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The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
In this movie I'll show you how to convert this sort of ghostly effect that we've achieved so far into this final corrected version of the photograph by masking the contents of both lens blur and high pass layers. So I'll go ahead and switch to my image in progress here and turn-off the High Pass effect so that we can focus our attention just on Lens Blur. Now I am going to want to mask most of this effect away, so I will dropdown to the Add Layer mask icon at the bottom of the panel, and I will press the Alt key or the Option key on the Mac and click on it, and that will create a black layer mask.
Now I will go ahead and switch to the Brush tool, which you can get by pressing the B key. Right-click inside the Image window and make sure the Hardness is set to 0% because we want some very soft transitions. Then press the D key to instate the default colors, which when masking is white for the foreground and black for the background, and then I am going to reduce the size of my cursor a little bit and paint inside of this high noise area right there in order to paint it back in, so that we are getting rid of the noise inside of this area.
Then I will increase the size of my cursor a little bit and paint away this stuff as well, so you can completely for now paint over that rear leg, because after all it's already out of focus. And then I will go ahead and increase the size of my cursor a little more and paint around this region. All right, let's go ahead and zoom out so that we can apply some big modifications quickly. Press the Right Bracket key several times in order to increase the size of my cursor and paint along this region right here, and you want to take care that you don't paint over the feelers too much or too far into the wings.
Although I'm going to violate that rule and paint way into the wing like so, and then I will press the X key to switch my foreground color to black and reduce the size of my cursor a little bit and paint some of those wing details back into place like so. You also want to make sure to paint the face back in probably the top of the head and I am reducing the size of my cursor by the way by pressing the Left Bracket key and you want to paint back in the tops of the feelers as well, so I will do that for both of those guys there. And that takes care of most of it just to check your work.
Go ahead and press the Alt key or the Option key on the Mac and click the layer mask icon there in the Layers panel. And we've got some problems here and there, so I will increase the size of my cursor, press the X key to switch the foreground color back to white and then I will paint some of these regions in, like so, so that I am not leaving any gaps in the background there, and I've also got a little bit of a gap down here in the lower left corner, so I will increase the size of my cursor and paint that away, and I might paint right along here too. All right, then Alt+Click or Opt+Click on layer mask icon in order to bring back the full color composite image and go ahead and zoom in on the critter and I want to take in that rear leg, it probably shouldn't be that blurry.
So I will reduce the size of my cursor to about this thick, which if I right-click inside the Image window appears to be 35 pixels and I'm going to press the 5 key to reduce the Opacity of my brush to 50% and then I will press the X key to make the foreground color black and I will click right about there and then I will Shift+Click, Shift+Click like so and then Shift+Click down into this region in order to reinstate some of the original information from that leg, and I am painting a little more freehand now and then I will Shift+Click again and Shift+Click my way back.
And then I will press the 0 key in order to reinstate an Opacity of a 100% and I will paint back in some of the face just because I want to make sure I am not getting rid of any of that good detail. I'd rather have too much noise and too little detail inside of this photograph. All right, that ends up looking pretty darn good. Now we can bring back the high pass layer and as soon as we do, this unfortunate thing is going to happen, we are going to bring back a ton of the noise, and the reason is, because that high pass layer was based on the noisy version of the image as opposed to the version of the image after we applied Lens Blur.
And this is particularly significant down here in this lower left region. You can see it's just riddled with noise right here below the wing. We are almost getting this kind of sculpted glass effect that is to say, it looks like we are seeing the image through a shower door or something along those lines. So here's the solution. We don't have to regenerate the layer thankfully. All you need to do is load this layer mask as a selection by pressing the Ctrl key or the Command key on the Mac and clicking on the layer mask thumbnail there inside the Layers panel, then switch to the high pass layer.
As you know from our discussion of sharpening back in Chapter 13 of the intermediate course, the darken light edges associated with a high pass effect end up creating the halos that afford us to see appearance of sharper details and anything that's gray just disappears on the layer. So let's go ahead and fill the selection with gray. So I will press the D key to make my foreground color black just so that we are working together. You can see that I've got the HSB values that work inside the Color panel and you get those sliders by going to the Color panel flyout menu and choosing HSB sliders and all you need to do is change the Brightness value to 50% like so, and then press Alt+Backspace or Opt+Delete on the Mac in order to fill that area with gray, and as a result we end up getting rid of that noise.
Now press Ctrl+D or Cmd+D on the Mac to deselect the image. Also notice by the way here that we've got some very pronounced halos around those feelers, and quite frankly that's too much sharpening. So I am going to increase the size my brush cursor a little bit here and I ended up with a size value of 125 pixels. Make sure your Opacity value is set to a 100% and then just go ahead and paint up the feelers like so in order to get rid of those halos. Finally I want you to press the M key to switch to the Rectangular Marquee tool and we want to downplay a little bit, the effects of that lens blur layer, so go ahead and click on it to make it active and then press the 5 key to reduce the Opacity of that layer to 50% and the effect frankly is pretty subtle.
But that will help to eliminate the haloing around some of the blurry details. All right, and just to give you a sense of what we have been able to achieve here, I am going to press Shift+F in order to switch to the Full Screen mode and I am going to go ahead press Ctrl+0 or Cmd+0 on the Mac to center my image on screen. And now I've got this other version of the image open here, we'll go ahead and switch to it, and the name of this image is Sharpened noise and the idea is this is what the image would have looked like, if we sharpened it with high pass and we never did anything about the noise, in other words we have color and luminance noise, popping out from this image all over the place.
But thanks to the fact that we've mitigated the noise using a combination of reduce noise, dust and scratches and edge mask and lens blur before we apply the high pass layer we end up getting this much more desirable effect.
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