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Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.
In this movie, I want to give your sense for how you can combine black and white along with a channel mixer in order to take advantage of the best of both features. So here we're looking at that infrared effect that we created a few movies back using the channel mixer. And as you may recall, we had posterization problems and I didn't even address all of them. If you look closely in the upper left-hand corner of the image you'll see that there's more posterization in the background and we have some weird highlight details along the top of the younger woman's hair. So I'm going to go ahead and zoom out, and I'm also going to throw away this layer of Gaussian blur, because we're not going to need it. We're going to mask those posterized areas away. So I'll right click on the word smart filters and choose clear smart filters. And then, given that we no longer need the smart object, I'll right click inside the image window with the rectangular marquee tool, and I'll choose Rasterize Smart Object.
And the reason that's a good idea is because smart objects add to file size, so if you don't need them, don't use them. Now I'm going to turn off that Channel Mixer layer and click on it, so that it'll create the black and white layer on top of it. And you can either choose black and white from the black white icon at the bottom of the layers panel or if you have the custom shortcut, press ctrl+shift b or Cmd+shift b on the Mac. And I'm going to call this guy alt bmw mix and click okay. We could start with the preset infrared which does get us someplace actually, however it doesn't give us the cool effect we were seeing a moment ago and we've got the posterization again and very plainly so in the background woman's face so I'm going to customize things using the target adjustment tool.
And I'll start by dragging underneath the younger woman's eye. And that ends up in my case highlighting yellows and I'm going to take that yellows value down to 130. Then I'll click above the eye which should highlight the reds. And indeed it does. And I'm going to brighten those reds to a tune of 60. And the only reason I'm working with round values here is so you can easily follow along if you want to. Then I'll drag inside the woman's jacket and that in my case highlights the blues and I'll take that blues value up to 50 as you can see here. And then from here on, I'll just adjust the slider triangles. Now notice if I crank up the magentas value, I'm brightening up this background woman's hair as well as portions of her jacket.
We don't want to go as high as 300, that looks pretty ridiculous, so I'm going to take this value down to 70. The greens don't really resonate too much. You can see a little bit of action in the down left corner here, but not too much is going on, so I'm just going to match that same yellows value, which is 130. And then finally we've got cyans, and I'll show you where the cyans are located in this image. It's the earring. So if I crank up the cyan value, we're seeing the ring around that earring, and if I crank it down, it's turning darker. For now I'm going to take it to, let's say, about 100. So these are the settings I'm going with, red's 60, yellow's 130, green's 130, cyan's 100, blue's 50 and finally magenta's 70. All right, I'll go ahead and hide the properties panel and zoom out from my image, once again. And let's take a look at how we might merge these two layers together.
Now if I turn on this channel mixer layer, it's going to make a big, huge difference. Whereas turning off the black and white layer does nothing and that's because black and white doesn't have anything to work from after this point. It's just taking a black and white image, and making it black and white. But what we can do now is we can mask through the channel mixer layer. So I'm going to click on that layer to make it active and then I'm going to drop down to the Add Layer Mask icon, and click on it, so we have a layer mask that we can paint inside of. All right, let's start with the upper left corner of the image. I'll select a brush tool and I'm going to right click inside my image here to show you that I have the hardness now set to 0% and I might take this size value up to 200 pixels to start with. You want to make sure that your foreground color is black, as it is in my case, and you want to paint away those areas of posterization, including those strange halos coming off the girl's hair.
And I'm going to paint inside the background woman's face as well because that's pretty heavily posterized. And I might paint down into this region of the image. Scroll down here so I can see more of that out of focus background and paint it away. And I might paint inside of this region a little bit as well. I've got some details up here I need to take care of so I'll go ahead and paint those regions away. So in other words, we're using the channel mixer layer where we need it and we're painting it away where it's essentially causing problems for the image. I'm also going to paint inside the young woman's face, her chin, her nose, and up into her forehead as well, but I want to try to leave the eye alone. In fact, I might have painted over portions of the eye here. I'm going to press the x key and reduce the size of my brush and paint back in on that eye, because notice without the channel mixer layer, if I turn it off, she's got an awfully dark circle around that eye. So I'll go ahead and turn channel mixer back on. It's a little too bright right there at that location, so I'll press the X key to switch back to black and paint that back in. And then finally we want the earring to brighten up, so I'll go ahead and paint over it as well. All right now at this point I'll just press the M key to switch back to the rectangular Marquee. And, I want to reduce what's known as the density of this layer mask. That is to say, rather than having the black portions of the layer mask absolutely hide the contents of this layer, I'd like them to mostly hide the layer. And you get to the density value by double clicking on the layer mask thumbnail, here inside the layers panel, that brings up the properties panel. And notice if I reduce the density value to zero, that changes the entire layer mask back to white, and we are once again seeing the effects of the channel mixer layer across the entire image.
And if we change the density value back to 100% then all of our black brush strokes are returned to black and they're absolutely hiding the effects of this layer. I want to to split the difference a little bit so I'm going to click inside that value and press Shift+Down Arrow three times to reduce the density to 70%, which turns the blacks of the layer mass to dark gray. And it does so temporarily, so you can always come back and change your mind later. All right, now I'm going to hide the properties panel. And the final thing I want to do is, I want to brighten up that earring a little bit. And I'm going to do that by clicking on the thumbnail for the ALT B&W mix layer and I'm going to increase that cyan's value dramatically. In fact, I'm going to take it up to 260 in order to compensate for what's been going on with the channel mixer layer. Alright, that takes care of it. Now press the F key a couple of times in order to switch to the full-screen mode and zoom out a little bit as well. And just so you can see the difference here, this is the original infrared version of the image with the dark earring, probably and overly bright face and all that posterization in the background. And this is the new smoother version of the image, thanks to a combination of black and white, and channel mixer working together
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