04:07 | Sometimes it'll work and sometimes it
won't.If you do find it getting a little
| | 04:14 | blurry around the edges, simply click
to blend the areas better or go back to
| | 04:22 | your Healing Brush tool so you
can select your point of reference.
| | 04:29 | Click around the edges as well as
on the damage to get a good blend.
| | 04:39 | Let's just see a before and after of the
areas we've just healed, so you can see
| | 04:45 | how well the Content-Aware Spot
Healing Brush can work for you.
| | 04:50 | Often running second to the Clone Stamp
tool, the healing brushes especially the
| | 04:55 | new Content-Aware feature in the Spot
Healing Brush will make your exacting
| | 04:59 | detail spot removal work much
easier, faster, and better than ever.
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| Working with newspaper and magazine images| 00:01 | Moire pattern is the effect you see,
those dots and squares when you scan a
| | 00:05 | photo from the newspaper.
| | 00:08 | If we zoom-in close on the photo in
this historic newspaper, you can see the
| | 00:12 | dots or Moire pattern clearly.
| | 00:19 | What we need to do is sort of connect
the dots of the pattern and make it a
| | 00:23 | little less obvious.
| | 00:28 | Begin by making a duplicate of the
original layer either by keyboard
| | 00:32 | shortcut Ctrl on a PC or Command on
a Mac, plus J. Double-click on your
| | 00:37 | layer name and rename it.
| | 00:39 | We'll name this one Moire
and click next to it to accept.
| | 00:46 | With the duplicate layer selected, go
up to the Filter menu and select Blur
| | 00:52 | and then Gaussian Blur.
| | 00:55 | You want to have a very
light hand with the blur.
| | 00:58 | If you go too heavy with it,
it can make a real mess.
| | 01:01 | Move the Radius slider up to see how it
will affect the look of the photo, then
| | 01:07 | bring it back down to the low end.
| | 01:10 | I'll try a Radius of about 1.5
pixels, then click OK to accept.
| | 01:18 | Let's see what it look like before
and after, and to get a better look,
| | 01:24 | let's zoom-in again.
| | 01:29 | Bring it up to his face
and see before and after.
| | 01:34 | It's quite a difference.
| | 01:36 | If you feel the result is a little on
the soft side and you'd like to get a bit
| | 01:40 | of sharpness back, then duplicate this
Moire layer with keyboard shortcut Ctrl
| | 01:45 | or Command+J, double-click
it, and rename it sharp.
| | 01:53 | Then go back to the Filter menu,
select Other, and then High Pass.
| | 02:01 | Let's move it over a bit to see his face.
| | 02:05 | The higher the Radius value in
High Pass, the sharper the results.
| | 02:10 | So try your Radius a little over 10 pixels.
| | 02:14 | Let's try a setting of about 14 and click OK.
| | 02:19 | Now, go to the layer Blend
mode menu, and select Overlay.
| | 02:22 | If the results seem a little harsh, you
can always go back into the layer Blend
| | 02:28 | modes and try something else.
| | 02:31 | Let's change it to Soft Light.
| | 02:34 | That looks a little better.
| | 02:36 | Again, let's look at the
before and after of the sharpness.
| | 02:44 | Let's hide the two top
layers and see our real before;
| | 02:48 | there's our blur, and with a little
sharpness brought back in, that looks much better.
| | 02:55 | Moire pattern on a photo taken from
a newspaper can be very distracting.
| | 03:01 | The Moire pattern will
never go away completely.
| | 03:04 | The object is to make it look better.
| | 03:06 | Just a few simple steps can connect
those dots and give you a clearer picture.
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| Softening paper texture| 00:00 | Photographers used to offer the
finish print to their customers on
| | 00:03 | heavily textured paper.
| | 00:05 | It added an artsy look to photos
that people were proud to hang out and
| | 00:08 | display in their homes.
| | 00:10 | However, when it comes time to scan a
textured photo the light from the scanner
| | 00:14 | reflects in all those little
peeks and valleys of texture.
| | 00:18 | So how do we soften the texture
while not losing a lot of clarity?
| | 00:21 | Here is one quick and easy way to try.
| | 00:24 | Duplicate the original layer either by
keyboard shortcut Ctrl on a PC or Command
| | 00:30 | on a Mac + J, double-click on the layer
name and rename it, we'll name this Suzy
| | 00:37 | and click next to it to accept.
| | 00:40 | Let's zoom in really tight so you can
see the texture really, really well.
| | 00:44 | Zoom in with Ctrl or Command and the
Plus key a little too far let's go back one
| | 00:51 | that looks really good.
| | 00:53 | Scroll up, let's look at this
portion in her hair and over on this side.
| | 00:59 | Now let's go to the Filter menu down to
Blur and then Surface Blur, and move it
| | 01:07 | over just a little so we can
see the area we want to see.
| | 01:12 | We want to do a very soft blur, so we'll
try a Radius of about 3 and a Threshold
| | 01:20 | of around 24 and click OK to accept.
| | 01:26 | Let's look at our before and after.
| | 01:30 | You see we soften that texture up
pretty well, but I think we still need to
| | 01:34 | sharpen it up a little bit.
| | 01:35 | So now we'll duplicate Suzy with Ctrl or
Command+J, double-click on the name and
| | 01:44 | we'll name it sharpen and
click next to it to accept.
| | 01:50 | Now we'll go to Filter>Other and High Pass.
| | 01:53 | Use a Radius of about I will go up here
and try something pretty high, let's go
| | 02:03 | up around 50, 50.3 is good.
| | 02:06 | You should always experiment with each
photo to see what works best with that photo.
| | 02:12 | Now we'll click OK and change
your layer Blend mode to Soft Light.
| | 02:18 | Now that we have our sharpening layer we
can see that the edges of the hair look
| | 02:22 | a little too sharp, they brought a
little too much texture back in, so what we
| | 02:26 | need to do is get rid of that.
| | 02:28 | I think we mainly want to sharpen the
eyes that's the most important part here,
| | 02:33 | the rest can be a little soft.
| | 02:35 | So what we'll do to get rid of that is
go down to the bottom of the layers panel
| | 02:39 | and select the Add a layer mask icon.
| | 02:42 | This brings a mask up next to our sharpen layer.
| | 02:45 | Over here in our Color Picker you can
see that now white is the foreground color
| | 02:49 | and black is the background color.
| | 02:52 | We need to invert our mask from white to black.
| | 02:55 | So what we'll do is choose Ctrl or
Command+Backspace, and now you can see
| | 03:00 | everything through that mask.
| | 03:03 | To paint in the areas and resharpen
the eyes we want to go over to our Brush
| | 03:07 | tool, and again our colors who
inverted so our white is our foreground color
| | 03:13 | and that's what we need and we'll start to
paint in the eyes to bring back sharpness.
| | 03:20 | Let's get here over the lid,
give her a little makeup.
| | 03:25 | This is a 60s photo and they
did this sort of thing back then.
| | 03:32 | Let's scroll down and see if anything
else needs to be sharp maybe it will give
| | 03:36 | her teeth a little sharpness right
here on the edge, no, we don't like that.
| | 03:41 | If you don't like something simply
invert your Color Picker and go back
| | 03:47 | and paint it back up.
| | 03:52 | Let's zoom out and see how
it looks before and after.
| | 03:55 | Let's click our Visibility icon
and get back to our Background layer.
| | 04:01 | Now let's look at our blur layer and
with a little sharpening in the eyes.
| | 04:08 | If that looks a little bit too much,
again let's take the Opacity down see if we
| | 04:14 | can soften that up a little
about 55% and that looks really good.
| | 04:22 | No matter how you might like a certain
look if it makes the restoration process
| | 04:26 | twice as hard as it could
be it may not be worth it.
| | 04:29 | That's always your call of course, but
if you have a photo to restore with a
| | 04:33 | heavy paper texture that's cramping
your restoration style this maybe a good
| | 04:38 | softening technique to try.
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| Taming fingerprints| 00:00 | Even though touching a photo may seem
harmless the oils and skin contain acids.
| | 00:06 | Harmless touch soon burns into the
chemicals of a photo and becomes a
| | 00:10 | permanent resident.
| | 00:12 | If the fingerprints are around the
edges of a photo or in a non-detailed area
| | 00:17 | they can be easier to repair, but one
left in an important area can be a bit
| | 00:21 | more of a challenge.
| | 00:23 | Let's duplicate the original photo
using keyboard shortcut Ctrl on a PC Command
| | 00:28 | on a Mac + J. And now let's rename the
layer by double-clicking on the layer
| | 00:34 | name and naming it pop, and
click next to it to accept.
| | 00:40 | Now, let's go to the toolbar and select
the Zoom tool, it's this tool that looks
| | 00:45 | like a magnifying glass.
| | 00:48 | Let's center it over here on this
fingerprint, you can barely see it, but it's
| | 00:52 | over here next to the face
and zoom in good and tight.
| | 00:55 | 300% might seem a bit too large,
but it's really a good place to work.
| | 01:02 | The whole photo is still in focus,
you can see everything and you see the
| | 01:05 | detail of the damage.
| | 01:08 | Now let's go over to the toolbar
and select the Spot Healing Brush.
| | 01:11 | It's this icon that looks like a
band-aid and the one on the top.
| | 01:17 | We need to lower the size of our brush so
it's more in keeping with the size of the damage.
| | 01:21 | Let's use the Left Bracket key to
lower our brush size to about six pixels.
| | 01:25 | We're going to use the Content-Aware
feature in the Spot Healing Brush, so make
| | 01:30 | sure the radio button next
to Content-Aware is checked.
| | 01:34 | Remember with the Spot Healing Brush
you don't have to Alt or Option and
| | 01:38 | click on the area you want to take
a reference from, you can just start
| | 01:42 | clicking to repair the damage.
| | 01:45 | Working on the damage in
small areas is the best practice.
| | 01:48 | Occasionally, use the brush on areas
around the damage to make sure everything
| | 01:53 | is blending well, but don't use too
much of the areas around it, because you
| | 01:57 | don't want to start healing
things that don't need to be healed.
| | 02:00 | For example, if I pull the brush down
this poll to heal the damage I'm getting
| | 02:07 | rid of the poll that also
brings up another good point.
| | 02:12 | Be careful about dragging your mouse
down large areas especially in long sweeps,
| | 02:19 | it can leave smudgy lines
or do things you don't like.
| | 02:23 | Let me increase the brush size to show you
what I mean and let's pull this area right here.
| | 02:33 | You can see how it takes the pixels and
really messes them up and smudges them.
| | 02:39 | Let's click Ctrl+Z to undo all that and
lower our brush size again to six pixels.
| | 02:47 | The Content-Aware Healing Brush won't
always do the trick, you'll probably never
| | 02:51 | use only one tool
throughout an entire restoration.
| | 02:54 | Let's go back over to the toolbar and
select the Clone Stamp tool, this rubberstamp.
| | 03:00 | Remember, with the Clone Stamp tool
you'll have to use Alt or Option to select
| | 03:05 | the area you want to use
as your reference point.
| | 03:08 | This will work best on areas that go
from dark to light, that have a distinct
| | 03:17 | start and stop point.
| | 03:18 | Your Healing Brush tool might work
better in these areas that are pretty much
| | 03:22 | one tone, but when you get into these
lights, and darks, and shadows you might
| | 03:29 | get a better result if you use your Clone Stamp.
| | 03:34 | When you start with a new tool
remember to resize your brush if it's not
| | 03:38 | where you want it to be.
| | 03:43 | If you don't like what you've just done
you can always hit Ctrl or Command+Z to undo.
| | 03:49 | Remember, to take new reference points
often, see you don't repeat too many pixels.
| | 03:55 | Again, Ctrl or Command+Z if you
ever get to a point you don't like.
| | 03:59 | Removing traces left by fingerprints
especially in a detailed area can seem
| | 04:03 | daunting, but if you work in small
areas change your tools when you need to and
| | 04:09 | don't forget you can always undo
something you don't like and start over you'll
| | 04:13 | have those fingerprints cleared up in no time.
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|
|
6. Fixing Damaged and Torn PhotosRepairing small rips and creases| 00:00 | When old photographs are stored loose in
a box or drawer especially when they're
| | 00:05 | taken out occasionally to be looked
through they're subject to being bent.
| | 00:10 | Even when they're just bent
slightly it can result increases.
| | 00:14 | Bent a little more and little
rips and tears start to appear.
| | 00:18 | The picture I'm working on today,
house, is actually a picture of my
| | 00:22 | grandparent's house in Eddyville, New York.
| | 00:25 | It's a really great picture.
| | 00:26 | But it's got some creases that
I'd really like to take care of.
| | 00:30 | So let's begin by duplicating our
Background layer by hitting Ctrl on a PC and
| | 00:37 | Command on a Mac + J, and let's rename
our duplicate layer, house, and Enter.
| | 00:46 | Let's zoom in on one of the areas
of damage so we can really see what
| | 00:49 | we're working with.
| | 00:50 | Let's go over here to the toolbar and
select the Zoom tool this magnifying glass.
| | 00:56 | Let's go over here in this
area of foliage and click to zoom.
| | 01:02 | Let's zoom in really tight at about 200
% and I want to move the screen over so
| | 01:08 | we can see where it begins.
| | 01:09 | We're going to be working with the
Clone Stamp tool, so let's go over to our
| | 01:14 | toolbar and select the Clone Stamp,
this rubberstamp icon, and now we'll need
| | 01:22 | to resize our brush.
| | 01:24 | We always want to work with a smaller
brush or else you get really bad smudges.
| | 01:30 | To resize let's go up here to the top menu
and bring our slider down to about 9 pixels.
| | 01:38 | Remember with the Clone Stamp tool
you'll have to Alt or Option to choose the
| | 01:42 | area you want as your reference point.
| | 01:46 | You want to do that often so you
don't have repetitive patterns.
| | 01:50 | If you come over here and you're
stamping and you don't change your area you're
| | 01:59 | going to get into trouble, and
it's not going to look very good.
| | 02:04 | You want a random pattern you
don't want a repeating pattern.
| | 02:07 | You see this area right here,
just doesn't look right, right here.
| | 02:14 | If at anytime you don't like what
you've done you can either clone over it or
| | 02:21 | hit Ctrl or Command+Z to undo.
| | 02:26 | You can also clone whole areas if
they'll fit, but that can be dangerous
| | 02:32 | also, because you see this pattern is
the same as this pattern and that also
| | 02:39 | doesn't look natural.
| | 02:40 | So use Ctrl+Z to get out of that.
| | 02:46 | You can also use the Spot Healing
tool at any time if you'd like to blend
| | 02:50 | in areas you don't like, but the Clone
Stamp tool really works best in this instance.
| | 02:58 | Don't be afraid to change your brush
size often just use your Left or Right
| | 03:03 | Bracket keys to make your brush
smaller or larger and don't forget to Alt or
| | 03:09 | Option to change your reference points.
| | 03:14 | Sometimes the smaller your brush
is the better the result will be.
| | 03:20 |
| | 03:21 | Also keep an eye on what's
in the area you're working on.
| | 03:25 | We've got to split in the leaf here, so
if you put a piece of a leaf in it it's
| | 03:31 | not going to match-up with what's there.
| | 03:39 | You also need to keep an eye on tonal
changes, there is a little darker spot
| | 03:43 | here that goes into the damage
so you want to bring that back up.
| | 03:51 | Remember, if you don't like what
you've done or you think something will look
| | 03:54 | better you can always Ctrl or Command+Z to undo.
| | 03:58 | Well, this is a little rough, but let's
see what our before and after looks like
| | 04:02 | and see how much damage has been fixed.
| | 04:04 | I could use a little work we can
clean it up, but it's a great start.
| | 04:10 | Small rips and tears are nearly as
easy to repair as light destined spots.
| | 04:15 | With just a little time, patience, and
attention to detail you'll have those
| | 04:19 | rips increases totally wiped out.
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| Repairing large tears| 00:00 | One challenge with ripped or torn
photos is when some well-meaning relative has
| | 00:05 | helped us out by taping it.
| | 00:07 | Tape especially old-fashioned
cellophane tape which yellowed over time can be a
| | 00:11 | real challenge to repair, but
fortunately, not impossible.
| | 00:16 | This photo which is an old family
photo of mine has been taped on the top and
| | 00:22 | the bottom and in the middle.
| | 00:25 | This tape in the middle which is cellophane
tape is what we are going to work on today.
| | 00:28 | We are going to start by going over to
our Background layer and duplicating it
| | 00:34 | by hitting Ctrl or Command+J. Then we'll
double-click on the name and rename it tape.
| | 00:43 | Now, we'll go over to the toolbar on the
left and select the Polygonal Lasso tool.
| | 00:52 | Next, we're going to zoom our photo in
just enough to fill the frame, so you'll
| | 00:56 | have a clear view of the tape edges.
| | 01:00 | We'll do this by Ctrl or
Command, and the Plus sign.
| | 01:04 | Click on a starting point with your
Lasso tool and follow the straight line of
| | 01:08 | the tape keeping just to
the outside edge of the tape.
| | 01:12 | Luckily, tape has straight edges, so
it's not going to be all that hard.
| | 01:24 | Always click on the area when
you're going to move your straight line.
| | 01:30 | Continue clicking until you get to the
edge of your tape, and when you see this
| | 01:36 | little circle at the bottom, click to select.
| | 01:40 | Now, we are going to move our
selection to its own layer by hitting Ctrl or
| | 01:44 | Command+J. Double-click on the name,
and we'll name it something like tape2.
| | 01:53 | Now, go down to the Create New
Fill or Adjustment layer icon and
| | 01:56 | select Hue/Saturation.
| | 02:00 | Back in the layers panel,
hover between these two layers;
| | 02:05 | your Hue/Saturation layer, and your
tape2 layer, and hold your Alt key down
| | 02:11 | until you see these double circles and click.
| | 02:15 | hat this does is make it so your
Hue/Saturation layer is only going to work on
| | 02:21 | the layer directly beneath it.
| | 02:23 | Now, we'll go back to our Adjustments
panel, and lower the Saturation to get
| | 02:29 | some of the yellow out of the tape.
| | 02:32 | You don't want to go too far,
or it will make it too gray.
| | 02:36 | You just want to get the yellow out.
| | 02:38 | It won't be an exact match, but we'll try
to get that a little better here in a while.
| | 02:45 | We'll keep it at about -77.
| | 02:51 | Next, go to your Lightness slider,
and move it over to the right to lighten
| | 02:56 | it up just a bit more.
| | 02:58 | What we want to do is get a pretty
good match with the foliage right here.
| | 03:02 | You'll see that this is pretty brown and this
is gray but we are going to take care of that.
| | 03:08 | We just want to get a little better blend here;
| | 03:13 | lighten it up just a bit, +4 is pretty good.
| | 03:17 | Next, we are going to go over to our
dropdown menu all the way to the bottom and
| | 03:22 | Close the Tab Group, and
then click on your layers tab.
| | 03:27 | Now, we are going to put all of these
layers on their own layer, and we are
| | 03:31 | going to use a keyboard shortcut
that's going to use all of your fingers.
| | 03:36 | Hold down Shift+Ctrl+Alt+E on a PC
and Shift+Command+Option+E on a Mac.
| | 03:44 | Now, we are going to zoom
our picture in even tighter;
| | 03:47 | Ctrl or Command and the Plus key.
| | 03:52 | Let's move down to an area on the edge.
| | 03:55 | This looks like a good place to start.
| | 04:00 | Now we are going over to our toolbar,
and selecting the Spot Healing Brush and
| | 04:06 | make sure Content Aware is selected.
| | 04:08 | Lower your Brush size to a decent level,
that's a little too big, so we wanted
| | 04:15 | to go, we'll start at about 11 pixels
and move it across the damage to blend the
| | 04:27 | two areas and make a seamless transition.
| | 04:39 | You may have to go over the area few times.
| | 04:42 | You can click on it if you have too
obvious a line, just get a nice blend.
| | 04:50 | Next, we're going to lighten this
area just a little bit more by putting a
| | 04:54 | Levels Adjustment layer on it.
| | 04:57 | So go over to your layers panel, Create
New Fill or Adjustment and go to Levels.
| | 05:03 | Now, we're going to bring your White
slider over, and lighten everything up.
| | 05:07 | You don't want to go too
far or you'll blow things out.
| | 05:11 | We're going to keep it up here at about 189.
| | 05:17 | Now, go back into layers and we
want to invert your Levels mask.
| | 05:24 | You'll do this by Ctrl or Command+Backspace.
| | 05:31 | We've now hidden the entire mask,
and we need to paint back the area that
| | 05:36 | we want to lighten.
| | 05:38 | So make sure white is your
foreground color and go to your Brush tool.
| | 05:42 | Now, we can keep this one fairly large
because we're just going to paint in this
| | 05:48 | area to lighten up this darker area.
| | 05:56 | If you go outside the line, all you've
got to do is go over here, make black
| | 06:01 | your foreground color, and paint it back in.
| | 06:05 | Just remember to make white your
foreground color again when you want to
| | 06:08 | paint-in some more to lighten the area up.
| | 06:17 | Next, let's go up to Filter, Blur, and
Gaussian Blur, and let's give it a little
| | 06:25 | bit of a blur to help blend it.
| | 06:28 | Get a pretty good blur going, you
don't want to necessarily blow it all out
| | 06:32 | because that wouldn't look
good, but you want it soft.
| | 06:38 | Check the Preview button.
| | 06:40 | You can see that, that blended-in
pretty well, and click OK to accept.
| | 06:45 | Now, go to your Opacity and lower it
until you have a good blend with your tones.
| | 06:56 | If you need to, zoom-out with Ctrl or
Command+Minus so we can see what we're
| | 07:02 | doing, and let's keep
this sit right around 59-60%.
| | 07:11 | Now, I am going to merge all these
layers again and put them on their own with
| | 07:15 | that all fingers trick;
| | 07:17 | Shift+Ctrl+Alt+E on a PC,
Shift+Command+Option+E on a Mac.
| | 07:26 | Now we are going to do one more
thing to blend these two together.
| | 07:29 | I am going to go up to the Enhance
menu, and down to Convert to Black and
| | 07:36 | White, and then we are going to just
give it a little eyeball and see if that's
| | 07:42 | going to look good.
| | 07:43 | I think it will look fine.
| | 07:43 | All we are trying to do is
make it a black-and-white;
| | 07:46 | it's not going to be a precise thing.
| | 07:48 | Click OK to accept, and you'll
see the two areas look pretty good.
| | 07:55 | They still need some work.
| | 07:56 | We might have to lighten this a little more.
| | 08:00 | But if we hide all these other icons,
and just keep our background layer, you
| | 08:07 | can see that's a vast improvement.
| | 08:10 | When people put tape on photos to
repair them, they were really leaving us in
| | 08:14 | a sticky situation.
| | 08:15 | But luckily, with just a little work,
removing tape from an old photo won't be
| | 08:20 | as hard as you might think.
| | Collapse this transcript |
| Filling in missing pieces| 00:00 | Well, it would be wonderful if pieces
didn't break off and go missing from all
| | 00:04 | photos, that's not reality.
| | 00:07 | If you're lucky, you'll still have the
piece that came off but the chances are
| | 00:10 | good that you don't.
| | 00:11 | If it's just a tiny piece, you might
just crop the photo but it's more fun
| | 00:17 | to try to fix them.
| | 00:18 | We are going to work on one of
the most intimidating things to fix;
| | 00:23 | part of a missing tree.
| | 00:25 | It's really not that hard once you
know how and after you mastered that, most
| | 00:29 | everything else will be a breeze.
| | 00:31 | We're going to do our work this time
on a blank layer over the original.
| | 00:35 | Go to the Create a New layer icon at the
bottom of the layers panel and click it.
| | 00:40 | Name the new layer Tree.
| | 00:44 | In this case, the damage is
at the upper left-hand corner.
| | 00:47 | So let's zoom-in that area by going to
the toolbar and selecting the Zoom tool
| | 00:52 | or the Magnifying Glass.
| | 00:54 | Click on the missing corner about three
times to bring it in real good and tight.
| | 00:59 | Go back to the toolbar, and
grab the Clone Stamp tool.
| | 01:02 | Make sure the Sample All
layers box at the top is checked.
| | 01:07 | Enlarge your Brush using the Right-bracket key.
| | 01:10 | Let's go up to about 60 pixels.
| | 01:14 | Making sure the New Blank layer is
selected, Alt or Option+Click on an area to
| | 01:20 | sample from and begin painting in the torn area.
| | 01:26 | Change your reference point often to
keep the cloned area looking random.
| | 01:30 | You don't want the new area to be
an exact clone of the area below it.
| | 01:35 | If you keep the reference point too
long, you're going to get repeated areas
| | 01:41 | that just won't look very good.
| | 01:43 | See this one is already starting to repeat.
| | 01:46 | So click and fix it until you find
something that isn't the exact same as an
| | 01:54 | area right next to it.
| | 01:56 | If you keep cloning something that's
very distinctive like one particular rock
| | 02:01 | on the ground in some photo or in
this instance a tree branch, it will look
| | 02:07 | very obvious and fake.
| | 02:09 | Just clone back over it
using another reference area.
| | 02:18 | If you clone an area, and don't
like how it looks, clone back over it.
| | 02:22 | That's actually a good thing to do.
| | 02:24 | That's how you'll achieve the
randomness we are looking for.
| | 02:27 | You can do bigger pieces if you start
from an area that's farther away from the
| | 02:32 | one you're working on.
| | 02:33 | For instance let's go over here
and then clone back way over across.
| | 02:39 | We can go back and fix
random parts here in a minute.
| | 02:43 | Let's move up a little bit, and
just keep cloning in the areas.
| | 02:51 | Try to stay away from colors that are
too obviously different, but you can
| | 02:57 | always go back and blend the areas
using little random clicks here and there.
| | 03:08 | Remember, you can always undo using
Command or Ctrl+Z, and move on, always move on.
| | 03:15 | Get some areas that are far away again.
| | 03:25 | If you saw right here I was
starting to get the edge of the roof.
| | 03:27 | You've got to be careful of that.
| | 03:30 | Just clone back over and
add a little more randomness.
| | 03:33 | Now, we're going to fix
this area which is the edge.
| | 03:44 | This is a little trickier.
| | 03:46 | Find this area that's pretty far away
from this one and click here, and then
| | 03:54 | move up all the way across.
| | 03:57 | Let's fix this area.
| | 04:02 | Use different areas to make it
look random, and just have fun.
| | 04:12 | Clicking in cloning is fun.
| | 04:14 | Now, we want to blend this area a
little better right here, and then we'll fix
| | 04:28 | this repeat pattern.
| | 04:32 | Just eyeball it and see if you see
anything that's an obvious repeat, and then
| | 04:37 | we're going to go in and fix this rough edge.
| | 04:42 | That's why we cloned on our own layer.
| | 04:45 | Go over here to your
Rectangular Marquee tool and select it.
| | 04:50 | Find a point at your frame or at the
edge you want to clean up, come over here
| | 04:57 | and Command or Ctrl+X to delete and
do the same over at the side, make the
| | 05:03 | selection based on your frame, Command or Ctrl+X
to delete, and there you have a nice clean edge.
| | 05:10 | Let's zoom-out.
| | 05:12 | Now we are going to show you before and after.
| | 05:14 | Here is before, and after, and
look at that, we've got our tree back.
| | 05:22 | People often look at a photo and see
one or more missing pieces, and think
| | 05:26 | it's horribly damaged.
| | 05:28 | But even the scariest looking damage
like part of a tree isn't that hard to fix
| | 05:33 | with just a little know-how and some practice.
| | Collapse this transcript |
| Reassembling a photo from pieces| 00:00 | Like a jigsaw puzzle, a photo that's
torn into pieces gets harder to piece back
| | 00:04 | together, the more pieces there are and
the smaller those pieces are, and also
| | 00:09 | the longer they have been apart.
| | 00:11 | Putting them back together however isn't
anything you can't handle once you know how.
| | 00:15 | This image of a historic rancho the
home of a former Alcalde of Los Angeles is
| | 00:21 | in several pieces and I'd
like to put it back together.
| | 00:24 | Always scan your torn pieces with spaces
between them to make it easier to put back together.
| | 00:31 | Let's duplicate the original layer
by hitting Ctrl+J or Command+J and
| | 00:37 | rename this layer pieces.
| | 00:42 | Now, hide your original Background
layer by clicking the visibility icon and go
| | 00:46 | over to the toolbar and select the Quick
Selection tool, this little magic wand.
| | 00:53 | In your pieces layer run your
selection tool around the white part, go slowly
| | 01:04 | and keep your brush size a little
small, so you don't grab pieces of the
| | 01:09 | picture accidentally.
| | 01:13 | You don't have to keep your hand
down the mouse button the whole time.
| | 01:16 | You can lift it up and click in
areas if it's more comfortable.
| | 01:22 | This might take a while but when it's
done we'll click Ctrl+X or Command+X
| | 01:28 | to delete that area.
| | 01:30 | Now, go back over to your
toolbar and grab your Lasso tool.
| | 01:36 | Drag the Lasso tool around one of the
pieces keeping your mouse button down and
| | 01:42 | continue around until you get to
the end and let your mouse button go.
| | 01:46 | Now, hit Ctrl+J or Command+J on your
keyboard to put that piece on its own layer.
| | 01:53 | Do this with all your pieces, we are
going to leave this main piece here and
| | 01:56 | take care of that in a minute.
| | 01:57 | You need to go back to your pieces layer
and continue with your other little pieces.
| | 02:05 | Go around them with the Lasso tool and
hit Ctrl+J or Command+J and continue that
| | 02:11 | with all your pieces.
| | 02:14 | Now, what we'll do to get this main
piece is we'll start here at layer 5, hold
| | 02:22 | down the Ctrl button or the Command
button and click on the thumbnail to select it.
| | 02:27 | Go down to the pieces layer and hit Ctrl+X or
Command+X.Continue on layer 4, do the same thing.
| | 02:35 | Ctrl or Command on the thumbnail, go
down to pieces layer, Ctrl+X or Command+X.
| | 02:42 | These pieces are now being deleted
from around this main piece, so we'll have
| | 02:47 | every piece on its own layer.
| | 02:50 | Now, if we close these, that layer is
on its own, and we have all our pieces
| | 02:58 | on their own layers.
| | 02:59 | What we'll do now is make a
background layer for our jigsaw puzzle, for our
| | 03:04 | pieces by clicking on Background then
going down here to the Create a new layer
| | 03:10 | icon and keeping it under the pieces.
| | 03:14 | You can fill this with any color you want,
but it's to show you if there are any
| | 03:18 | big gaps between your pieces so you
can choose something rather bright if it
| | 03:24 | helps you to see it.
| | 03:25 | We'll just fill it right now with black, Alt
on a PC or Option on the Mac plus Backspace.
| | 03:34 | Now, let's select one of our pieces and we're
going to move it back to where it should be.
| | 03:41 | We'll go over here and select the Move
tool, make sure that your Show Bounding
| | 03:46 | Box and Show Highlight on Rollover
boxes are unchecked, they are very
| | 03:50 | distracting and have Auto Select layer checked.
| | 03:55 | So when you click here it will
select the layer you are clicking on.
| | 04:00 | Now let's bring this layer over here
and this is where we are going to want to
| | 04:05 | move in a little tighter.
| | 04:06 | So go over here to your toolbar and
your Zoom tool and bring it right here,
| | 04:12 | let it fill the frame.
| | 04:15 | That's good, that's at about 25%.
| | 04:19 | Now, go back over and select your Move tool
again and hit Ctrl+T or Command+T to Transform.
| | 04:25 | With this, we'll be able to move it
this way or we will be able to rotate it
| | 04:30 | which we'll need to do to have it match up.
| | 04:32 | We want to match it up, just like a
jigsaw puzzle, so we'll rotate it a
| | 04:37 | little just eyeball it.
| | 04:40 | Your main areas you want to match up are this
area where the roof matches and these trees.
| | 04:48 | This big space in the sky that's not
the most important thing right now.
| | 04:53 | So we'll move this over
until they match up nicely.
| | 05:00 | Again, let's just check ourself by
zooming in a little Ctrl+Plus or Command+Plus and
| | 05:07 | let's move this over and we'll
move this down just a little.
| | 05:12 | It's not matching up quite
perfectly right there looks pretty good.
| | 05:18 | When you get to a place you
like, hit Enter to accept.
| | 05:23 | Now, your torn piece has actually just
turned into a crease so it just got a lot easier.
| | 05:31 | If you need to adjust your piece
and you see that it could be a little
| | 05:33 | better use your Downward arrow keys or your
Right and Left arrow key or your Upward arrow key.
| | 05:39 | It's an easy way to move it just a little ways.
| | 05:43 | Now, we are going to add a blank layer
on top of this and you can do this when
| | 05:48 | you have them all put
together or you can do it one by one.
| | 05:51 | So go back down to the bottom,
you Create a new layer icon.
| | 05:56 | We'll go get our Clone Stamp tool,
looks like the little rubberstamp.
| | 06:00 | Make sure your brush is a fairly small
size, your Left or Right Bracket keys or
| | 06:05 | you can go up here to your slider,
keep checking if that's a good fit, you
| | 06:11 | wanted to basically just go over the crack here.
| | 06:15 | That looks good at 40.
| | 06:16 | If you hit that, the reason that comes
up is because you have to hit Alt on a
| | 06:22 | PC or Option on a Mac to select your
reference point and let's start cloning in the area.
| | 06:31 | Now, with this one you can just slide
down very nicely because it's on a blank
| | 06:38 | space and this can be
taken care of very quickly.
| | 06:45 | Try not to get your brush too big or you
are going to leave spots and every once
| | 06:50 | in a while do a little checks and
balances and make sure that you come from the
| | 06:55 | bottom and hit a couple of
places to blend your pixels.
| | 07:03 | You can see this area got a little darker
from here, so come over here and just blend it.
| | 07:11 | This really isn't as hard as it looks.
| | 07:14 | Just because something
is in pieces, don't panic.
| | 07:20 | It's actually kind of fun if you keep doing it.
| | 07:29 | Keep changing your reference point so
you're not always in the same place by
| | 07:34 | clicking Alt or Option in different spaces.
| | 07:39 | Now, these are the hard parts over
here and they're really not that hard.
| | 07:43 | We'll go back over to the toolbar, get
our Zoom tool, get in real close on this
| | 07:51 | particular - now, that's little too close.
| | 07:52 | So let's go back down by hitting
Ctrl+Minus or Command+Minus key and get our
| | 08:00 | Clone tool again, and what we are going
to do is we are going to sample the area
| | 08:06 | from this other part of
the tree and use it here.
| | 08:09 | So, if you'll see this area right here it
looks pretty much like this one right here.
| | 08:16 | So, Alt or Option on there and see
this little shadow that's in this circle
| | 08:23 | is your guide and it will tell you where
it's going to start, so you just begin clicking.
| | 08:29 | You'll see you will have to change that
because it's gone into the edge that's a
| | 08:33 | very good example of why you'll
always have to change your reference point.
| | 08:41 | Click there, find another good area
and just continue until you get it all.
| | 08:47 | Let's do little quickie there and now
we have a straight line we need to do, so
| | 09:01 | Alt or Option, click right there, watch
that guide matches up pretty well right
| | 09:10 | there and now your roof is together.
| | 09:17 | See that was actually pretty easy.
| | 09:19 | Let's zoom out by hitting Ctrl+Minus or
Command+Minus key and then take those away.
| | 09:31 | That was pretty good, wasn't it?
| | 09:34 | There isn't time to put together and
fix all the pieces in this basic course.
| | 09:39 | But to give you an idea, the results you
can have I'll show you the finished project.
| | 09:43 | As you can see, everything has gone
together well, you can't see any lines and
| | 09:48 | all the pieces are now
together in a seamless area.
| | 09:52 | It's dauntless a task is putting
together a torn up photo may seem.
| | 09:57 | If there are not a lot of pieces and
the edges are all intact it's nothing you
| | 10:01 | can't handle with a little
bit of patience and practice.
| | 10:04 | Remember, once you get the pieces back
in place the tears just become little
| | 10:09 | cracks and it gets easier from there.
| | Collapse this transcript |
| Fixing and replacing backgrounds | 00:00 | It seems like the sky is always the
first thing to fade away in an old photo.
| | 00:05 | Sometimes all the restored photo needs is
to get a little sky back to look perfect.
| | 00:10 | The trick to replacing the sky is to do it,
so it's not obvious that it was ever even gone.
| | 00:15 | I'm going to be working on this photo
of this cute little dog with all this
| | 00:19 | blank sky above him, and I'm also
going to use this image of the sky.
| | 00:26 | As you can see, it has a lot of nice
details and it's going to look great.
| | 00:29 | Let's go back over to our original image,
and let's duplicate the background by
| | 00:36 | hitting Ctrl on a PC, Command on a Mac, plus J.
| | 00:41 | Now let's go over to our Image menu,
and go down to Magic Extractor.
| | 00:49 | Let's zoom in on our photo by
hitting Ctrl++ or Command++.
| | 00:55 | If you want to move a photo in Magic
Extractor, you need to go over here to your
| | 00:59 | Hand tool and just drag it down.
| | 01:04 | This is your Foreground Brush tool.
| | 01:06 | Whatever you click all with this
indicates the areas you want to keep.
| | 01:10 | This is your Background Brush tool, and
whatever you click with this you want to delete.
| | 01:16 | So let's start with our Foreground
tool and I'm just going to go over this
| | 01:20 | really quick for the sake of time, you
can be more exact, by all means please do.
| | 01:29 | But I'm just going to hit a few areas.
| | 01:31 | You can make your brush smaller or larger
by using your Left and Right Bracket keys.
| | 01:37 | Select your Hand tool to move, go back
to your Brush tool, and let's just hit
| | 01:45 | these areas real quick right now.
| | 01:51 | Let's get the Hand tool and move it down.
| | 01:55 | Make the brush a little bit bigger, there we go.
| | 02:03 | And now we're going to do the
Background tool, let's makes that even bigger
| | 02:07 | since it's blank, pretty much,
except for it's not totally blank.
| | 02:12 | Let's get our Hand tool
and move it up it up a bit.
| | 02:16 | Because as you get closer to the top
there's a gradient and it does get a little
| | 02:21 | darker, so be sure -- let's get our
Hand tool and move up again, and be sure to
| | 02:27 | get this as you can see
that's a little bit darker.
| | 02:29 | When you have it done, just go over
here and select Preview, and let's zoom
| | 02:35 | out using Ctrl+Minus or command+Minus to see
how that did, and it actually did pretty good.
| | 02:41 | So let's click OK and go back into Elements,
and make sure your Background layer is selected.
| | 02:48 | Now we'll go over to our sky image, and
you're going to make sure your Move tool
| | 02:53 | is selected and drag in and
drop it onto the tab of dog.jpg.
| | 03:02 | Come down here, until you see this rectangle
and the Plus sign, and then lift up on the key.
| | 03:10 | You can move it up by dragging it,
until it looks good and you can Ctrl+T or
| | 03:17 | Command+T to Transform it, if you want to.
| | 03:20 | Make it a little bit smaller whatever
you'd like to do, just leave that like
| | 03:26 | that, and you can either hit
Enter or the screen check to accept.
| | 03:31 | And now we want to clean it up a
little bit by going over and getting our
| | 03:34 | Rectangular Marquee tool, and use
what's left to the photo is your guide up
| | 03:41 | here, take it and drag it over and
hit Ctrl+X or Command+X to delete.
| | 03:50 | Do the same on this side Ctrl+X or
Command+X to delete, and on this last side
| | 03:56 | drag it up Ctrl+X or Command+X.Now
let's blend it in a little more by going to
| | 04:03 | our Enhance menu and down to
Convert to Black and White.
| | 04:08 | Don't worry about any settings on here;
| | 04:11 | all you're doing is converting
to black and white so just hit OK.
| | 04:15 | Then you're going to go over here and
take your Opacity way down to about 25%,
| | 04:21 | maybe even less with some cloud images
it will just vary whatever your image is,
| | 04:27 | and now we'll look at the before and after.
| | 04:29 | It's very subtle and you wouldn't know
it wasn't there when it was taken, and it
| | 04:37 | just looks a lot better.
| | 04:39 | Sometimes backgrounds are just too
damaged or distracting or skies if faded
| | 04:43 | away, well you should never just
change something for changes sake and every
| | 04:48 | effort should be made to repair a
background before replacing it, there are some
| | 04:52 | valid reasons for background replacement.
| | 04:54 | When you do replace just
remember keep it subtle and make it look
| | 04:58 | completely natural.
| | Collapse this transcript |
| Using Photomerge with panoramas| 00:01 | There are times when you will have to scan a
really large negative or photo in sections.
| | 00:06 | When that happens how will
you put them back together?
| | 00:09 | You can do it by hand of
course, it's not impossible.
| | 00:11 | I used to do it all before the
wonderful features like Photomerge came into
| | 00:15 | being, and got really pretty good at it.
| | 00:18 | But just like a really great talented
assistant I and you, can now leave all the
| | 00:23 | hard work to Photomerge.
| | 00:25 | Be sure to scan your images if you're
using your own with a generous overlap.
| | 00:30 | Now let's have a look at all we have here.
| | 00:33 | Here is our first image of a group
of soldiers with an American flag.
| | 00:38 | Next, we have the middle of the
group and there are two ladies here.
| | 00:43 | This is the end and a part of the
flag and here is the rest of the flag.
| | 00:49 | So now we're going to put these
altogether with photomerge by going to File>New
| | 00:58 | and Photomerge Panorama.
| | 01:00 | Let's have a look at our settings here
real quick, you want to keep it on Auto,
| | 01:05 | and you want to have
Blend Images Together checked.
| | 01:09 | You can also check Vignette Removal if
you have some darkness around the edges,
| | 01:14 | but for right now we're going to
leave that unchecked along with Geometric
| | 01:18 | Distortion Correction.
| | 01:19 | And all you do now is click, Add Open
Files, and they all appear in the box.
| | 01:28 | And from here all you have to do is click
OK and now it's merging it together for you.
| | 01:38 | You can do this Clean Edges procedure
if you like, and it'll automatically fill
| | 01:42 | in the edges of your panorama, but I'm
going to show you in a minute how you can
| | 01:46 | do that on your own, so right now let's say No.
| | 01:49 | Now let's zoom in and just see
how good a job Photomerge is done.
| | 01:55 | Skip way up in here and that
was really easy, wasn't it?
| | 01:59 | You just can't get any easier than that.
| | 02:01 | Let's go to 100% and let's go down here,
and just see -- we'll stop every once
| | 02:10 | in a while, and so far I can't tell, can you?
| | 02:17 | This photo which belongs to one of the
producers here at lynda.com is of his
| | 02:22 | grandfather the day his unit came back
from France after World War I. You'll
| | 02:28 | stop, look at all these happy faces,
this is just the best photo, and look
| | 02:32 | at how great that is.
| | 02:35 | That is a great job in Photomerge.
| | 02:37 | Okay, now let's zoom back out and I'm
going to show you a trick to get this back
| | 02:48 | to where it needs to be right over here.
| | 02:50 | This is just a panoramic distortion
over here, it's fine, we need to fix this.
| | 02:56 | So we're going to do that little finger
twister, make sure all your layers are
| | 03:01 | selected, Shift+Ctrl+Alt+E on a PC, Shift
+Command+Option+E on a Mac to merge all
| | 03:10 | the layers into one.
| | 03:13 | Now we're going to go over here and
all you do is Ctrl on the PC command on a
| | 03:19 | Mac, T for Transform,
right-click and choose Distort.
| | 03:27 | Now pull these little bars up here to
the edge, pull this one down and just
| | 03:37 | straighten them up a little bit,
and that's all there is to it.
| | 03:44 | And the rest of this little
edge you can just crop off.
| | 03:47 | Scanning a phone or negative in pieces
is no longer the painful task it used to
| | 03:51 | be, thanks to Photomerge.
| | 03:53 | With just a few fast simple
steps your image is merged back
| | 03:56 | together beautifully.
| | Collapse this transcript |
| Repairing documents| 00:00 | Old photos will never look new, no matter
how much you restore them, nor should they.
| | 00:05 | You can however make an old document
look new by taking out the age, color and
| | 00:09 | cloning way all the damage,
but why would you want to.
| | 00:13 | The trick to restoring historical
documents is to just fix areas of text of
| | 00:17 | writing and leave the rest of it alone.
| | 00:20 | Here's just one way to fix text.
| | 00:22 | Begin by duplicating your original layer
by using keyboard shortcut Ctrl on a PC
| | 00:28 | Command on a Mac plus j. Zoom in very-
very close to your work using the zoom
| | 00:35 | tool this little magnifying glass,
lets go right here, lets go down back one
| | 00:44 | using Ctrl or Command minus key to about 100%.
| | 00:50 | With an area like this one is
actually better to leave it alone, if this
| | 00:55 | was just missing type it would be
super easy to fix and so would repairing
| | 01:00 | this discoloration.
| | 01:02 | But ending this rip so it looks
natural is a bit more advanced
| | 01:06 | and time-consuming.
| | 01:08 | So we're going to move on to another area.
| | 01:11 | Let's move down here, where
this name is partially missing.
| | 01:17 | In the case of a partially missing
historical signature, if you have no other
| | 01:22 | reference to sample from, it's
better to leave it the way it is.
| | 01:26 | A signature is unique and you can't
change it, but in this case this name is
| | 01:33 | repeated twice and it's all
been written by the same person.
| | 01:37 | So what we want to do is go over
here let's look at this W its rather
| | 01:42 | distinctive and see if one of these
matches up and I think this one actually
| | 01:48 | does a little better so work on
a borrow this name right here.
| | 01:51 | So let's go over here and get our
Lasso tool and we are going to select
| | 01:57 | around it and grab it.
| | 02:01 | Now we're going to put it on its own
layer Ctrl+J on a PC, Command+J on a Mac
| | 02:07 | and go over here and did you move tool,
we're going to just move that down, lets
| | 02:13 | move our screen, we're going to click
on it and move it down and put it right
| | 02:19 | there and your match up line will be
this line right here, if you need to tweak
| | 02:25 | it use your downward arrow key, your
up arrow key and your right and left.
| | 02:30 | If you want to check where it is, see if
it's basically in the right area, lower
| | 02:35 | the Opacity and bring it back up if you
like where it's at then you need to go
| | 02:44 | over here to your Eraser tool
and lower Opacity to around 20%.
| | 02:52 | Let's go back with our magnifying glass
or zoom tool, get in one more step and
| | 03:00 | back to our Eraser tool.
| | 03:01 | Now we're going to take pieces out at a low
Opacity and try to blend this two areas in.
| | 03:10 | If you have this big area and you know
that you're a long way from something
| | 03:20 | you're going to need like to blend
there's a big blank space, bring your
| | 03:25 | Eraser back up, erase the portion, get it
nice and clean and then lower your Opacity again.
| | 03:38 | There's no one setting through
the whole restoration for anything.
| | 03:42 | You're going to be changing all the time.
| | 03:45 | To make this look a little more
authentic like the rip didn't happened as deep
| | 03:53 | into the signature as it did, take a
little bit off the P may be even little off
| | 04:00 | the E and get this edge right here.
| | 04:08 | Don't make it go away completely
because then there would be no point in
| | 04:11 | fixing it like this.
| | 04:15 | Just get your whole edge so there's
no hard edge that's the point in a low
| | 04:19 | Opacity Eraser is to leave the soft
edge and a good blend, just to be safe go
| | 04:27 | over here on this line that we've replaced
and get it so the one under it shows like that.
| | 04:39 | Okay lets zoom out and see what we've
done here and his name is complete again,
| | 04:44 | lets see our before and after.
| | 04:49 | Even though the signature isn't
completely the same, it was all written by the
| | 04:53 | same hand so it's perfectly all right.
| | 04:57 | Document restoration requires a little
different workflows and photos most of
| | 05:01 | the time, but its still much the same
process, work close up, take your time and
| | 05:06 | be sure to keep that old paper
look and feel of the document.
| | 05:10 | Put your original in an archival
plastic sleeve and keep it flat.
| | 05:14 | Frame and display your restoration
with a good restoration no one will know
| | 05:19 | the difference.
| | Collapse this transcript |
|
|
7. Sharing Your Restored ImagesCreating a photo book| 00:00 | Once you learn the basics of photo
restoration it can be a little addicting.
| | 00:04 | When you start to see some great
results you find yourself wanting to share
| | 00:08 | them with your family.
| | 00:09 | Photoshop Elements has some wonderful
options to help you share your restoration
| | 00:13 | prowess, one of which is the popular Photo Book.
| | 00:16 | Let's have a look at these pictures of
this extremely cute little boy and these
| | 00:23 | are all the photos we
will be working with today.
| | 00:27 | Have all your photos open that
you want to use on your desktop.
| | 00:31 | Next, we'll go over here by the
Edit menu to Create and click on it.
| | 00:36 | If your Project Bin isn't up, be sure to
click on the tab to bring it up, so you
| | 00:40 | will have access to your photos.
| | 00:43 | Now go down and choose Photo Book and then
let's look at this dialog box that pops up.
| | 00:48 | See we have got a lot of choices here.
| | 00:51 | We have our Sizes and Options of what
you can do to have these Printed from
| | 00:56 | Kodak, Print them yourself or from
Shutterfly and we will select Print locally.
| | 01:04 | We have a number of Themes;
| | 01:06 | Christmas, Colorful, and Family all
down the line, and we'll just stick with
| | 01:12 | Cherish for right now.
| | 01:14 | Over here is your Preview.
| | 01:16 | It gives you an idea of
what your book will look like.
| | 01:21 | Down here it says, Autofill with
Selected Images, uncheck the Autofill with
| | 01:26 | Selected Images box so you can
put the pictures in manually.
| | 01:29 | You always have the option of letting
it Autofill itself but this time we'll do
| | 01:33 | it ourselves, and let's start out with 4 pages.
| | 01:38 | You can use as many as
you want and then click OK.
| | 01:44 | Let's choose a photo for our cover.
| | 01:46 | Let's start with this first one
and drag and drop it to the area.
| | 01:50 | Now here is something to keep in mind,
if you just move this, if you slide your
| | 01:55 | cursor the whole box moves,
that's just clicking on it and sliding.
| | 02:01 | If you just want to adjust your photo,
double-click on the photo itself and you
| | 02:06 | can adjust it with this slider.
| | 02:08 | While it's selected, you can also move
your photo around and put it where you'd like.
| | 02:17 | If it's not as small as you'd like it
and it's to the end, all you have to do is
| | 02:22 | hit Enter or this green box to commit,
and then double-click again and you can
| | 02:29 | go down even further.
| | 02:32 | You can also adjust using the bounding box;
| | 02:35 | you have a number of options.
| | 02:38 | Let's click the check to Commit and
you can move to the next page either by
| | 02:42 | selecting the Blue Arrow button or clicking
directly on the book over here under Pages.
| | 02:48 | Let's click the arrow and go to the next page.
| | 02:52 | If you don't like the layout that's
here you can always go over to Layouts and
| | 02:57 | look at all the different layouts
that they give you to choose from.
| | 03:02 | There are number, you can put a lot
of little photos, 14 Photos in this, 4
| | 03:07 | Side-By-Side and do 4 Photo Book Landscape.
| | 03:11 | There are a lot of options to use.
| | 03:13 | Let's see what one looks like, and
then if you don't like how a layout looks
| | 03:16 | you can simply go to Ctrl on a PC or Command on
a Mac and Z and you're back to where you were.
| | 03:24 | Let's look at some other options
for Artwork, where you can change
| | 03:27 | your backgrounds to a number of
different ones and that will just
| | 03:32 | change the Background.
| | 03:33 | You can go down and do Solid Colors;
| | 03:36 | and just click on it to add.
| | 03:40 | You can add Frames that are different
than the ones that are there or you can
| | 03:45 | put in some Graphics.
| | 03:46 | There is really some great
options to make your page very custom.
| | 03:50 | You can even add extra text by going
over here clicking and dragging out a Text
| | 03:56 | Box and just type in whatever you'd like.
| | 04:00 | It'll probably be very small to
begin with and you click Enter and then
| | 04:05 | double-click again, if you don't
like it and you can adjust your text.
| | 04:11 | You can also choose different Styles
for your text, you have Animal Fur, Denim,
| | 04:17 | Drop Shadow, a number of options.
| | 04:22 | when you like the text that you have,
you just Enter to commit and you can
| | 04:25 | either move to the next page or add some
more photos, which we will do right now.
| | 04:30 | We will drag and drop, we'll move this
to the center, double-click on the photo,
| | 04:35 | if you'd like move it down, either
Enter or the green check to commit.
| | 04:42 | If you want to go back to any page, you
go back up here to Pages and click on it
| | 04:47 | or you can go down here and change
your page with the Blue Arrow buttons.
| | 04:52 | You can add a Title to your book, by
double-clicking and then typing in your text.
| | 04:57 | We call this, The Book of
Little Mark, and click Enter.
| | 05:07 | And you can subtitle your book
if you like, anything you want.
| | 05:12 | We'll call this, A Sister's Revenge,
because brothers bug us when we're young.
| | 05:22 | When you're through with your Photo Book,
you just come down here and click Done
| | 05:28 | and Save it to your hard drive and see
we will call this Mark_book and it's in
| | 05:38 | Photo Project Format, so it's already to
send off to wherever you'd like to have
| | 05:43 | it printed, and we'll click Save and
then the file was all ready to send away.
| | 05:48 | You can add as many photos and pages as
you like, and really customize your book.
| | 05:54 | Photo Books allow you to share your
photos with your family in a very polished
| | 05:58 | and professional but fun way.
| | Collapse this transcript |
| Making a calendar| 00:00 | A calendar is a perfect holiday gift.
| | 00:03 | It's even more so when you make
calendars for your family using family photos.
| | 00:07 | I've always been obsessed
with making my own calendars.
| | 00:10 | I'd usually grab a template off the
Internet and cobble it together in
| | 00:14 | Photoshop, but Photoshop
Elements is totally calendars made easy.
| | 00:18 | Let's look real quick at
what we're going to use here.
| | 00:21 | These pictures are of my
mother's family home in Pennsylvania.
| | 00:26 | I think they will make a
really nice calendar for her.
| | 00:30 | Let's go over here to the Create
menu and then down to Photo Calendar.
| | 00:38 | You can either choose to Print Locally
on your own printer or to send to local
| | 00:43 | print shop or you can choose to have it
made through the Kodak Gallery and for
| | 00:48 | right now, we will just choose Print Locally.
| | 00:51 | You also need to remember to change your
Starting Months and your Starting Year.
| | 00:57 | So it will start when you're
going to give the calendar to someone.
| | 01:02 | Uncheck Autofill with Selected Images,
so you can manually put yours in and have
| | 01:06 | them where you want.
| | 01:08 | You can go over here and choose your Themes.
| | 01:11 | I think this time, let's see, we will
try Colorful and you can see a Preview of
| | 01:18 | what your calendar will look like.
| | 01:20 | Let's just try another one and
see what that one will look like.
| | 01:27 | I think I like Colorful let's go
back with that one and then click OK to
| | 01:31 | accept, and it will start generating
your previews and you can begin putting
| | 01:37 | your photos on your calendar.
| | 01:38 | We will begin now by choosing a photo
to put on the cover of our calendar and
| | 01:44 | will choose this distinctive colored photo.
| | 01:46 | So I think that will make a really good cover.
| | 01:49 | Double-click on the photo, if you want
to adjust it with the slider button this
| | 01:53 | happens to be a perfect match.
| | 01:55 | So you go up here to your
green check mark to commit.
| | 01:59 | You can also cancel the current
operation with this red circle or you can hit
| | 02:04 | Enter, which we will do right now.
| | 02:06 | You can name your calendar by
double-clicking on the text, and we call this
| | 02:14 | Brookside Farm 2011 and hit Enter.
| | 02:20 | First of all, you can see that
the text is not going to work.
| | 02:24 | It's a little too light for me.
| | 02:25 | So we'll go over to Text and will
scroll up if it's down because you have to go
| | 02:31 | up to the top and you can change
the Color to anything you like.
| | 02:36 | We can also Align it in a different
place, and go the Middle, the Right,
| | 02:44 | Justify Last Left etcetera.
| | 02:47 | You can adjust the Size, you can
have it Bold, Italic, Underline.
| | 02:51 | You can change your Font, you
can do so many things with this.
| | 02:55 | Click Enter to accept the change.
| | 02:57 | You also can have a subtitle, and
you could also delete it if you choose.
| | 03:03 | Go back to Pages and move to your next
one by clicking on it and now you are at,
| | 03:08 | at your first month.
| | 03:10 | You can choose another photo, drag,
drop, adjust if you wish with your slider
| | 03:16 | option, make it bigger, close-up,
move your photo around and then check to
| | 03:23 | Commit and continue on until you
have your whole calendar filled up.
| | 03:28 | You can see that this one starts with
January 2011 as we previously input.
| | 03:33 | You can start any month you
want, whatever works for you.
| | 03:36 | When you have everything the way you
want it you can choose Done to save or you
| | 03:41 | can choose Print to go ahead
and print it on your printer.
| | 03:43 | For a fun and easy gift project that
will be used all year long, Photoshop
| | 03:47 | Elements helps you make a great
calendar from your restored family photos.
| | Collapse this transcript |
| Creating a personalized greeting card| 00:00 | Its especially fun to send
personalized cards around the holidays.
| | 00:04 | With the greeting card option in
Photoshop Elements 9 Create module, you can
| | 00:08 | have your card design, print
it and ready to go in no time.
| | 00:12 | So just have a look at these pictures.
| | 00:14 | Looks like a really a
great Christmas somebody had.
| | 00:17 | It has got an old TV and a dream
kitchen, here's a bunch of great toys.
| | 00:23 | Somebody is going to be
really happy with that teddy bear.
| | 00:26 | Now we will move over here to
Create and will go to Greeting Card.
| | 00:31 | We have all your choices over here
to have your card printed at the Kodak
| | 00:36 | Gallery or Shutterfly but you can
print them on your desktop printer also.
| | 00:41 | There's a note down here All cards
can be printed on your desktop printer.
| | 00:44 | So don't think you are tied into that.
| | 00:46 | You have options of having your card
flat just one sided or you can have it
| | 00:53 | folded down here, you can have them
portrait or landscaped and we will choose
| | 00:58 | 7x5 folded landscape.
| | 01:02 | Again, let's uncheck Autofill with
Selected Images and choose a theme.
| | 01:06 | Of course we'll have to choose
Christmas this time and there is our preview and
| | 01:13 | that looks good, so we will click OK.
| | 01:15 | And it will generate our
previews for us and give us our card.
| | 01:20 | If you don't like how this is
looking, go right away to Layouts and see
| | 01:26 | what else we have here.
| | 01:27 | You can have your different layouts
and here you can have One Photo, Three
| | 01:32 | Photos, two and we are going to go with
one but instead of this look, let's flip
| | 01:41 | it and have it tilted.
| | 01:43 | And then you can click on it and drag it in a
little bit if you like and now let's fill it.
| | 01:49 | I will give this little teddy bear a home.
| | 01:53 | You'll notice that Photoshop Elements
rotates your photo for you, so you don't
| | 01:57 | have to do any of that work.
| | 01:58 | Double-click on it if you want to resize
it and then click the check mark to commit.
| | 02:05 | Now let's have a closer look and zoom
in by Control on a PC or Command on a Mac
| | 02:10 | plus, now see how that looks.
| | 02:13 | That's just as cute as it can be.
| | 02:15 | Now let's go over to our Artwork so I
want to show you something else this kind
| | 02:18 | of neat, you can change your
backgrounds if you don't like this one and make it
| | 02:24 | just anything you want, you can go down
here, you can make your frame different
| | 02:30 | or you can add graphics and this
is a perfect place for a graphic.
| | 02:34 | Let's give this a little hollyleaf, I
will drag and drop this hollyleaf over
| | 02:38 | here to the edge of the portrait
and give it that extra special look.
| | 02:43 | Now let's go back to Pages and have a look
at the inside of the card by clicking on it.
| | 02:49 | Let's zoom in just a little Control or
Command plus and scroll, so you can see it.
| | 02:58 | This is a little different you have to
scroll down to actually scroll up but you
| | 03:04 | will get the hang of it
and drag and drop your photo.
| | 03:07 | Again, it turns it, which is really
great because you don't have to worry about
| | 03:12 | it and you can move it around so make
it real big so you can see that boat.
| | 03:18 | Click the check to commit and then
let's get our last one in here, double-click
| | 03:25 | it, looks good and the green check to commit.
| | 03:30 | Now let's click here and bring this back
up as we are going to write a greeting.
| | 03:34 | I am scrolling with my mouse wheel;
| | 03:39 | we can bring our greeting up and
double-click on it, so that we can
| | 03:42 | personalize our greeting.
| | 03:43 | Let's say Happy Holidays and then click
Enter and now we will double-click here
| | 03:54 | and write And we will Enter so we can go under
it, Happy New Year and Enter. And there you go;
| | 04:04 | we've made a holiday card just
that easy with your family photos.
| | 04:08 | When you get everything the way you
want it, remember just go down, click
| | 04:11 | Done or you can print it on your home
printer or you can order from Kodak or Shutterfly.
| | 04:17 | A personalized card during the
holidays, or any time, for anything, or even
| | 04:22 | nothing at all, would be a
hit with friends and family.
| | Collapse this transcript |
| Making a slideshow (Windows only)| 00:00 | Today we have a version of the old slide
projectors, mine is the hot light bulb,
| | 00:04 | dim lights, and bulky screen that we
can view on our computers or our TVs.
| | 00:09 | It's called the Slideshow and Photoshop
Elements 9 makes putting one together a breeze.
| | 00:13 | We are going to start out in the Organizer.
| | 00:15 | I have already tagged some photos which
we learned how to do in an earlier chapter.
| | 00:20 | If you're following along, you can use
the same ones, you can find them in the
| | 00:23 | Chapter 7 folder but feel
free to use your own images.
| | 00:28 | Next we are going to select these,
click on one and then do Control on a PC,
| | 00:33 | Command on a Mac A, go over here to
the green Plus sign, select New Album and
| | 00:41 | let's name it Vacation and click Done.
| | 00:46 | Now we will go over here to Create and
click it and then go down to Slide Show.
| | 00:52 | Your Slide Show
Preferences dialog box will pop up;
| | 00:55 | let's change the Static Duration to 2 seconds.
| | 00:59 | Anything you can do here, you can do
in the dialog but if you want to change
| | 01:03 | anything here, that's great.
| | 01:05 | And click OK and now you're in your Slide Show.
| | 01:09 | All your pictures are already here and
you can click on each one and you can
| | 01:14 | change how big they are, you can fit
them into the screen, you can add some
| | 01:20 | silly little graphics if you like, you
can give people clothes and bow ties.
| | 01:27 | Not really appropriate for old
family photos but you might find lot of
| | 01:31 | great uses for them.
| | 01:33 | You can also Crop to Fit, you can Fit
on the Slide, you can do a little Auto
| | 01:37 | Smart Fix even or get some Red Eyes out.
| | 01:40 | You can come down here between slides
and choose how you want it to fade in or
| | 01:45 | out, you can just do all sorts of neat things.
| | 01:49 | Go to each slide click on it
and fit them to the screen.
| | 01:55 | If you click and drag, you can move
your photos so it's better in the screen,
| | 02:02 | click your Fade transition.
| | 02:03 | This is so fun and it's really so easy,
click on your photo, size it, lift it
| | 02:10 | up, we got to see these deer
here because this is great.
| | 02:13 | I believe this is an old vacation that my
parents took in the early 50s to a national park.
| | 02:21 | That was my mom feeding the deer.
| | 02:23 | Not this, these are horses.
| | 02:26 | Now we will resize this last photo and
we will choose Fade out and what's really
| | 02:33 | need is you can put your
own audio to this Slide Show.
| | 02:36 | You just click right down here and if
you have an MP3 file somewhere on your
| | 02:41 | system which I happen to have right here,
you can put your slideshow to music.
| | 02:48 | So let's see how this turns out.
| | 02:50 | Go to your first photo and then
click Play and how cool was that.
| | 03:04 | If you have any changes to
make, go ahead and make them.
| | 03:07 | This isn't set in stone and if you
like what you've done go up here and Save
| | 03:12 | Project or you can Output to various media.
| | 03:16 | You can save it as a file from here, you
can burn it to a DVD or you can edit in
| | 03:22 | Photoshop Premiere Elements.
| | 03:24 | You can come over here and you can save
it in your different file types, you can
| | 03:28 | save it to a PDF, you can even change
your slide size for the web or to send
| | 03:35 | through e-mail or DVD, so
lot of different choices.
| | 03:39 | So let's click OK and you
can save it to your hard drive.
| | 03:42 | So I am going to save this, I am going to
name it Vacation and save it to my desktop.
| | 03:54 | This asks me if I would like to import
this into my catalog and I'm going to
| | 03:57 | choose No, so let's check it out.
| | 04:11 | Weather it is a keepsake or a way to
amuse the family at gatherings, the
| | 04:15 | Photoshop Elements 9 Slide Show is a
fast and easy way to put together a great
| | 04:19 | looking Slide Show project.
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| Creating a flyer| 00:00 | I've seen a lot of family reunion Flyers,
some really pretty and inventive but
| | 00:05 | most just pretty boring.
| | 00:07 | I'm going to show you how to make a
simple yet inventive flyer that's also
| | 00:11 | relevant to your family.
| | 00:13 | I'm starting out here in Family_ Fly.psd
I've also provided some images for you.
| | 00:20 | So let's have a look at them
right now and see what we have.
| | 00:23 | These are just little family pictures
that's pretty interesting, that will look
| | 00:30 | great on the flyer and
everybody will be going oh!
| | 00:32 | There is grandma, I know grandma.
| | 00:34 | Let's go back to Family_Fly.psd,
we'll go down here at the bottom.
| | 00:40 | I've made this entire flyer from the
background up, with text and everything
| | 00:47 | which we will see here in a while
and a place for all your photos.
| | 00:51 | What's really great about this is, the
people in your family will want to know
| | 00:56 | who these people are or they already will know.
| | 00:59 | So it's personal for them.
| | 01:01 | Let's start here on photo one on this
layer this is just to show you this is
| | 01:06 | where your first photo goes.
| | 01:07 | What we're going to do is pick a photo
from these five, lets just start here
| | 01:12 | with the first one and hit Ctrl+A on a PC
or Command+A on a Mac to select and Ctrl
| | 01:21 | or Command+C to copy.
| | 01:24 | Now go back to Family_Fly.psd, go to
Photo 1 on this layer, hold your cursor
| | 01:30 | over this thumbnail, hold down
Ctrl or Command and click to select.
| | 01:35 | Now you go over to the Edit menu, Paste
Into Selection and that's all there is to that.
| | 01:43 | Now you want to transform it
so it will fit in the square.
| | 01:47 | So hit Ctrl or Command+T with the
Selection still there and you can rotate it or
| | 01:53 | move it around as you like.
| | 01:56 | We need to rotate this obviously
because the picture is rotated on a paper and
| | 02:06 | we want to make it fit better,
grab these boxes on the corner.
| | 02:11 | So you can grab and rotate, just did
it basically the same shape, it doesn't
| | 02:18 | have to be perfect it's supposed to
give you a look of just a bunch of photos
| | 02:22 | thrown around, so don't
worry about being perfect.
| | 02:25 | When you have it the way you like it,
you can either hit the green check box or
| | 02:30 | enter to accept and then go and
hit Ctrl or Command+D to deselect.
| | 02:37 | Now come back over to the layer make
sure it selected, go up to your Opacity and
| | 02:43 | take it down to 25% and that is the
reason that I have this little under box
| | 02:50 | this under layer which is white.
| | 02:52 | So we can take down the Opacity and
you don't see the background through it
| | 02:57 | and you'll be able to write on top of it and see
your text clearly while still seeing your photo.
| | 03:02 | Repeat this with all your photos just
go on Photo 2 on this layer, Photo 3 on
| | 03:09 | this layer and you just click on the
thumbnail Ctrl or Command+Click to select
| | 03:16 | and continue on just make
sure their both visible.
| | 03:20 | So I've got an example of what
this'll look like when you're through.
| | 03:24 | Let's go over here and see a
little bit of what I've done.
| | 03:26 | So let me the check the visibility
icon and all I have done is added a text
| | 03:32 | layer and as you can see I've added
several text layers, they will give you
| | 03:36 | all your information that you need for
everybody to know where the reunion is,
| | 03:42 | when the reunion is and what they need
to bring as I told you before how you
| | 03:46 | can see the text over the images, because their
faint enough to see the text clearly over them.
| | 03:51 | So feel free to use these ideas to create
your own personalized family reunion flyer.
| | 03:57 | Why have a boring and personal flyer
to invite your family through reunion,
| | 04:01 | when you can have a flyer that's
relevant or should I say relative to you and
| | 04:06 | your family?
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ConclusionFinal thoughts| 00:00 | We've gone over a few of the basic
tools and techniques of photo restoration in
| | 00:04 | this course, but there's
still so much more to learn.
| | 00:08 | I recommend you practice the
techniques and continue to hone your skills.
| | 00:12 | To learn more about Photoshop and
Photoshop Elements I suggest you check out
| | 00:16 | some of the other courses found here
and the lynda.com Online Training Library.
| | 00:21 | Photo restoration is my passion
and I hope you'll enjoy it to.
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