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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, we're going to take this portrait shot from the Fotolia image library, about which you can learn more at fotolia.com/deke. And we're going to assign it a kind of faux color treatment and add a high key effect as well in order to create this variation on the image. And notice that her hair and sweater as well as her pupils and eyelashes are jet black, meanwhile her face and neck are very light, but none of the highlights are blown, in other words we don't have any flat areas of white inside the image. Now, strictly speaking this is not a duotone and yet we have achieved an image that has a high degree of color homogeneity.
So I am going to switch back to the base image here and I am going to start things off by pressing the Alt key or the Option key on the Mac, then click on the Black/White icon and choose the Black & White command and I'll call this new layer B&W and click OK. And now I'm going to dial in some values. Now I want her face to be very bright, I might as well drag it over a little bit here so we can see what we're doing. And because we all, regardless of skin luminance, we are all orange people, we're going to resonate the most in the reds and the yellows. So I am going to crank that Reds value up to a 130 and I'll take the Yellows value up to a 100 and that takes care of most of our work where the skin is concerned.
Now I am not really seeing any Greens inside the image, so when you don't really see a color at all you can just zero it out or in my case just to see if there are any I'll go ahead and take that value through the roof here to 300, don't look like it makes any difference. So I'll tab on to Cyans value and take that value down a little bit and then tab over to Blues and take that value up to 300 so that we brighten the background. And then finally I want her sweater which is purple to go black, so I am going to take the Magentas value down to its lowest -200 and that's it. All right.
Now I'll hide the Properties panel. Now the next step is to dodge and burn what we've created so far, and that means that we have to merge our work onto a new layer. And anytime you want to merge all the visible layers onto a new one, you have to press the keyboard shortcut that's based on a shortcut that you can see in the layers menu. You'll notice this command called Merge Visible that has a keyboard shortcut of Ctrl+Shift+E or Cmd+Shift+E. If you choose that command you'll go ahead and merge those two images together. That's not what we want, so I'll press Ctrl+Z or Cmd+Z on the Mac.
Instead what we want is to add the Alt key on the PC or the Option key on the Mac to that same shortcut. So that would be Ctrl+Shift+Alt+E or Cmd+Shift+Opt+E on the Mac, and that goes ahead and merges those two layers onto a new one, and I'll call this new layer D&B like so. All right. Now I'll go ahead and grab the Dodge tool and I'm assuming that your settings are their defaults which are a Range of Midtones and an Exposure of 50%. If that's the case then you can go ahead and brush in on the highlights inside of the image.
So I am not just brushing indiscriminately all over the face, I am trying to limit my modifications to some of the lightest details. Because if you go nuts and just start brushing all over the place, which I am not, by the way, I am not trying to demonstrate that I am, if you start doing that though, then you will flatten the face details considerably. And we want to keep the volumetric detail; we just want to make sure to brighten things up a lot. And we'll fix some of those details using the Burn tool. In fact, we might as well select the tool now. Go ahead and click and hold on the Dodge tool and then choose the Burn tool.
And by the way, at the risk of overwhelming you with tricks at this point, I should point out that you can switch from one tool to another by adding the Shift key. So if I press Shift+O, I would switch from the Dodge tool to the Burn tool. Another way to do it is to Alt+Click or Opt+Click in the current occupant of that slot, so if I Alt+Click or Option+Click on the Dodge tool it will take me to the Burn tool. All right. So I am going to burn some of these shadows along the outside edges of her face like so in order to reinstate some of that volumetric detail, so her face still looks nice and rounded.
And I might actually paint a second time over this region here. Then we want to darken up the hair and sweater and those are very dark details already, but I want to fill them in. So I am going to change my Range from Midtones to Shadows. I am going to leave the Exposures set to 50% and then I'll start painting in her hair and you can see that that hair is just going jet black now. If you need to apply a couple of passes of the tool, by all means do. You can paint many times over these areas if you need to. Don't paint into her face though; try to keep your modifications in the hair and sweater.
And I'm painting all this stuff to black as you can see and then I am just going to make sure that the sweater is nice and black as well. All right, that looks pretty darn good. Now we need to bring back in the color, so I am going to press the M key to switch back to the Rectangular Marquee tool, I'll click on the Background layer to make it active and I'll press Ctrl+Alt+J or Cmd+Option+J on the Mac in order to jump this layer and name it and I'll call the copy of the layer color. And then I'll grab that layer and drag it to the top of the stack and I will change it from Normal to the Color Blend mode, and we end up achieving this effect here.
Now the only area where this is a problem is in the blue around the outskirts of the hair. So I'm going to press Ctrl+0 or Cmd+0 on the Mac to go ahead and Zoom out. I'll press the L key to switch to the Lasso tool, and then I'll press and hold the Alt key or the Option key on the Mac. Keep that key down as you click around the face like so and through this area of hair and down into this region. And then you want to dropdown to the Add Layer Mask icon and click on it, and that will go ahead and mask the color into that face region. All right.
Now we need to create the gradient for the background. So press the Ctrl key or the Command key on the Mac and click on that layer mask that you just created a moment ago. And then I want you to go up to the Select menu and choose Inverse or you can press Ctrl+Shift+I, Cmd+Shift+I on the Mac in order to select the area outside her face. I am going to press Ctrl+Shift+N or Cmd+Shift+N on the Mac to create a New layer and I'll call it gradient and click OK. I'll go ahead and select the Gradient tool which you can get by pressing the G key and then I'll press the Alt key or the Option key on the Mac so I temporarily have that eyedropper and I'll click somewhere inside the model's face in order to lift a skin tone color.
Then I'll go over to the Color panel and I'll slightly adjust my settings. I am going to change the Hue value to 25, then I'll raise the Saturation value to 45% and I'll take the Brightness down in my case to 75%. Then armed with the Gradient tool I'll go ahead and drag from the top of the image about midway down like so and release and that ends up covering everything up, fine. I'll press the M key to switch back to the Rectangular Marquee tool, press Ctrl+D or Cmd+D on the Mac to deselect the image and finally we want to change the Blend mode in the upper left corner of Layers panel from Normal to Multiply, and that will go ahead and burn that gradient into its background. All right.
Now I'll press the F key a couple of times to switch to the Full Screen mode and just to give you a sense of what we've been able to achieve here, I'll press the F12 key, this is the original version of the portrait shot, and if I press Ctrl+Z or Cmd+Z on the Mac, this is the faux color high key effect, thanks to a bit of Black & White, Dodge and Burn as well as the Color and Multiply modes here inside Photoshop.
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