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Cleaning up whites and blacks

From: Photoshop CS4 One-on-One: Mastery

Video: Cleaning up whites and blacks

In this exercise, we are going to address some of the tough details at the top of Russell's head right there that we need to deal with. We need to distinguish the top of his head from the O, in the word O'Reilly, my publisher. And we also need to address these very delicate hair details that are going on, on the right side of the image. This is of course the left side of Russell's head, where he's concerned. By the way, I've gone ahead and saved my progress as a document called Overlay painting.tif, so called, of course, because we were painting with a brush set to the Overlay mode. But now we're going to have to roll up our sleeves and be a little more selective here.

Cleaning up whites and blacks

In this exercise, we are going to address some of the tough details at the top of Russell's head right there that we need to deal with. We need to distinguish the top of his head from the O, in the word O'Reilly, my publisher. And we also need to address these very delicate hair details that are going on, on the right side of the image. This is of course the left side of Russell's head, where he's concerned. By the way, I've gone ahead and saved my progress as a document called Overlay painting.tif, so called, of course, because we were painting with a brush set to the Overlay mode. But now we're going to have to roll up our sleeves and be a little more selective here.

I've been painting with black allover the place and white inside of the image and it's helpful to know where in a world your black edges drop off or your white edges drop off, and where things turn dark gray or light gray, so light or dark that you can't quite make out the transitions on the screen. There for example, if you zoom in here on the right side once again, Russell's left side of this head, you'll see that there are some sort of garbage-y dark details that aren't quite black. They may show up more prominently on your monitor or less prominently on your monitor depending on how that monitor is calibrated.

But you can see for sure, exactly where the black ends and other colors begin, using the Magic Wand tool, and this is a fantastic use for the Magic Wand tool. So go ahead and select it from the fly- out menu here. Then as opposed to having the Tolerance set to 32, set it to 0, and then turn Anti-alias to off. So we're only selecting one color and one color only. Then what I want you to do is I want you to click in an area that you know to be black in the background. So I'll click up here and notice, these are all the black pixels now, outside of Russell's head. If I wanted to make sure to select the black pixels throughout the image, then I would go up to the Select menu and I would choose Similar right there. That will jump the gaps, essentially.

Now we only still have black pixel selected, because the Tolerance value is set to 0, and that Tolerance value does affect the behavior of the Similar and Grow commands. But now we have all of the black pixels selected throughout the image. We know, for example, that these guys up there are not black and they should be black. These guys right there should be black and these guys too. So this is what I do. I now switch over to the Rectangular Marquee tool like so, and then I'll Shift+Drag around those areas that need to be picked up. Here, of course, Shift+Drag here, Shift+Drag around this guy, not anything that's really super close to the image, we're staying pretty far out here. We're just getting these guys that are up in the far flung areas of the background or if you have a straight area, like this right here, you can go ahead and try to select it as well.

So I'll add that to the selection, I might as well add these guys to the selection to the best of my ability, like so. Otherwise, just note where these problems are occurring, if you don't want to get too close to that edge. So right now we've got some areas, let's see, let's check out Russell at the same time. Right around this knuckle and the right edge of his neck right there, are areas that I'm going to have to work on. Also, around his ear and, of course, around the hair, I knew, this area, was a problem. This stuff, obviously, we're going to have to address more delicately. We can't just go in there with the Rectangular Marquee tool, but I can select here, so Shift+Drag, Shift+Drag around this area, Shift+Drag here. If you have a mind tool again, some of this stuff you can get using Brush tool in just a moment.

We have some stuff going on along the top of the hand sort of duly noted, grab this stuff, Shift+Drag around it, Shift+Drag around here. It's like we're working inside of a swimming pool or something. Shift+Drag there, Shift+Drag here, I just mentioned that as an aside because it occurred to me as I was working and I have nothing else to talk to you people about. I'm selecting stuff. I mean it's not exciting, I don't think anyway. It's feeling kind of dull, but I have to say something. I can't just sit here and be silent, because it's a movie. So this looks pretty good. I think I've selected most of the junk that I want to select. I'm going to press the tilde key to hide Russell, so that I'm just looking at the mask. Now I want to fill everything that I have selected with black, because just selecting it doesn't make it black, we have to actually fill it with black.

Black happens to be my foreground color right now, so I'll press Alt+Backspace or Option+Delete on the Mac to make sure all of that stuff is black. Now if deselect the image by clicking off of it, go back to the Magic Wand tool and click in the background, low and behold, I've got this entire area selected right now. All black. That's good. Then I could Shift-Click down here if I want to instead of using the Similar command, another way to work. That area is nice and homogeneously black. Let's deselect that area, click inside Russell now to check the whites. So, they are in pretty good shape, but we still do have some ratty details here and there. Shift+Drag around them with the Rectangular Marquee tool.

Why the Rectangular Marquee tool, why not the Lasso tool? Because we can get right next to the edges with the Rectangular Marquee tool and not worry about adding in any anti-aliasing. So it's just a great choice. Let's go and Shift+Drag around there, Shift+Drag around there, Shift+Drag here if I want to. Note the neck. The neck needs work anyway. I'll renew that. The hand, this is the back end of his left hand, and we've got some areas in the right hand as well, fine. Go ahead and select as much as you dare with the Rectangular Marquee tool, of course, and then once you're done, which at some point you will be, when we presume, then you will press the Backspace key, because the background color is white for me. So I just press Backspace or on the Mac I would press the Delete key, and that goes ahead and takes care of those stray non-black and white colors.

So, we're doing great. We still need to get in there and address these little hairs and those other details that we saw that weren't quite black, weren't quite white. We'll do that by painting once again, except we're going to use a more cautious mode, Soft Light, join me, won't you, in the next exercise.

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This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27714 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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