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Photoshop CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Averaging skin tones


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Averaging skin tones

Here's another astoundingly simple technique as it turns out. This one is all about averaging skin tones. So basically modulating the skin tone, so there is more uniformity, so that you have less blotching especially in the color department. I am looking at an image called dudesonblue.jpg and it comes to us photographer Mark Aplet. And these guys look at little windburn from a day of skiing, I believe and this guy might have some sort of rash on this face, I am not really sure what's going on there, doesn't matter, some handsome youngsters let's go ahead and fix up their skin tones so that there is no windblown look to them at all.
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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Photoshop CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Apr 16, 2007

Viewers: in countries Watching now:

Photoshop is the tool of choice for most creative professionals and has quickly become household name synonymous with computer art and image manipulation. In Photoshop CS3 One-on-One: Beyond the Basics, internationally renowned Photoshop guru Deke McClelland teaches such digital-age wonders as masking, filters, layers, blend modes, Liquify, Vanishing Point, and vector-based type. Along the way, Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, trimming away jowls and fat, and wrapping one image around the surface of another. Plus, the training teaches how to construct and organize the elements in a composition so you can edit them easily in the future. Exercise files accompany the tutorial.

Ready for more Photoshop CS3 training with Deke? Check out Photoshop CS3 One-on-One: Advanced Techniques.

Note: Photoshop CS3 One-on-One: The Essentials is a recommended prerequisite to Photoshop CS3 One-on-One: Beyond the Basics.

Download Deke's customized keyboard layouts for Photoshop from the Exercise Files tab.

Topics include:
  • Understanding what Photoshop CS3 is and what it can do.
  • Zooming, scrolling, and getting around an image.
  • Making the most of the new-and-improved CS3 interface.
  • Using Adobe Bridge to organize and manage images.
  • Saving workspaces for maximum comfort and efficiency.
  • Correcting colors using the Variations and Hue/Saturation commands.
  • Taking on the professional-grade luminance editors, Levels and Curves.
  • Resampling an image and selecting an interpolation setting.
  • Cropping and straightening a photograph.
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Averaging skin tones

Here's another astoundingly simple technique as it turns out. This one is all about averaging skin tones. So basically modulating the skin tone, so there is more uniformity, so that you have less blotching especially in the color department. I am looking at an image called dudesonblue.jpg and it comes to us photographer Mark Aplet. And these guys look at little windburn from a day of skiing, I believe and this guy might have some sort of rash on this face, I am not really sure what's going on there, doesn't matter, some handsome youngsters let's go ahead and fix up their skin tones so that there is no windblown look to them at all.

And we are going to do that using the Average function as it turns out. So for starters, we need to select their flesh tones. Basically, select just their faces and nothing else. And we are going to do that by going out to the Select menu and choosing the Color Range command. Now I want this to be a pretty discrete selection. So I am going to leave the Fuzziness value turned down to 40 and if you don't have it there already, go ahead and reduce the value to 40 and then click somewhere in one of these little red patches and one of these guys here and then start Shift dragging around the faces and I am just kind of going to drag around the left-hand guy's face here.

And then once you select a fair amount of the face, you should see a couple little ghost faces here inside the in-dialog box preview. I am going to go ahead and change the selection Preview to Grayscale so that I can gauge whether or not I have selected enough of these faces and I haven't at this point. So now I am going to Shift drag through some of these gray areas like so. And what you want to watch out for is selecting too much of the jacket and so forth. When I drag over this area above this guy's lip, I do end up selecting some of his hair, some of his friend's hair and some tiny little strands of jacket detail toward the bottom of the image, that's okay.

But you don't want to select anymore than about what you are seeing on-screen right now. For example, if I clicked on his tooth, I am going to select way too much stuff, so I don't want that, I will go ahead and undo, might just Shift click there, few more Shift clicks just to see if there is anything else I need to grab. And about this point, I think things look good. And I am going to click Ok in order to exempt that new selection. Now I want you to press Ctrl+J in order to jump just the selected portion of the image to a new layer.

And you might want to go ahead and turn off the background layer, so you can see what you have accomplished here. We have selected this area, balance it to a new layer and that's what we have got, so there are faces without their eyeballs or any shading, their faces are hovering on an independent layer. And let's go ahead and call this one Average and then I will press the Return or Enter key. Now I am going to go up to the Filter menu and I am going to choose Blur and I am going to choose this very first command, I was telling you about it earlier on. What it does is it averages, it finds the average color inside of a layer and fills the entire layer with that color.

Now you may get a weird effect when you choose this command, sometimes it's behavior is a little odd. In this case, it's filling the entire layer with blue, so it's obviously looking at information beyond this one layer, it looks like it's looking for information inside the entire image at this point because certainly their flesh tones don't average out to blue. Let's go ahead and undo that modification. Here's what I want you to do Ctrl+Click or Command-Click on layer thumbnail like so, in order to select the contents of the layer and then go to the Filter menu and choose the Average command again in order to apply it and this time you should get a rosy color like what we are seeing here on screen.

Now press Ctrl+D or Command-D on the Mac in order to deselect the image, turn the background image back on and notice now we have got some pretty homogenous skin tones now, but of course they are dark sort of clay red at this point. So what I would like to do is merge the color from this layer, from this average layer with the luminance levels from the layer in the background, so that we can keep the detail from these dudes' faces. So I am going to change the Normal Blend mode to Color because that will keep the color and let us see the luminosity from below, so I will choose color.

Now that looks like overkill to me, their faces are just bright red at this point and I am suspecting that they are oversaturated. So I can break color up into its components here saturation in hue, I don't want to keep the saturation of this layer, I don't want a uniform saturation, I want uniform hues inside their flesh tones, so I am going to go ahead and choose the Hue Blend mode and that's pretty good. So just to give you a sense this is without the Average layer and this is with the Average layer. Now it's still too red, it's sort of a red orange color now and I would like it to be more of a skin orange, so a little more yellow than this.

So I am going to press Ctrl+U with the average layer highlighted here in order to bring up the hue saturation dialog box and then I am going to increase the hue value incrementally and just keep an eye on the faces here and will decide when they are starting to look good. Actually I think I have just gone just slightly too far, a hue value of plus 8 looks like it's going to work out well for this image. Now I am going to click Ok in order to accept that result. Now that is I must say much better than it was before. Here's before and here's after.

We have certainly done a great job of getting rid of the pink inside the image, but we still have a few little sort of blistery details going on. This guy's nose has this really hard orange point right there, possibly a pimple who knows what and this guys rash is still showing through in certain areas like on his chin and over here on this cheek. We can address that as it turns out by doing a little more work and we will do that work in the next exercise.

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