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

The Captain Kirk-in-love effect


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: The Captain Kirk-in-love effect

Now, our first creative, and it turns out, highly practical application of a Blur filter, in this case, it's going to be Gaussian Blur, is a little thing that I like to call the Captain Kirk-in-love effect, and here is the setup, alright. You may recall from if you have ever seen the original Star Trek TV series, most of us have I think, when a woman of a certain means would come on board the Starship Enterprise and the Captain got a bead on her for the first time, right. We would see the Captain's face and you could tell he was lit up a little bit, he was starting to feel amorous, and there would be a little bit of a musical interlude.
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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

The Captain Kirk-in-love effect

Now, our first creative, and it turns out, highly practical application of a Blur filter, in this case, it's going to be Gaussian Blur, is a little thing that I like to call the Captain Kirk-in-love effect, and here is the setup, alright. You may recall from if you have ever seen the original Star Trek TV series, most of us have I think, when a woman of a certain means would come on board the Starship Enterprise and the Captain got a bead on her for the first time, right. We would see the Captain's face and you could tell he was lit up a little bit, he was starting to feel amorous, and there would be a little bit of a musical interlude.

And then we would shift back to the woman who we had just watched enter the scene a moment ago and now, she is in close-up and in a totally different lighting scenario. She is lit in shadow with this sort of diagonal beam of light across her eyes. I swear they always did that, every single time. The Captain fell in love. They would have a diagonal bead of light across the woman's eyes, it's true, look at the shows. We are not going for that effect, that's not I want to go and try to pull off here. There was a second part to it and this is the Captain Kirk-in-love effect.

There would be a little bit of a Vaseline lens effect. So there is a blur basically aminating from the woman, a little bit of a blur, sort of softness on her face, a little bit of radiance. And I think the idea was we were supposed to recognize the Captain's affections at that point and sort of identify with them to the extent that we would think oh, yeah, the games would flit. So, that's what we are going to do with this gentleman right here. He is horacioqmarketforce.jpeg and he is available to you inside the 12-blur average folder.

And he seems like an unlikely object of the Captain's affections but once we are done with them, he is going to look red. And I am sort of setting this up as a big joke. It's really a great effect. It really is an awesome effect what we are about to pull off. And it's the kind of effect that gets used on a regular basis by portrait photographers and wedding photographers and so on, and it's really easy and it's really effective. So here is what I want you to do. By the way, this image comes to us from photographer Duncan Walker. Make sure that you can see the Layers palette on screen here, and I am going to make this Navigator palette smaller.

And I want to go ahead and copy this layer, I want to create a duplicate of it. So I am going to press Ctrl+J or Command+J on the Mac, to jump it to a new layer. And let's go ahead and call this the Gblur layer right here for a Gaussian Blur of course. Now, the fist thing I am going to do is I am going to change the Blend mode that's assigned to this layer from normal to overlay, so an important first stamp. And it's going to seem like we are already going sort of over the top with this image. It's going to become slightly radioactive at this point.

We are going to see some very, very vivid colors now. And we are getting some very bright details and some very dark details too. If you turn this layer off for a moment and then turn it back on, notice how this area around his hair starts disappearing into the blackness. So this is without the layer, this is with the layer. So the hair is starting to recede into the blackness and a lot of the other details are as well, his jacket and so on. And by the way, I am going to go ahead and press the F key a couple of times in order to fill the screen with this image so that we can see a little bit more of it, so we can see how this jacket is going away.

We are going to take care of that in a moment, but it's just nice to set things up with the Overlay mode in the first place because we are going to need that mode. And now, we can gauge the effect of the Gaussian Blur filter a little more accurately. So go up to the Filter menu, choose the Blur command and choose Gaussian Blur, and for you, who knows what the radius value is going to come up as it may be 20 if you are using Gaussian Blur with me at the outset of these exercises. But you can see how I have got it set now to a radius of 10 which works pretty well for this guy.

Now, it's tempting to go too far with the radius value and do like this big ultra blur as long as we are blurring on top of the original image, because we are not harming the original at this point. We are just blurring the Gblur layer and since we have it set to the Overlay mode, we can get away with a fair degree of murder, really we can do a lot of damage to this layer and still be able to see through to the underlying original. But I am going to advise you that less is more where this effect is concerned. You are better off with relatively low radius values just to create a little bit of highlight.

You don't want to completely smear away the details in the person's face, you just want to get a little bit of a soft bounce off of their features. So I have got it set to 5 here. I am going to go ahead and take it back to 10. And I think we can all agree that this is a pretty good setting at this point now, it's a little too hot. And by that, I mean it's oversaturated. We still have this sort of nuclear appearance to this image. So anyway, go ahead and apply radius of 10 and then click OK. Now, the next thing I want you to do is we need to back off the shadows and the highlight.

So, what Overlay does is it goes ahead and burns in the shadows and dodges the highlights. So in other words, it uses the highlights to light everything underneath this layer and it uses the shadows to darken everything underneath this layer and then, let some of the midtones shine through. So as a result, we get a very heightened-contrast effect and a heightened-saturation effect as well. But if we rain in those highlights and shadows, we can tamper the effect, and I am going to do that by pressing Ctrl+L or Command+L on the Mac to bring up the Levels command here and I am going to change the output levels.

Go ahead and click in that first option levels field there, the one for the black point. And I want you to press Shift+Up arrow five times in a row to change that value to 50. And now, I am going to tab to the second value, the one that controls the white point, and I am going to press Shift+Down arrow five times in a row so that we are changing both values by 50. And that makes this value 205. So we are saying whatever used to be black, raise it up to a luminance level of 50 and whenever used to be white, lower it to a luminance level of 205.

So we are reducing the contrast of the layer and you can see this in the layer of thumbnail, the contrast has been reduced dramatically inside this image. And I will go ahead and click OK in order to accept the results, and that's all there is to it. And just to give you a sense of what we have done, here is the before version of the image, here is the after version of the image. Not only does he have a nice healthy glow coming off him, but all of his details look great. The information that needs to stay sharp remains sharp inside this image. The only thing that this Gblur layer is blurring is the sort of the skin stuff that's going on here, and that could use a little bit of blurring now that we see how it works.

So this I think looks stunning in fact and it's so simple to pull off. And wouldn't Captain Kirk be proud? I think he would.

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