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Combining Gaussian Blur and Average

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Combining Gaussian Blur and Average

Now as I mentioned in the previous exercise, sometimes that Average filter combined with the Hue Blend mode is all that it takes in order to fix color modeling inside of somebody's face. And as it turns out when you combine Averaging Skin Tones technique with the Captain Kirk-in love technique, the one that involves the Gaussian Blur, you can get just amazing results. Two simple techniques combined together to create one fantastic image and that's what we are going to see here. So what we are looking at is the horacioqmarketforce image with the Gaussian Blur layer on top of it.

Combining Gaussian Blur and Average

Now as I mentioned in the previous exercise, sometimes that Average filter combined with the Hue Blend mode is all that it takes in order to fix color modeling inside of somebody's face. And as it turns out when you combine Averaging Skin Tones technique with the Captain Kirk-in love technique, the one that involves the Gaussian Blur, you can get just amazing results. Two simple techniques combined together to create one fantastic image and that's what we are going to see here. So what we are looking at is the horacioqmarketforce image with the Gaussian Blur layer on top of it.

So if you still have that image open with Gaussian Blur set to the Overlay mode then great. If not then, you can open my version, it's called hurrayforhoracio.psd and of course it's still that same Duncan Walker image here. Alright, I am going to select the background layer and I am going to turn off that GBlur Layer for a moment here, just long enough so that we can select this fellow's face. So I will go up to the Select menu and I will choose the Color Range command. And I am going to click inside this guy's face and then Shift drag of course inside of his face and his forehead and down along his chin and wherever else I think I should Shift drag.

And I am going to raise the fuzziness value to 65 for this specific image and that's of course you know something that you are going to have to experiment with, different settings works for different images. This does select a little bit of his tie actually and I am not sure that I want that much of his tie, so I am going to start this selection over and this looks actually a lot better this time around. Alright so I will click OK in order to accept that new selection and then I will press Ctrl+J, Command-J in the Mac in order to jump this image, this selection to a new layer and let's call it Average and then I will press the Enter key or the Return key in the Mac to accept that name.

Now I am going to load the Selection Outline, the Transparency Mask from that layer by Ctrl+Clicking on the Layer Thumbnail or Command-Clicking on the Layer Thumbnail on the Mac. I am going to go up to the Filter menu and if Average is the last command you chose then you can just choose the Average command or you can go down to the Blur menu and choose Average in order to find that beautiful average color. Now I press Ctrl+D, we no longer need this Selection Outline, Command-D on the Mac and let's go ahead and change the Blend Mode from Normal to Hue.

And we get this fairly sort of orange version of the image but that's okay, I will go ahead and hit the Esc key in order to deactivate the Blend Mode option here inside the Layers palette. And now I will turn on the GBlur Layer. And notice what this Average layer has done, if I turn it off and then I turn it back on, can you see what I am talking about. Look at this little bit of Red modelling that's going on inside of his face over here, above his lip, on the top of his chin, on his ears and so on inside the image around his eyes, around his nostrils.

When you turn the Average layer on, that all goes away, we just get this nice smooth sort of orangish skin tone. Now if you think that's too orange for whatever reasons then once again with the Average Layer active, you would press Ctrl+U, Command-U on the Mac, you would click inside the Hue value there and you would rotate it upward a little bit. So you would raise that value and I would say something like 3 to 4 is going to work pretty well for this image, you don't want to go too far with it. By the way changing the saturation and lightness sliders is not going to do anything because we are only seeing the Hue, thanks to the Hue Blend Mode, so we are only seeing the Hue that's associated with this layer right now.

So go ahead and click OK in order to accept that modification. And just so we can see how far we have come with horacioqmarketplace from the very beginning here, I will Alt or Option-Click on the background layer, this is what it looked like originally, this is what it looks like now, thanks to a combination of that Average Skin Tone technique along with the Captain Kirk-in love technique, two very-very powerful functions for producing flattering portrait shots.

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This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39091 viewers

Deke McClelland
Author

 
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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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