IntroductionWelcome| 00:04 | Hi and welcome! My name is Chris Orwig.
| | 00:07 | In this project based tutorial we're going
to work on a photograph that I captured of
| | 00:11 | 11 time world champion surfer Kelly Slater and
this photograph is really important to me.
| | 00:17 | It's important to me not just because of the
subject, but also because of the way that
| | 00:22 | that image turned out.
| | 00:24 | So what exactly will we cover? Well we'll start
off with the image straight out of the camera.
| | 00:30 | We'll look at how we can
clean up those small details.
| | 00:33 | Next we'll look at how we can convert the
image to black and white and then how we can
| | 00:37 | add a sepia tone look to the photograph.
| | 00:40 | We'll explore how we can add or create a Film
Grain effect and then we'll look at how we
| | 00:45 | can blend in texture from an old wooden fence.
| | 00:48 | And we'll explore how we can Burn and Dodge
or darken and brighten, in order to add a
| | 00:53 | bit of drama or visual
interest to the photograph.
| | 00:57 | Well I'm really excited about this
project, thanks for joining me, let's begin.
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| Using the exercise files| 00:00 | If you're a premium member of the lynda.com
online training library, or if you're watching
| | 00:05 | this on a disc, you have
access to the exercise files.
| | 00:09 | Once you've located the Exercise Files
folder you can double-click it to open it up and
| | 00:14 | here you'll discover that we have all of the
different stages of our project inside of
| | 00:20 | the exercise files, and each image is related to
a different movie that we'll be working on.
| | 00:26 | You'll probably want to access and
open these up inside of Adobe Bridge.
| | 00:30 | In Bridge, you can either select the first
image and then progress along from there or
| | 00:35 | if you want to skip ahead you can always choose
an image further along down the line and just
| | 00:40 | open it up and here you'll see the progress
that we've made on that photograph so far.
| | 00:45 | If you don't have access to the exercise files,
no big deal. You can always simply follow
| | 00:50 | along, or of course, you could always
work on one of your own photographs.
| | 00:55 | Let's begin!
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1. Getting Started with the ProjectUsing Liquify to make minor adjustments| 00:00 | Here we're going to take a look at how we
can begin our project, and in particular, we're
| | 00:05 | going to focus in on some small details.
| | 00:07 | Well, this is the original image straight
out of the camera and you'll notice that I've
| | 00:12 | also added another layer here, it's the old fence layer;
we'll be using this to add some texture later.
| | 00:18 | Yet for now, go ahead and leave the
visibility of that layer off, and you know, when you're
| | 00:23 | evaluating your pictures often in Photoshop
what you do is zoom in, so let's do that.
| | 00:29 | Press Command++ on a Mac or Ctrl++ on Windows
a few times then press the Spacebar key to
| | 00:35 | access the Hand tool and then click and drag
so that you can then view the photograph.
| | 00:40 | As we get a little bit closer, one of the things
that I notice are a few details which I want
| | 00:45 | to nudge or modify.
| | 00:48 | So in order, to do that let's go ahead and
copy the background layer so that we can then
| | 00:52 | apply those corrections or those changes.
| | 00:55 | To do that, we'll go ahead and use a shortcut
on a Mac you can press Command+J on Windows
| | 01:00 | you can press Ctrl+J; think J for jump.
| | 01:04 | Next let's rename this layer, so I'm going
to go ahead and rename this layer details.
| | 01:08 | The next step is going to
be to reach for a filter.
| | 01:11 | The filter that we'll be using is the Liquefy
filter, so navigate to the Filter pull down
| | 01:16 | menu and then choose Liquefy.
| | 01:19 | The reason why I want to use liquefy is like I said
before, I just want to nudge a few things around.
| | 01:25 | So here let's go ahead and zoom in on the
image using the same shortcut as before, that's
| | 01:30 | Command++ on a Mac or Ctrl++ on Windows and
let's get nice and close then press the Spacebar
| | 01:35 | key and click and drag to reposition, and
let's work on these areas around the face.
| | 01:42 | Now by default we've selected what's called
the Forward Warp tool. You can see that here,
| | 01:47 | and that's a tool that's selected by
default when you open up the Liquefy filter.
| | 01:53 | What I want to do is I want to use this
filter just to push the ear in a little bit, but
| | 01:58 | I can't use this high of a value for the brush
pressure. It will be too dramatic and it'll
| | 02:03 | look kind of fake.
| | 02:05 | So what we need to do is we need to go to
Advance mode, and in Advanced mode we're going
| | 02:09 | to then decrease our Brush Pressure and we'll
take this way down, perhaps around 25 or so.
| | 02:16 | Next what we're going to do is we're going
to go ahead and just click and try to move
| | 02:19 | the ear a little bit. So here as I do that,
you can see that I'm slowly just nudging that
| | 02:24 | in, and by nudging that in, what we can
start to do is just kind of reposition this.
| | 02:30 | The reason why I want to do this is the angle
the way that I capture this frame this year
| | 02:35 | at least for my taste is sticking out a little
bit too much and the Liquefy tool can be used
| | 02:40 | to make really dramatic adjustments, or it can
be used to make really simple adjustments.
| | 02:46 | Now, why did we go to that Advance mode? Well,
we did that because it opened up an option
| | 02:52 | for showing backdrop.
| | 02:54 | If you turn this option on and then increase
the opacity to 100, here we can then see our
| | 03:00 | before and after, so here's a
before and then now here's the after.
| | 03:05 | We're looking for a subtle yet
significant adjustment to this part of the frame.
| | 03:09 | Next, let's say we want to
move the other ear a little bit.
| | 03:13 | Here I'll decrease the brush size by
pressing my left bracket key a couple of times and
| | 03:18 | I'll just click and nudge this one in a little
bit as well, and we can do this on other areas
| | 03:23 | of the image as well. We can do this on the
top of the photograph here, this part of the
| | 03:27 | head, or if there are areas of the shirt that
we just want to kind of tuck in a little bit
| | 03:32 | we can do that by simply going around the
image and just making those changes to the
| | 03:36 | overall shape of the photograph.
| | 03:38 | And as you're making these types of small
detail changes you want to be really careful,
| | 03:44 | you want to be going back to turning this on
and off to see if you're making adjustments
| | 03:49 | that actually work.
| | 03:50 | You also need to zoom out.
| | 03:53 | To do that, press Command+- on a Mac or Ctrl+-
on Windows and do that a few times, and what
| | 03:59 | you want to do is look at
this image in it's entirety.
| | 04:02 | In other words, you want to step back and
say do those adjustments work in regards to
| | 04:07 | the overall frame, and in this case, I
think they do. They're subtle yet significant.
| | 04:13 | In order to apply those adjustments we'll
go ahead and simply click OK and in doing
| | 04:18 | that we now have those details fixed up on
this layer. Here they are. There's our before
| | 04:24 | and now here is our after.
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| Cleaning up small details with the Spot Healing Brush| 00:00 | As you may have heard it said, in Photoshop,
one of the things you often want to do is
| | 00:04 | clean up before you enhance.
| | 00:07 | So here, let's take a look at how we
can clean up some other small details.
| | 00:11 | Yet this time let's explore how we can use
the Spot Healing brush and how we can perform
| | 00:15 | some healing on a new layer.
| | 00:18 | So let's go ahead and create new layer.
| | 00:19 | To do that we'll click on the New Layer icon in the
Layers panel and let's name this layer details-2.
| | 00:25 | Next, we want to select the Spot Healing
brush, press the J key to select that tool or you
| | 00:32 | can just click on it here in the Tools panel.
| | 00:35 | Next, up top in the options bar on the far
right, you want to turn on this option to Sample
| | 00:42 | All Layers. This will allow us to do the
healing on this layer here that we just created and
| | 00:48 | it will heal anything from
these underlying layers.
| | 00:52 | Next of course we need to zoom in.
| | 00:55 | One great way to zoom in on your image when
you want to really get to those details is
| | 01:00 | to use a shortcut which
allows you to zoom to 100%.
| | 01:05 | On a Mac press Command+Option+0, on Windows
press Ctrl+Alt+0. That will take us to 100%.
| | 01:13 | Now that we're here, you notice that there are some
little things that we may want to retouch out.
| | 01:18 | So using this tool, all that we need to do
is just click and drag across these, and if
| | 01:22 | you're using a previous version of Photoshop
or you don't have this content-aware feature.
| | 01:26 | No big deal, simply use the same tool with
it's default settings and you'll be able to
| | 01:31 | retouch these blemishes in a similar way.
| | 01:34 | Now, keep in mind that I'm interested in
trying to create an authentic photograph.
| | 01:38 | In other words, I don't want to retouch too
much. I want to leave some blemishes in this
| | 01:43 | frame. I want to keep it kind of authentic and
alive, and I'm just looking for small little
| | 01:48 | things that might be helpful to remove.
| | 01:50 | So I'm being careful as I'm moving my way
around the image to just remove what I'm calling
| | 01:55 | small little teeny blemishes that aren't taking
away from the character of the picture, but
| | 02:00 | rather just cleaning up anything that
might be just a little bit distracting.
| | 02:04 | The great thing about making adjustments
like this on a new layer is that we can always
| | 02:09 | erase them if we need to.
| | 02:11 | For example, if you click on the eye icon
here, you can see our before and after, and
| | 02:17 | because all of those are on a separate layer
it would be really easy to modify what we've
| | 02:21 | done. We could use an eraser brush
and erase any of these adjustments.
| | 02:25 | Here I'm pressing the Spacebar key and then
clicking and dragging around the image to
| | 02:29 | go to another area, and again, just removing
the bigger blemishes. I don't need to get this
| | 02:34 | completely perfect, but early on you just want
to evaluate the photograph and ask yourself
| | 02:39 | is there anything else that I need to get rid
of? So just make our way around the picture
| | 02:44 | and I think up close we've gotten
everything that we need to get.
| | 02:48 | Next step is to zoom out a little bit.
| | 02:51 | Here press Command+- on a Mac, Ctrl+- on
Windows and go ahead and do that a few times.
| | 02:57 | Now in doing that I noticed some bright spots
on the wall back here. I want to get rid of
| | 03:02 | those, so I need to increase my brush size.
| | 03:05 | To do that press the right bracket key a few
times and then you can go ahead and paint
| | 03:09 | over any of those background areas
that you want to retouch as well.
| | 03:13 | I can't emphasize it enough that you really
need to zoom in and zoom out on your image,
| | 03:18 | and look at it in different ways to notice
different things that you might want to take
| | 03:24 | care of so the photograph will look better.
And again, here I'm just modifying a few small
| | 03:28 | areas of the background.
| | 03:30 | Well, so far so good. Let's evaluate
this small step that we've taken here.
| | 03:35 | Here it is our before and after. That may be
kind of difficult to see so I'll zoom in a
| | 03:39 | little bit; again before and after.
| | 03:43 | And although this is a small step, it is
incredibly important, because this is setting the stage
| | 03:49 | for some of our other adjustments which will
help us to make this image really come to life.
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| Removing the logo from the shirt| 00:00 | Here in this movie we're going to start to
take a look at how we can remove the graphic
| | 00:04 | or the logo from the t-shirt.
| | 00:07 | Yet before we do that I want to talk a little
bit about why I remove the logo, because this
| | 00:12 | was a significant or important
turning point with this project.
| | 00:17 | You may remember that I was interested in creating
a character portrait, something that was strong.
| | 00:22 | Well for me the logo on the
shirt was just too loud.
| | 00:26 | I like the logos in the background, they're
subtle, yet the one on the shirt needed to go.
| | 00:32 | Typically when you're photographing someone
in action sports, you don't remove logos.
| | 00:36 | Logos are really important because the athlete
wants to support the brand and the brand wants
| | 00:41 | to support the athlete.
| | 00:43 | Yet here I knew that I needed to
make that change and it was a risk.
| | 00:47 | But I'm glad that I took that risk because
it really paid off and this photograph was
| | 00:51 | published because the logo was gone.
| | 00:55 | And eventually the client agreed,
so again it was a good decision.
| | 00:59 | Well let's then take a look at
how we can remove this logo.
| | 01:03 | We'll start off by creating a new layer.
| | 01:05 | To do that we'll click on the New Layer icon
and here we're going to go ahead and just
| | 01:09 | name this shirt - 1.
| | 01:12 | Next we want to select the Patch tool.
| | 01:15 | To do that press the J key and then Shift+J
until you see the Patch tool here in the Tools
| | 01:20 | panel, or you can always click and hold down
on one of these healing tools and then just
| | 01:25 | select on the Patch tool in this way.
| | 01:28 | Now with the Patch tool we have a few options.
| | 01:31 | The options that will work best for what we're
doing here are going to be to choose Content
| | 01:36 | Aware, and if you're using a previous version
of Photoshop that doesn't have the Content
| | 01:41 | Aware option for the Patch tool, no big deal.
| | 01:44 | Simply use its default settings and
you'll be able to retouch in a similar way.
| | 01:48 | Yet if you do have access to this
you'll want to choose Content Aware.
| | 01:53 | Next you'll want to select an
appropriate Adaptation Style.
| | 01:57 | The Adaptation Style that will work
best for this project is Very Loose.
| | 02:01 | So here we'll go down to the bottom
of the menu and choose Very Loose.
| | 02:05 | Also be sure to have Sample All Layers turned
on so that we can do all of this retouching
| | 02:11 | or cleanup work on this new
layer that we just created.
| | 02:14 | Well let's zoom in on the picture and press
Command++ on a Mac or Ctrl++ on Windows so
| | 02:19 | that we can focus in on the shirt.
| | 02:21 | Here what we're going to do is just click and
drag around the item that we want to remove,
| | 02:25 | in this case we'll start off with
this part of the graphic or logo.
| | 02:30 | Next we'll go ahead and click and
drag this to new area and then let go.
| | 02:34 | Then we'll go ahead and make
a selection of another area.
| | 02:37 | Now as you're making these elections if ever
you make a mistake as I did here, I didn't
| | 02:42 | select all of the L in this part of the graphic,
well we can add to this by holding down the
| | 02:48 | Shift key and then clicking
and dragging around that.
| | 02:51 | Now if ever you select too much, let's say
that we make a selection which is too big,
| | 02:56 | well you can always remove that by holding
down the Option key on a Mac, Alt key on Windows
| | 03:01 | and then clicking and dragging around the
area that you want to remove, in this case
| | 03:05 | this area, and you can see that it's
then removed that from the selected area.
| | 03:11 | Next, once you have a good selection, again
click and drag and move that to another area
| | 03:15 | of the image, and we're just
going to continue to do this.
| | 03:19 | And as you make these selections what you
want to keep in mind is that you're trying
| | 03:23 | to get close to the graphic
or logo but not too close.
| | 03:27 | Again there was a little mistake, so I'll go
ahead and hold down the Option key on the
| | 03:31 | Mac, Alt key on Windows and I'll click and
drag around this while holding down that key
| | 03:36 | in order to subtract
that from this patch area.
| | 03:40 | Next step is to just click and drag that
to a nice clean area and then to let go.
| | 03:46 | Now after you've done some
patchwork you want to deselect.
| | 03:50 | To do that, press Command+D on
the Mac or Ctrl+D on Windows.
| | 03:55 | Now this is far from perfect,
but it's a pretty good start.
| | 03:59 | If we click on this eye icon here you can see
there is the before and now here is the after.
| | 04:05 | Well we obviously have some more work to do
with this part of the image, so let's go ahead
| | 04:10 | and continue to work on the shirt
and let's do that in the next movie.
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| Working on the details of the shirt| 00:00 | Here we're going to continue to work on the
shirt and what I want to do is I want to share
| | 00:04 | with you a few techniques that you can use
in order to even out color and also tone.
| | 00:10 | We'll start off by creating a new layer and
changing the layer blending mode to Color
| | 00:16 | in order to even out the color variance
that we have in this area of the shirt.
| | 00:21 | So let's go ahead and take a
look at how we can do that.
| | 00:23 | Here we'll click on the New Layer icon
and we'll name this new layer Color.
| | 00:28 | Next we're going to select the Brush tool,
press the B key to choose the Brush tool.
| | 00:33 | Now that you have the Brush tool selected
if you hold and press Option or Alt, Option
| | 00:38 | on a Mac or Alt on Windows, you can see that you
can sample different colors from your image.
| | 00:43 | Well what I want to do is I want to sample this
gray that has a little bit less blue in it.
| | 00:49 | You may notice there's a little bit of a
kind of a blue color here in the shirt.
| | 00:54 | Well now that I've chosen that color what I
can do is I can paint over the image and
| | 00:59 | I can paint over the image with a blending
mode of Color in order to get rid of that.
| | 01:04 | Let me show you what I mean.
| | 01:05 | Here press Command++ or Ctrl++ to zoom in
and then what I'm going to do first just to
| | 01:10 | illustrate is I'm going to make a brushstroke.
| | 01:13 | Now this brushstroke
doesn't look good here, right?
| | 01:15 | It's very bold and
strong and it looks strange.
| | 01:19 | It looks like we just painted on the image.
| | 01:21 | Yet, if we take that Layer blending mode
to Color, all of a sudden it looks great.
| | 01:27 | Here you can see how we're just evening out
the color as I paint over this area, you can
| | 01:32 | see how I'm removing all
of this color variation.
| | 01:36 | Now at this point I'm doing this at 100%
and it's a little bit over the top.
| | 01:41 | Yet I wanted to do that to illustrate how
we can use this blending mode in order to
| | 01:46 | paint in a certain color
to remove color variation.
| | 01:51 | Well now that we've done all of that what I
want to do is delete my layer, because this
| | 01:55 | is more of a demo layer, and then redo this or
restart this from the get-go in a way that
| | 02:00 | you would normally use this technique.
| | 02:03 | So here I'll click and drag this to the
Trashcan icon and then I'll click on the New Layer
| | 02:07 | to create a new layer.
| | 02:08 | I'll name this new layer color, and then I'll choose
from my pulldown menu a blending mode of Color.
| | 02:15 | Next step is to select the Brush tool.
| | 02:18 | With the Brush tool you want to Option or Alt+Click on
a good color, in this case, this tone right here.
| | 02:24 | Then you need to decrease your opacity.
| | 02:28 | Typically I find it works well to go way
below 50%, sometimes right around 30 tends to be
| | 02:34 | the magic number.
| | 02:35 | Now if you have a pressure sensitive tablet,
by all means click on this option which allows
| | 02:39 | you to take advantage of those pressure
sensitive controls in order to build up this effect.
| | 02:45 | Next step is to just start to
paint over this area of the image.
| | 02:49 | I should also point out that when you're choosing a
brush you want to use a brush without any Hardness.
| | 02:54 | You want to have a nice soft edge brush so
you can kind of slowly paint away any sort
| | 02:59 | of color shift or color problem
that you have in a photograph.
| | 03:03 | Now in regards to painting over the area
where we've removed the logo this will be really
| | 03:07 | helpful because really what we want to do
there is just minimize any kind of strange
| | 03:12 | little variation or difference which
calls attention to that area of the image.
| | 03:18 | Now as you're making adjustments like these, you may
also want to move to other areas of your photograph.
| | 03:24 | So here once you've finished out these areas,
you can go ahead and press the Spacebar key
| | 03:29 | and then just click and drag to other areas
of your picture, again just to add a little
| | 03:33 | bit more uniform color across a
certain area of your photograph.
| | 03:38 | And this technique it works in a lot of
different situations not just in a situation like this
| | 03:43 | where we removed a logo.
| | 03:46 | Well next before we leave this
movie, let's do one more thing.
| | 03:50 | Here we'll create a new layer.
| | 03:51 | We're going to do a little bit of cloning,
so we'll name that new layer cloning.
| | 03:57 | Next press the S key to select the Clone
Stamp tool or just click on the Clone Stamp tool
| | 04:02 | here in the Tools panel.
| | 04:05 | Then go up to the Options bar and in the
Options bar again we will lower the Opacity. We'll
| | 04:10 | turn on this option to use pressure
sensitivity if we have a tablet.
| | 04:14 | You want to make sure Aligned is turned
on and you want to Sample All Layers.
| | 04:19 | That allows you to do your cloning work up
to this new layer that we created here.
| | 04:25 | Next I just want to brighten
up some of the shadow areas.
| | 04:28 | So if we Option+Click or Alt+Click on a good area
we can then move the cursor back and we can
| | 04:33 | start to kind of paint away this area.
| | 04:36 | Now it looks like my Opacity is a little too
high so I'm going to go ahead and undo that
| | 04:40 | by pressing Command+Z and then I'll decrease
my Opacity even more and just click over this
| | 04:46 | area, Option+Click or Alt+Click on a new area,
and again I'm just looking to kind of work
| | 04:50 | on some of these shadows that I have here,
either brightening or darkening these shadows
| | 04:55 | to kind of minimize, again just the variation
that we have in those areas of our photograph.
| | 05:01 | Now here this is really like just applying
some small finishing touches; it's not dramatic.
| | 05:06 | Many people won't even notice this.
| | 05:08 | But again, all of these little adjustments
help to get us towards a place where our image
| | 05:13 | will look better.
| | 05:15 | Well now that we've made this progress let's
take a look at how we've done. Here is the
| | 05:18 | so far before and then after.
| | 05:21 | At least in regards to this area of the
image we're making some good progress.
| | 05:26 | Let's continue to work on this image
and we'll do that in the next movie.
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| Merging layers and double-checking your progress| 00:00 | At this step of our project
I want to do three things.
| | 00:03 | I want to take a look at how we can merge some of our
layers together in order to organize our layers.
| | 00:09 | And then, I want to step back from what we've
been doing, and see if we've missed anything.
| | 00:14 | And then finally, I want to do a little
bit of burning and dodging on a new layer.
| | 00:18 | Well first let's organize our layers.
| | 00:21 | You can see the Layers panel
that we've done a lot of work.
| | 00:23 | We have a lot of layers.
| | 00:25 | Let's merge these together.
| | 00:27 | We can do that by clicking in one layer then
hold down the Shift Key, and click in another.
| | 00:33 | This will select the
contiguous or the touching layers.
| | 00:36 | Now, that we have all of these selected by
clicking and then Shift+Clicking, we can
| | 00:42 | use a shortcut to merge those together.
| | 00:45 | To do that on a Mac press
Command+E, on Windows press Ctrl+E.
| | 00:50 | Next, we'll go ahead and
name this new layer details.
| | 00:53 | So, here we have merged together all
of the detail work that we've done.
| | 00:58 | And typically you want to do this when you're
ready to commit to the changes that you've
| | 01:02 | made your photograph.
| | 01:03 | In this case, I'm ready to
commit to all of these changes.
| | 01:06 | And sometimes by organizing your Layers panel,
it can give you a little bit of momentum so,
| | 01:12 | that you're not distracted by all that you
have there and you can say, you know what?
| | 01:16 | I've finished that stage of a project.
| | 01:18 | I'm ready to go to another.
| | 01:20 | And whenever you come to that crossroads
so to speak you always want to zoom out.
| | 01:24 | And in zooming out by pressing Command+- or
Ctrl+-, all of a sudden I notice that I have
| | 01:31 | this bright orange logo on the surfboard that I
completely didn't notice and that's distracting to me.
| | 01:38 | I want to get rid of it.
| | 01:39 | Well, to do that really
easily we can use the Patch tool.
| | 01:43 | And let's go ahead and apply this
adjustment right on our details layer.
| | 01:47 | So, we'll stay in this layer.
| | 01:49 | We'll press the J key and then Shift+J until
we have that Patch tool, or just click and
| | 01:54 | hold and choose Patch.
| | 01:57 | Once again, we want to use Content Aware.
| | 01:59 | And of course, if you're using a previous
version of Photoshop which doesn't have this
| | 02:04 | option, no big deal, just use the default
settings here and you will be able to retouch
| | 02:09 | in a similar way.
| | 02:10 | Yet of course, if you do have
this option, you want to select it.
| | 02:14 | So, let's go ahead and select Content Aware and
then we want to choose the appropriate adaptation.
| | 02:19 | And then again, here we want to use the
adaptation of Very Loose, because this isn't really an
| | 02:23 | identifiable graphic, this area that will be
working on, it's just some handprints, and then
| | 02:29 | we can leave Sample All Layers turned on.
| | 02:31 | Next, we are going to go ahead and just make a
rough selection of this logo here, and then
| | 02:36 | click and drag to a new area, and then let
go in order to apply that adjustment.
| | 02:41 | Now, after you've applied that adjustment,
you want to press Command+D on a Mac or Ctrl+D
| | 02:48 | on Windows to deselect.
| | 02:50 | If you forget that shortcut, you can always
go to the Select pulldown menu, and look it
| | 02:55 | up right here, here it is deselect, and that
deselects a selection that we just made.
| | 03:01 | That was actually a pretty
important adjustment to our photograph.
| | 03:04 | So, let's continue to work with this file
and we'll pick up where we left off here in
| | 03:09 | the next movie.
| | 03:11 |
| | Collapse this transcript |
| Burning and dodging to add emphasis| 00:00 | The next thing I want to take a look at is how we can
do some burning and dodging with this photograph.
| | 00:05 | In particular, when we zoom in on the image
one of things that I'm noticing is that now
| | 00:10 | that the logo is gone, I kind of wish that I
had a shadow over here on this side of the
| | 00:15 | photograph just to create some symmetry.
| | 00:19 | Let's do that by creating a new layer, and
by changing that layer blending mode to Soft
| | 00:24 | Light, and then by painting in with
black or white to darken or brighten.
| | 00:29 | Let me show you what I mean.
| | 00:31 | Well, here we'll go ahead and click on the New Layer
icon, and we'll name this new layer burn and dodge.
| | 00:36 | Next, we'll change the Layer
blending mode to Soft Light.
| | 00:41 | Then we'll choose the Brush tool;
press the B key to do that.
| | 00:45 | Then we need to change the
opacity of the Brush tool.
| | 00:47 | So, after you've selected it, if you press
a number on your keyboard like the number
| | 00:51 | 2, it will go to 20%.
| | 00:54 | Turn on this option if you're using a pressure
sensitive tablet and then let's choose black.
| | 00:59 | Now in regardless to the brush that we want use,
we want use a brush with a really soft edge.
| | 01:05 | To select a brush, you can right-click or
Ctrl+click on top of the image, or you can
| | 01:11 | click from the Tools menu up here, or the
Options bar I should say, up here, and you can choose
| | 01:17 | to decrease the hardness or either way, we want to
make sure we have our brush without any hardness.
| | 01:23 | Then to change the brush size, you can press
the left bracket key, that's a nice way to
| | 01:28 | decrease your brush size.
| | 01:30 | What we want to do is have a brush
about the size of this shadow here.
| | 01:34 | Of course, we can just paint with black as
it is or we could select a color from our
| | 01:39 | image to paint with as well.
| | 01:42 | One way to do that would be to Option or
Alt+click on a shadow that you have there.
| | 01:47 | And then, to go into that shadow area and
just darken it up a little bit more as well.
| | 01:51 | Well, now that we have this brush we're going to go
ahead and just try to kind of paint in a shadow.
| | 01:56 | Now, this painting in of
shadows is actually pretty tricky.
| | 01:59 | You won't get it right the first time you
do it, and we'll have to take a look at how
| | 02:04 | we can modify this shadow, and we'll modify
it by blurring it out a little bit, lowering
| | 02:09 | the opacity and all those kind of things.
| | 02:11 | So, here I'm just trying to create a shape
just sort of add a little bit of this shadow
| | 02:16 | to this part of the picture.
| | 02:18 | You want to have really consistent and smooth brushstrokes
as you do this, and try to kind of mirror the
| | 02:24 | way that you're seeing the
other shadow is in the image.
| | 02:27 | So, now that I have that shadow in,
it obviously looks strange and fake.
| | 02:32 | Yet give me a minute.
| | 02:34 | Here we can modify this
by using our Move tool.
| | 02:37 | So, click on the Move tool and you can click
and drag this around if you don't have
| | 02:41 | it in just the right area.
| | 02:43 | You can also decrease the
opacity of this layer.
| | 02:46 | So, we can say let's take down our
layer opacity here a little bit.
| | 02:50 | As we do that, it kind of fades back into
the image that looks a bit more realistic.
| | 02:55 | Then we can also blur this out by going to
the Filter pulldown menu you can choose Blur,
| | 03:02 | and then Gaussian Blur.
| | 03:03 | Gaussian Blur is a great blur when you want
to have something which is a bit more smooth.
| | 03:08 | Let me exaggerate this.
| | 03:09 | If we increase the radius here, you can see
how it just really smoothes that out or if
| | 03:13 | we decrease that, you can see there
are those original brushstrokes.
| | 03:18 | What you'll want to do is look for a
radius which just looks good to your eye.
| | 03:22 | There's no right radius amount here.
It depends upon your own brushstrokes.
| | 03:27 | In this case, I want a little bit
of definition, but not too much.
| | 03:30 | So, I'll go ahead and take that to there and
then with the Move tool selected, I'll use
| | 03:35 | my arrow key just to nudge the shadow around
to try to get that into that right spot there.
| | 03:40 | So that we have a little bit of symmetry
in regards to those shadows on the shirt.
| | 03:44 | Another way that we can use this burn and
dodge technique is we can select our Brush
| | 03:48 | tool, and if we have a shadow like these
on the arm, we can just paint over them.
| | 03:53 | And as we paint over them with black, what it's
going to do is it's going to help to emphasize those.
| | 03:58 | We can also do this with perhaps wrinkles or
any other textures that we see if we want
| | 04:02 | to kind of draw something out in the
photograph to add a little bit more say, intensity to
| | 04:07 | one particular shadow.
| | 04:09 | So, I'll go ahead and do that here.
| | 04:11 | If ever we want to brighten
something up what we can do the opposite.
| | 04:16 | And you can brighten something
up by just painting with white.
| | 04:19 | So, after I've gone over those shadows, we'll
flip that to White by clicking on that button
| | 04:24 | there or by pressing the X key.
| | 04:27 | And then here, we'll make the brush a little
bit bigger, and we can just add a little bit
| | 04:31 | of brightening to this part of the picture just
kind of adding a bit of shape and dimension,
| | 04:37 | and sometimes even drama.
| | 04:39 | And if we turn this layer on and off, you can see
here is the before and then, now here is the after.
| | 04:45 | Now, as you make these adjustments, you want
to zoom back and kind of see if you're going
| | 04:50 | in a good direction.
| | 04:52 | And I think for the most part
it's okay. It's not perfect.
| | 04:55 | But for the sake of the demo and for what
we're trying to do at this image, I think
| | 04:59 | that will work well.
| | 05:01 | If ever you make a mistake, like if the shadow is too
strong, just grab the Eraser tool or create a mask.
| | 05:09 | With an Eraser tool, with a really soft brush,
low opacity, just kind of erase away part of
| | 05:14 | the shadow that you think maybe is
distracting, or maybe it's a little bit too over the top.
| | 05:20 | Well, now that we've done all of that, we're
ready to move to the next stage for our progress.
| | 05:25 | So, let's continue to work with this file
and we'll pick up where we left off here in
| | 05:29 | the next movie.
| | Collapse this transcript |
|
|
2. Crafting the Color and ToneExperimenting with color| 00:00 | The reality of being creative and of being an artist
is that you don't always know what path to take.
| | 00:06 | You need to experiment. You
need to test out different ideas.
| | 00:10 | So when I was working on this photograph one of
the things that I did next was I experimented
| | 00:15 | with color, and I want to show you how I
worked with color here just to try to determine if
| | 00:20 | I wanted to have this image
in color or black and white.
| | 00:24 | Well before we do that let's go ahead and merge our
burn and dodge layer down to the details layer.
| | 00:30 | So if you click in one layer, then hold down
the Shift key and click in another, you can
| | 00:34 | use the shortcut which we learned previously to
merge layers together, that is the Command+E
| | 00:40 | key on a Mac or Ctrl+E key on Windows
and we'll go ahead and name this details.
| | 00:46 | Next what I want to do is I want to modify
the color of this image by using two different
| | 00:51 | adjustment layers.
| | 00:52 | The first adjustment layer that we're going
to apply is a Black & White adjustment layer.
| | 00:57 | Now I'm actually not going to convert the
image to black and white with this layer,
| | 01:01 | rather I'm going to try to create a
unique or interesting color palette here.
| | 01:06 | To do that, I'll change the
Layer blending mode to Soft Light.
| | 01:10 | What this will do is create this muted high
contrast look which is kind of interesting.
| | 01:16 | Next you can use these sliders in order to
control the values of different areas of the image.
| | 01:22 | In this case perhaps if we want the face a
little bit brighter. You can see how I can
| | 01:25 | brighten up those reds.
| | 01:28 | Next I'll lower the Opacity of this
because that's a little bit too intense.
| | 01:31 | I just want a little bit of that
edge and I kind of like that.
| | 01:36 | Then I decided to add or mix in some of my
own color using a technique which involves
| | 01:42 | using a Curves adjustment layer.
| | 01:45 | So let's click on the
Adjustment Layer icon for Curves.
| | 01:49 | Here you can navigate to different channels.
| | 01:52 | The channel I was interested in
was the Blue/Yellow channel.
| | 01:55 | I wanted to make my shadows
blue and the highlights yellow.
| | 02:00 | To do that, we click on the Blue option here from that
pulldown menu and then you can go to the endpoint.
| | 02:06 | And if you click and drag the endpoint up,
the dark end point, you can see how I bring
| | 02:10 | blue into those shadow areas.
| | 02:13 | Next to bring color into the highlights I'm
going to click and drag my white pointer,
| | 02:17 | my bright point there down, and what that will do
is it will bring yellow into those highlights.
| | 02:23 | And that's a pretty cool and pretty interesting
color palette, isn't it? If we click on these
| | 02:28 | eye icons you can see there is that
before and then here is the after.
| | 02:33 | Next let's zoom out a little bit just so we
can see that in its entirety, again here's
| | 02:38 | our overall before and after in
regards to our color adjustments.
| | 02:43 | Now while I like these color adjustments I decided
that this wasn't how I wanted to process this image.
| | 02:51 | So eventually I deleted these layers and
rather than working with color I decided that in
| | 02:56 | order to create a photograph which was timeless
and which was really strong and deep, I needed
| | 03:02 | to convert this image to black and white.
| | 03:05 | So let's go ahead and delete these layers,
we'll click on one, hold down the Shift key
| | 03:09 | and click on the other and
then press the Delete key.
| | 03:13 | That was a worthwhile experiment because it
helped us realize that color wasn't where
| | 03:18 | I wanted to go rather I
wanted to go to black and white.
| | 03:22 | So next let's take a look at how we can
convert this image to black and white, and also how
| | 03:26 | we can add some Film Grain to add a bit of
grit or maybe even some depth to this photograph.
| | Collapse this transcript |
| Creating a sepia-toned black-and-white effect| 00:00 | Well now that we know that we want to convert this
image to black and white, let's go down that road.
| | 00:06 | Let's take a look at how we can build up an
effect that which has a bit more, maybe intensity.
| | 00:12 | So let's start off by creating a
Black & White adjustment layer.
| | 00:16 | When we do that one of things that we'll
notice is that the image is pretty bright, there
| | 00:20 | isn't a lot of contrast, yet
we'll build that in later.
| | 00:25 | Although before we leave this we do want to
experiment a little bit with our color sliders,
| | 00:29 | perhaps brightening the reds just a bit
and maybe even darkening the blues as well.
| | 00:34 | This allows us just to customize the
brightness value of different areas of our photograph.
| | 00:39 | Next what I want to do is I want to
add some color toning to this image.
| | 00:44 | I want this to have a nice rich Sepia tone.
| | 00:47 | To do that we'll click on our Color Balance
adjustment layer icon, and then in the midtones
| | 00:53 | I'm going to bring up my reds and
I'm going to bring up my yellows.
| | 00:56 | And I'm going to this in a way where the color
is a little bit over exaggerated. It doesn't
| | 01:01 | even look very good.
| | 01:02 | Again, the image is too bright.
| | 01:05 | If we look at kind of this part of the image
we can see that it's just not really drawing
| | 01:09 | us in or at least it's not drawing me in.
| | 01:12 | So let's change the blending mode.
| | 01:14 | If we have a Color Adjustment and we change
that color adjustment to Soft Light, what
| | 01:19 | it will do is it will blend that color into
the image and add contrast as well as color.
| | 01:26 | Now this is the first time at least for me
when I was working on this file where I thought,
| | 01:30 | okay I might have something
here. This might be worthwhile.
| | 01:34 | If we click on and off this icon you can see
how we have nice contrast and then we also
| | 01:38 | have the makings of some interesting color.
| | 01:41 | Now we could modify the color further by
creating perhaps another color adjustment or by using
| | 01:46 | these sliders if we want it to be a little
bit more red or perhaps have a little bit
| | 01:50 | more yellow in it.
| | 01:51 | We can really customize how that
contrast and color is being built up.
| | 01:56 | Sometimes what you might need to do with
these layers is to lower the Opacity, so here we
| | 02:00 | could decrease the Opacity.
| | 02:03 | Then you might decide that
you want to increase it.
| | 02:06 | Again there's a little bit
of give and take there.
| | 02:09 | Next create another color adjustment layer.
| | 02:12 | With this next color adjustment layer you
can target say the highlights, so if you want
| | 02:16 | the highlights to have a little bit of yellow
in them, to be a little bit more warm, you
| | 02:20 | can bring that color into the highlights.
| | 02:22 | You could also drop down to the shadows or
you can make those a bit more red and yellow,
| | 02:27 | have maybe a little bit more of
that type of a mix in there.
| | 02:30 | And what's interesting about this type of
use of working with color balance is we have
| | 02:35 | a lot of subtle or precise
control over our color.
| | 02:39 | Now here I feel like it's a little bit too
red for me so I'm going to bring some of that
| | 02:43 | out, maybe bring in a little bit of Magenta.
| | 02:46 | I like to find just the right
color that's interesting to me.
| | 02:49 | You know there isn't correct color with
adjustments like this, rather it's all subjective. It's
| | 02:55 | up to you; it's up to what you want to create.
| | 02:58 | Well here with this photograph if we zoom
out a little bit and take a look at and I
| | 03:02 | think we're going in a good direction. Here
are our overall adjustments in regards to
| | 03:07 | the black and white and the toning. Here's
that before and then now here is the after.
| | 03:13 | One of the issues though that I'm seeing is
that the background is still too bright. It's
| | 03:18 | also helping me to become aware of different
things that I may need to change or modify
| | 03:23 | in regards to other elements of the frame.
| | 03:26 | In particular, the background, I also know
that I now need to add some film grain.
| | 03:31 | I also want to add some texture and then
perhaps retouch a few other areas of the photograph.
| | 03:37 | As you retouch or work on your pictures, it really
is an interesting or almost experimental process.
| | 03:44 | As we take one step we realize
that we need to then take another.
| | 03:48 | Well let's continue to work on this image
and we'll pick up where we've left off here
| | 03:53 | in the next movie.
| | Collapse this transcript |
| Darkening the background| 00:00 | Now that we have created this black and white
Sepia toned effect, one of the things that
| | 00:05 | I noticed is that the
background is much too bright.
| | 00:09 | So let's explore how we can darken the
background and we'll do that by creating two different
| | 00:13 | adjustment layers.
| | 00:15 | First what we're going to do is
click on to the details layer.
| | 00:19 | We want to create these adjustment layers
above the details layer so that these other
| | 00:23 | layers which are already here will affect them, and
so that the color will be cohesive and consistent.
| | 00:30 | So the first step will be to click on
the Black & White adjustment layer icon.
| | 00:34 | Now while we've already applied one of these
adjustments we're now going to apply another,
| | 00:39 | but this time we're going to decrease those reds and
those yellows and maybe even some of the blues.
| | 00:44 | Now I'm aware that this doesn't look very
good, the subject looks kind of strange, but
| | 00:49 | I like the way that this
affects the background.
| | 00:52 | So if we click to the Mask panel we can then
press the Invert button which will change
| | 00:57 | our mask to black, and then we can paint in
those adjustments exactly where we want them.
| | 01:04 | Another way to invert a mask is to press
Command+I on a Mac or Ctrl+I on Windows.
| | 01:10 | The next step is to select the Brush
tool, press the B key to do that.
| | 01:14 | Then we want to decrease our Opacity here,
so I'll go ahead and decrease the Opacity
| | 01:18 | and turn on the pressure
sensitivity if we're using a tablet.
| | 01:22 | Then I'm going to increase my brush size
by pressing the right or left bracket key.
| | 01:26 | Right bracket key the brush
goes up, left it goes down.
| | 01:30 | Or on a Mac press Ctrl+Option, on Windows
press Ctrl+Alt and click and drag to the left
| | 01:36 | or to the right to increase
or decrease your brush size.
| | 01:40 | Next we're going to go ahead and just start to
paint in and we want to paint in with white
| | 01:44 | so we want to choose white
as our foreground color.
| | 01:48 | Increase my Opacity a little bit more, looks
like we can use pretty high Opacity here as
| | 01:52 | we start to paint over these different areas
of our picture, and just look to try to bring
| | 01:58 | down the brightness there in the background
and just paint back and forth over the areas
| | 02:02 | where you think this will help out most.
| | 02:05 | And by doing this, again, it just allows us
to bring more focus to the subject, because
| | 02:10 | the eye goes to these areas of
brightness, it also goes to areas of focus.
| | 02:15 | We want this to be about the
subject, not about the background.
| | 02:19 | So here we're just looking to
try to darken that up a bit.
| | 02:21 | If we click on the eye icon you can see here
is our before and then now here is our after.
| | 02:28 | Whenever you're painting something in even
if you aren't using a stylus, you'll want
| | 02:33 | to increase the Feather.
| | 02:34 | So whether you're using a stylus or mouse,
just increase the Feather because it will
| | 02:38 | soften those edges.
| | 02:40 | Well now that we've done that
let's take this even further.
| | 02:44 | But this time let's use a Curves Adjustment
and then mask in the Curves Adjustment into
| | 02:49 | exactly where we want it.
| | 02:51 | So here we'll click on the icon for curves,
and in the RGB composite view, we're going
| | 02:57 | to darken our whites by clicking on
the white point and dragging that down.
| | 03:02 | We can also click and drag down the curve a
little bit to darken up some other areas.
| | 03:08 | If you're worried about the darker tones down
here, well you can click and drag those up
| | 03:12 | to kind of save some of those as well.
| | 03:14 | Next, let's do the same thing
as before, invert the mask.
| | 03:18 | Do you remember the shortcut? It's
Command+I on a Mac or Ctrl+I on Windows.
| | 03:23 | And then here once again we'll use our
brush, we want to paint with white.
| | 03:27 | This time I'm going to increase my Opacity.
| | 03:29 | I'm actually going to remove the pressure
sensitivity because I want to apply this pretty
| | 03:34 | significantly. I want to apply it all over
these different areas of the photograph so
| | 03:39 | I have a really high opacity value here.
| | 03:42 | This allows me to take down
those really bright whites.
| | 03:45 | As you're doing this, if you're concerned that
you might be going too far, well just keep
| | 03:49 | in mind we can always work with the layer
to decrease the Opacity of that layer, or we
| | 03:54 | can feather the edges, or we can do a lot
here to customize exactly how we want this.
| | 04:00 | Well now that we've done that and we've started
to kind of bring down the brightness of some
| | 04:04 | of these areas here in the background, we click
on the eye icon for that before and after.
| | 04:10 | We can modify how dark we want that to go or how
bright, and we can also control the Feather.
| | 04:18 | Increase the Feather to smooth out those
brushstrokes, this will make more even transition with the
| | 04:23 | way that we've darkened that.
| | 04:25 | And here you can see that overall before and
after. We're getting it to a better place.
| | 04:30 | Now we don't want to go too dark with the
background because we're going to be increasing
| | 04:35 | contrast with one of the steps that we'll be
taking next, and that's a step where we're
| | 04:40 | going to be adding some film grain.
| | 04:42 | So we still want a pretty bright image.
| | 04:45 | So again as you're making these adjustments
if you've gone too far with any of these,
| | 04:50 | we'll click in through the layer and then
decrease the Opacity. Again, just so that you
| | 04:54 | have an image where the
background is darker but not too dark.
| | Collapse this transcript |
| Adding film grain| 00:00 | Digital capture is stunning. The
precision really is phenomenal.
| | 00:05 | Yet sometimes a digitally captured image can be
too perfect and that's definitely the case here.
| | 00:11 | I want to create a photograph which is timeless and
maybe which has a little bit of a nostalgic appeal.
| | 00:18 | So here I'm going to add some film grain,
I'm going to add some imperfection in order
| | 00:22 | to smooth out this photograph
and to give it a different feel.
| | 00:26 | So in order to add a film grain step we're going
to go through a handful of different steps.
| | 00:31 | So this may be one of those movies that
you'll want to watch a couple of times.
| | 00:35 | Well before we get to the effect
let's first organize our Layers panel.
| | 00:40 | Click in one of your layers for your color
adjustments and then hold down the Shift key
| | 00:43 | and click in another and
let's group those together.
| | 00:47 | To do that press Command+G on a Mac or Ctrl+G
on Windows and let's name these layers color.
| | 00:53 | In this way we can turn on and
off all of those color effects.
| | 00:58 | Next what we need to do is to merge all of
the underlying layers to the topmost layer.
| | 01:03 | And to do that we need to use a rather
long keyboard shortcut combination.
| | 01:09 | On a Mac you'll press Shift+Option+Command+E,
on Windows you'll press Shift+Alt+Ctrl+E.
| | 01:17 | Now while that is kind of a long
shortcut it's definitely worth learning.
| | 01:20 | You want to write that one down because it's
really helpful, because it combines all that
| | 01:25 | we've done so far to the topmost layer so
that we can now add film grain to all of these
| | 01:30 | different effects which we've already applied.
| | 01:33 | So let's rename this layer grain.
| | 01:37 | Next what we're going to do is we're actually
going to load the Luminance value of the Red
| | 01:41 | channel and turn that into a mask.
| | 01:44 | Now I know that that sounds kind of strange,
but just stick with me and I think you'll
| | 01:49 | see in a couple of minutes
why this is worthwhile.
| | 01:52 | So here we're going to navigate to the Channels
panel and we have the Red, Green and Blue channel.
| | 01:58 | Well if you Command+Click on a Mac or Ctrl+
Click on Windows, any of these channels, you will
| | 02:04 | turn them or convert them into a selection,
and that's exactly what we want to do.
| | 02:09 | So Command+Click or Ctrl+Click the Red channel.
Here you can see it's selecting the Red channel.
| | 02:15 | Next, go back to the Layers panel.
| | 02:18 | Back in the Layers panel, what we're going
to do is we're going to add a layer mask to
| | 02:21 | this particular layer here and we'll do
that by clicking on the Add Layer Mask icon.
| | 02:28 | Now right now it doesn't really look like
anything happened, yet if we turn off the
| | 02:33 | visibility of our underlying layers, what
you can see is that we don't have everything
| | 02:39 | in this layer, rather we have
different values at different intensities.
| | 02:44 | Why this is helpful when it comes to film
grain is it will help us apply the film grain
| | 02:49 | in a way that isn't uniform, but rather that
is kind of distributed throughout the image
| | 02:54 | based on tonality.
| | 02:57 | Well let's turn on the Visibility of those
other layers and then let's target the image
| | 03:01 | rather than the mask, so click into that icon
there, then let's zoom in on the photograph.
| | 03:07 | Press Command++ or Ctrl++ to do so.
| | 03:10 | Then we'll go to our Filter pulldown menu,
here we're going to choose Noise and then
| | 03:15 | we'll select Add Noise.
| | 03:17 | And again we want to make sure that we're
adding noise to the image, not the mask.
| | 03:22 | Well here I'm going to increase the Amount
just by way of illustration. This isn't going
| | 03:26 | to be a good adjustment, but I think it will
help you understand why we're using this Channel
| | 03:32 | mask and why we're going
through all of these steps.
| | 03:35 | So here I have a really high Amount, Gaussian
and Monochromatic, that's what you always want
| | 03:40 | to use when you're adding
film grain, and we'll click OK.
| | 03:44 | And what I want to do is
illustrate why this mask is valuable.
| | 03:48 | To do that I'm going to Shift+Click my mask.
That will temporarily turn it on or off.
| | 03:53 | So when I turn this mask off, you can
see the grain is just everywhere.
| | 03:58 | It's like the grain is
sitting on top of the image.
| | 04:01 | Yet when we turn this mask back on all of a
sudden it's like the grain is part of or
| | 04:06 | it's embedded in the
photograph, and that's what we want.
| | 04:10 | Well let me undo this
exaggerated amount of grain.
| | 04:13 | To do that I'll press Command+Option+Z a
few times to step backwards in my history.
| | 04:19 | Next, I'll go back to the Filter, Filter >
Noise and then add some noise, and here rather than
| | 04:26 | having that amount so high, I'll go ahead and
decrease this to about, I don't know, something
| | 04:30 | less than ten. Perhaps nine might be good.
| | 04:33 | For more precision, hover over the word amount
and then use those scrubby sliders to make
| | 04:39 | smaller adjustments to the amount of
grain that you're adding to your photograph.
| | 04:43 | And again here what we're looking for is just to
add a little bit of imperfection to the frame.
| | 04:48 | I'll decrease this amount even further and
then I think perhaps right around six is going
| | 04:53 | to look good, and then click OK.
| | 04:56 | If we zoom in further to the photograph we'll
be able to see this and now when I Shift+Click
| | 05:01 | the mask you can see the grain is
everywhere, it's uniform, now it isn't.
| | 05:05 | It helps the grain to blend in, in a
more realistic or interesting way.
| | 05:10 | Next step is to click into the
Mask and to open up the Mask panel.
| | 05:14 | You can do that in CS6 by double-clicking on the mask
or in previous versions just click on the Mask tab.
| | 05:20 | Then we want to feather or blur out that
particular mask. We don't want it to be so perfect.
| | 05:27 | We also want to decrease its Density a little bit to
bring back grain into some of the other areas as well.
| | 05:34 | In doing this, we're just making
sure that that mask isn't too precise.
| | 05:38 | Again, you want to add film grain to
add feeling, not to add precision.
| | 05:43 | Last but not least, we're going to just decrease the
Opacity of this layer and we can experiment here.
| | 05:48 | How much film grain do we actually need or
do we want with our picture? What's great
| | 05:52 | about having this on a separate layer is we
can control this and try to find just the
| | 05:57 | right spot for our photograph.
| | 05:58 | Well I think that looks pretty good.
| | 06:01 | Here we have it, our
before and then now our after.
| | 06:05 | And while these adjustments are going to be
difficult to see in this movie, I'm hoping
| | 06:09 | that as you make these adjustments on your
own files, or on your own images, you'll really
| | 06:14 | start to see that subtle difference that
adding film grain to make when you want to create
| | 06:19 | that type of mood or expression.
| | 06:22 |
| | Collapse this transcript |
| Blending in a wood texture| 00:00 | I'm really excited about this movie because
here we are going to explore how we can take
| | 00:05 | a photograph of an old fence and then blend it
into our picture, so that it adds a different
| | 00:11 | mood or feeling, and this is a technique that can
really help out on a number of different projects.
| | 00:16 | Well let's go ahead and turn on the visibility
of our top most layers, this old fence layer,
| | 00:21 | and let's click into that layer.
| | 00:23 | Well this is a pretty uninteresting
picture of a fence, I have desaturated it.
| | 00:29 | Yet what I want to do is I want to make this
interesting. I want to use all of these lines
| | 00:33 | and textures here.
| | 00:35 | So to do that, we are going to
change the Layer blending mode.
| | 00:38 | Now there are two ways to do that, you can
either click on the blending mode pulldown
| | 00:42 | menu and then choose the mode that you want
to try, let's say like Soft Light, or you
| | 00:47 | can always use a different
blending mode shortcuts.
| | 00:50 | I want share those with you here because they are a
bit more of an advanced way to work with blending.
| | 00:57 | On a Mac you press Shift+Option+F for Soft
Light, on Windows you press Shift+Alt+F. Well
| | 01:05 | either way, change this layer's blending mode to Soft
Light either by using the menu or by the shortcut.
| | 01:11 | Next what we see is that all of a sudden this
adds this interesting kind of dimension or
| | 01:17 | textured look to our photograph.
| | 01:19 | And you know one of the problems with adding
something like this is that the texture is everywhere.
| | 01:24 | What I've found when you're using textures
is you almost always want to mask them off,
| | 01:29 | important areas say like
the face, so let's do that.
| | 01:33 | Here we'll click into the mask, next we'll
press the B key to select our Brush tool, and
| | 01:38 | in regards to our brush, we want to brush
without any Hardness, and a pretty big size brush.
| | 01:44 | We also want to have a relatively low Opacity,
so we'll bring our Opacity down and turn on
| | 01:49 | pressure sensitivity if we have access to a
Wacom tablet or a pressure sensitive tablet.
| | 01:54 | Then we are going to paint with black, which we have
here in our foreground color. We just want to
| | 01:59 | start to paint this away and what this can
do is kind of hide this texture so that we
| | 02:04 | don't really know where
this texture is coming from.
| | 02:06 | I am going to paint across the shirt
as well and some of these other areas.
| | 02:11 | I'm just trying to make this almost fall back
so that we don't know if this were perhaps
| | 02:15 | an old photograph that was distressed or
we can't quite pick out what happened.
| | 02:22 | And you really want to look at the different
connection points of the lines, like this
| | 02:26 | one is connecting a little bit too much on
the shoulder there to this upper line so I
| | 02:30 | am painting that back.
| | 02:32 | Back there in the wall that's okay, the top
of the shirt I wan to fade it back a little
| | 02:35 | bit, and again, all of these little brushstrokes just help
to kind of disguise how we're bringing in this texture.
| | 02:43 | And here with this photograph, I think this
effect works really well, but it works well
| | 02:47 | with all sorts of types of textures, whether
subtle or really dramatic, with all sorts
| | 02:52 | of types of images.
| | 02:54 | Sometimes it helps to just add a little bit of
mood or expression or feeling to your photographs.
| | 03:00 | Well next if we Option+Click on a Mac or Alt+
Click on Windows, we can see all of these different
| | 03:06 | brushstrokes, just nice smooth brushstrokes
here, and what does allow us to do is again
| | 03:11 | just to have the subtlety of that blending in.
| | 03:16 | Now one of the things you may want to
experiment with is duplicating this layer, so that you
| | 03:21 | have it kind of painted away, but you also
have it perhaps a little bit more intense.
| | 03:26 | To do that, press Command+J on
a Mac or Ctrl+J on Windows.
| | 03:31 | Now here we obviously have a lot more of the
texture, in my opinion too much of the texture.
| | 03:36 | Yet if we decrease the Opacity way down, let's
say we bring it up maybe just to 10%, sometimes
| | 03:41 | it can help just to give it a
little bit more bite or fight.
| | 03:45 | And again here we may want to click into the
mask and mask a way where we don't want it
| | 03:49 | or where we find it a little bit distracting.
| | 03:51 | So I am just going to go ahead and go through
that and make sure that this adjustment layer
| | 03:55 | is helping out my overall project.
| | 03:58 | Last but not least we want to click in the
original layer and just experiment too with
| | 04:03 | what would happen if we
were to take the texture out.
| | 04:05 | You know just because we can add something
doesn't necessarily always mean that we should.
| | 04:11 | Yet for this photograph because I have this
idea or this creative vision for this picture
| | 04:16 | to have this kind of look and
feel I think it works well.
| | 04:20 | The only thing that I want to do is just mask
off a few of these lines so they're not quite
| | 04:24 | so dramatic there and I
think we're now good to go.
| | Collapse this transcript |
|
|
3. Making the Final AdjustmentsRetouching the background| 00:00 | This is a part in the tutorial where you become
incredibly impressed with my creative vision
| | 00:06 | and my eye. Well actually, that's not the case,
because I made what I think is a pretty big mistake.
| | 00:14 | And as I processed this file, I've made this
mistake. I did the same thing that we're doing
| | 00:18 | here and I got to this point and I was really
excited and all of a sudden I zoomed out and
| | 00:24 | then I saw this a black
line coming up from his head.
| | 00:28 | I hadn't noticed that the entire time and
you know the eye goes to areas of contrast,
| | 00:35 | and you know in some ways I think that these
lines are kind of interesting but just the
| | 00:39 | intensity of this it isn't working for me.
| | 00:42 | It's something that I had
overlooked. It was a mistake.
| | 00:45 | So what I want to do now is I want
to remove that or retouch that out.
| | 00:50 | So let's go ahead and zoom in on that area of
our photograph and we can do that by pressing
| | 00:54 | Command++ or Ctrl++.
| | 00:57 | Before we start working on a new area it's always a
good idea to organize what we've previously done.
| | 01:03 | So with all of these texture and grain layers
let's go ahead and group them. Click on one
| | 01:08 | layer, hold on the Shift key, then click on
another then press Command+G or Ctrl+G for
| | 01:14 | group, and then we'll go ahead and name this
mood because these layers really are about
| | 01:19 | mood, or expression, or feeling.
| | 01:22 | Well now that we have those grouped
together, we can focus in on this black line.
| | 01:28 | It's going to take a couple of different
adjustments in order to get this right.
| | 01:32 | So let's first create our initial layer that
will do that by clicking on the Add New Layer
| | 01:37 | icon, we're going to go ahead
and just call this line-1.
| | 01:42 | Next we'll press the S key to choose our Clone
Stamp tool. Here we want to use a nice soft
| | 01:48 | edge brush, no Hardness there.
| | 01:50 | We'll take our Opacity up pretty high, we are
going to bring this up to about 75% approximately.
| | 01:56 | And then we'll go ahead and Option+Click or Alt
+Click on a nice good area of the background
| | 02:02 | and then start to bring this over.
| | 02:04 | Now I should point out that if you don't see
anything it may be that you need to change
| | 02:08 | this to All Layers so that we can do all
of our retouching to this new layer here.
| | 02:13 | And what we want to do is you
start to progressively get this out.
| | 02:17 | Now the trick with anything like this is that
you don't want to create repeating pattern,
| | 02:22 | so you'll need to Option+Click or Alt+Click
in a different area and kind of bring in some
| | 02:25 | different texture, so that you're kind of
inventing or almost building a new texture
| | 02:31 | in this area, rather than just
replicating one texture from one area to another.
| | 02:37 | As we get closer to the head we want to use
a smaller brush here, so I'll make my brush
| | 02:41 | smaller by pressing the bracket keys; left
bracket key makes it smaller, right bracket
| | 02:47 | key makes it bigger.
| | 02:49 | And again here we are just going
to Option+Click different areas.
| | 02:52 | And it's not going to be perfect but it will
give us the ability to start to take this away.
| | 02:57 | Next, we obviously have some
problem areas up in here.
| | 03:01 | What I like to do with those is I like to
decrease the Opacity even more, make the Brush
| | 03:07 | even bigger, and then Option+Click or Alt+
Click in a few different areas and kind bring in
| | 03:12 | some new textures there, increase the Opacity,
bring in a different texture. We are just
| | 03:17 | kind of building or making our own
texture for this part of the photograph.
| | 03:22 | Well that's looking fine.
| | 03:24 | We now need to work on the edge
right there, so let's zoom way in.
| | 03:28 | For this edge we'll go ahead and decrease
our Brush size, take our Opacity way up and
| | 03:33 | just start to get in really close here.
| | 03:35 | So with a really small brush, I am going to start
to take this little edge out here, that shadow.
| | 03:41 | And we're going to go back and forth really
carefully. If we make a mistake that's okay.
| | 03:47 | Notice that the film grain structure here
isn't perfect in regards to the new texture
| | 03:52 | that I've built, so I am going to try to
paint over that again, just kind of building up
| | 03:57 | a little bit more here.
| | 03:59 | And then select from another area and build
this up again. You can kind of see how this takes
| | 04:04 | a lot of back and forth as
we start to build that out.
| | 04:08 | Well so far I have this out but I'm not satisfied
with the edge or with the line that I created.
| | 04:14 | I'm also not very satisfied with this texture. It
doesn't have quite the grain structures I need.
| | 04:21 | So we need to take another step to finish
this off and let's go ahead and take a look
| | 04:25 | at how we can do those last
few steps in the next movie.
| | Collapse this transcript |
| Improving the details| 00:00 | Well now that we have roughly removed that
dark line in the background, let's take a
| | 00:05 | look at how we can clean up some of our
details and we are going to do this by merging all
| | 00:09 | of the underlying layers to the top, and then
by using two different parts of what we're
| | 00:15 | going to merge to the top.
| | 00:16 | Let me show what I mean.
| | 00:18 | Let's press that shortcut key combination
which we've learned previously to merge to
| | 00:22 | top; it's Shift+Option+Command+E on a
Mac or Shift+Alt+Ctrl+E on Windows.
| | 00:29 | On this new Merge layer what we want to do
is choose one of our Selection tools, say
| | 00:33 | like the Lasso tool.
| | 00:35 | Here we'll add a little bit of a Feather,
perhaps about two or three pixels, and then
| | 00:40 | we are going to make a selection of the edge of
the head where we have a really nice defined
| | 00:45 | line, and then we are going to
copy that to the topmost layer.
| | 00:49 | To copy it up press Command+J or Ctrl+J,
that's Command+J on a Mac or Ctrl+J on Windows.
| | 00:57 | And essentially what we've done here is if
we grab the Move tool we can see that we've
| | 01:01 | just copied up this little
part of this part of our image.
| | 01:06 | Well we can then use this line over here to
create a little bit of a nicer line because
| | 01:11 | our kind of too smudgy or looks unnatural.
| | 01:16 | So let's press Command+T on a Mac, Ctrl+T
on Windows, we can free transform that and
| | 01:21 | here we are going to rotate that just by
grabbing these corner points. We are just going to
| | 01:25 | try to get this close.
| | 01:27 | And if you move the middle registration
point over to the edge where you have some nice
| | 01:32 | alignment, you can then rotate those other
elements there as well, and then press Enter or Return.
| | 01:39 | Next you can use your arrow keys to just nudge this
around a little bit to where you need it to be.
| | 01:44 | Now it doesn't look perfect but that's
because we haven't done any masking yet.
| | 01:49 | The next step will be to click on the Add
Layer mask icon, then to invert this mask,
| | 01:55 | press Command+I to do that
on a Mac, Ctrl+I on Windows.
| | 02:01 | Then press the B key to select your Brush
tool, we want a nice and small brush so we'll
| | 02:04 | press the left bracket key a few
times to choose a small brush.
| | 02:08 | And we're just going to paint in this little
edge over this area, right where we need it.
| | 02:13 | So we're just going to go ahead and
bring that into this part of our picture.
| | 02:17 | Now if that line still isn't quite on, as mine isn't,
press Command+T on a Mac or Ctrl+T one more time.
| | 02:25 | Make sure you align one of those corners and
then just nudge until you get exactly in the
| | 02:29 | right spot and then press Enter or Return to
apply that, and then of course you can always
| | 02:35 | just nudge that around if you
need to using those arrow keys.
| | 02:39 | And again all that we're looking to do here
is just to kind of build up a nice little
| | 02:43 | edge there for that part of our picture, so
that that part of the head looks a little
| | 02:48 | bit more natural and kind of blends in.
| | 02:50 | Well so far so good.
| | 02:52 | The next step is going to
be to name this layer edge.
| | 02:57 | Then what about this layer where we merged
everything to top? How can we use that once
| | 03:02 | again to fix this area that
doesn't have the right texture?
| | 03:06 | Once again choose the Lasso tool and make a
rough selection of the area where we applied
| | 03:12 | all of this retouching and press Command+J or Ctrl+J.
We're going to go ahead and name this grain.
| | 03:21 | Because on this layer we're going to go to
our Filter pulldown menu, choose Noise and
| | 03:27 | then Add Noise to add a little
bit of grain back into this area.
| | 03:31 | Here if I exaggerate, you can see I am just
adding grain to this part of the picture.
| | 03:35 | So how much grain do we want to
add? Well probably about 1 or 2%.
| | 03:39 | So let's just see, we'll increase this up a
little bit. It looks like actually right around 3%;
| | 03:44 | looks pretty good.
| | 03:46 | There is our before and
after and then click OK.
| | 03:50 | Again we're just trying to hide our track so
that we are not drawing attention to that
| | 03:53 | part of our photograph.
| | 03:55 | Well now that we've done all of this, we can
actually delete this layer that we merged
| | 04:01 | to top. We don't need this
anymore, so let's delete that.
| | 04:04 | Let's zoom out a little bit to see if
all of our edges and lines look good.
| | 04:09 | So here you can see we have some of our little
grain work and also our removal of that background
| | 04:15 | and then of course kind of correcting that line,
and it's these little adjustments together
| | 04:20 | which helped us to successfully remove
that black line from the background.
| | 04:26 | Because these adjustments are all similar,
they're all details, let's group them together.
| | 04:31 | Click on one of the layers, hold down the
Shift key and click on another and then press
| | 04:36 | Command+G for Group, we'll go ahead and just
name these details. These are some of our
| | 04:41 | finishing details,
| | 04:42 | and if we zoom out, we can see those
are little bit more clearly, let's see.
| | 04:47 | There we go, our before and after.
Some really nice detail work.
| | 04:53 |
| | Collapse this transcript |
| Darkening the background with color| 00:00 | Whenever you've been working on an image for a
while, you almost always need to take a break.
| | 00:05 | You need to walk away and then walk
back or look away and then look back.
| | 00:11 | And when I did that or when I do that here
with this photograph, one of the things that
| | 00:14 | I notice is that the
background is still too bright.
| | 00:18 | I want the face in a sense to almost glow
and I want the background to become darker.
| | 00:23 | I also think the surfboard down
blow is much too bright as well.
| | 00:28 | So let's take a look at how we can start to
make some final tonal adjustments to this
| | 00:32 | image to change brightness value
and also a little bit of color.
| | 00:37 | The first thing we'll do is create a new layer,
change the blending mode to Soft Light and
| | 00:41 | then Burn or Dodge with a color.
| | 00:45 | So let's click on the New Layer icon and
then from the pulldown menu choose Soft Light.
| | 00:51 | This is the perfect blending mode for
darkening something, especially if you want to add a
| | 00:55 | little bit of a tint or hue in a certain area.
| | 00:59 | Next press the B key to select the Brush tool,
then hover the Brush tool over your image.
| | 01:05 | Here on a Mac if you press Option, on Windows
if you press Alt, the tool will temporarily
| | 01:11 | turn into the eyedropper.
| | 01:13 | Now we can click around our photograph and try to
click to sample on a really deep dark brown.
| | 01:19 | We want to use a color which is
in our image for this technique.
| | 01:23 | Then we want to increase the brush size, so
you can do that either by pressing or tapping
| | 01:28 | the right bracket key, or by holding down Ctrl+
Option on Mac or Ctrl+Alt on Windows and clicking
| | 01:35 | and dragging to the left or the right in
order to increase or decrease that brush size.
| | 01:41 | Then we want to decrease the Opacity here
and next we're just going to start to paint
| | 01:45 | over the background with this darker color.
| | 01:49 | What's great about this is it's not only going
to darken, but it's also going to add a little
| | 01:53 | bit of color, which I find when you're burning
and dodging, whether it's a fashion photograph
| | 01:58 | or a picture like this can really help out.
It can really help to make the burning and
| | 02:02 | dodging feel and look cohesive.
| | 02:05 | I'll tap the left bracket key to make that
brush smaller and then continue to paint and
| | 02:09 | I just want to build this
up in a few different ways.
| | 02:12 | I'm trying to think about how the eye
is going to travel through this frame.
| | 02:16 | And what I want the eye to do is to kind of
travel through it in a way that it's almost getting
| | 02:22 | lost in the photograph, rather
than getting hung up on any one area.
| | 02:27 | You know as I'm working on this image, you
or your eye may see things that you want to
| | 02:33 | change. Pay attention to that. Trust your
gut as you're making these final adjustments.
| | 02:37 | All right, well next we'll create one more
adjustment layer here, click on the Curves icon.
| | 02:43 | Here I just want to darken
everything up just a little bit more.
| | 02:47 | Then I'm going to mask away the face, so with
our Brush tool we'll paint with black with
| | 02:52 | a higher Opacity here, the face.
| | 02:53 | So I want to have nice brightness there.
| | 02:56 | I mentioned previously that I want to have a
little bit, almost like a sense of a glow
| | 03:00 | around the subject so that he's illuminated.
| | 03:03 | Again, just kind of have a little bit of this,
I don't know, drama or presence or feeling
| | 03:09 | with this picture.
| | 03:10 | I'm trying to hide my tracks a little bit
with the light so you can't quite figure out
| | 03:15 | how it was created, but I'm just painting
back and forth in a few areas and here you
| | 03:19 | can see these last few adjustments.
| | 03:22 | Now click into the mask and in the Mask panel,
blur or feather out your brush stroke so that
| | 03:28 | the light is really smooth. Again, before and
after, again some nice needed adjustments.
| | 03:34 | All right, well that's a pretty
good stopping point for now.
| | 03:38 | Let's go ahead and finish off and
review this image in the next movie.
| | 03:43 |
| | Collapse this transcript |
| Making final tonal adjustments| 00:00 | Next we're going to take a look at how we can
make some tonal adjustments using a couple
| | 00:04 | of different curves adjustments, and how using
these adjustments to target specific tones,
| | 00:10 | in particular the
brightness of the surfboard below.
| | 00:14 | Let's start off by clicking on our
Adjustment Layer icon for Curves, and here what we're
| | 00:18 | going to do is we're going to click and drag
down our white point and then we'll bring
| | 00:22 | up this area for the blacks and bring down
the midtones a little bit so that we have
| | 00:27 | an adjustment which primarily will
allow us to darken this part of the image.
| | 00:32 | Currently it's affecting all of
the image. We don't want that.
| | 00:36 | So what you can do is you can click on the
tab or on the button for the Mask panel.
| | 00:41 | In the Mask panel, we're going to
launch what's called Color Range.
| | 00:45 | Color Range is really unique, it allows us to
click on our image and then to make a selection
| | 00:50 | based on where we clicked.
| | 00:52 | In this case we're going to
click on the surfboard below.
| | 00:55 | We want to choose a Localized Color Cluster so
that primarily it's going to select this area.
| | 01:01 | Now whatever is white is selected.
| | 01:03 | Next, we can use the eyedropper say with the
plus icon next to it and we can click to add
| | 01:08 | more to this selection, so down here I'm just
going to try to add more to this so that I
| | 01:12 | have more of this part of the photograph
selected in this area of the image, and again, I'm just
| | 01:18 | looking to build up a nice
selection of this part of the frame.
| | 01:22 | Next we'll click OK.
| | 01:24 | Now in doing that, you can see that we have
an adjustment which primarily affects the
| | 01:28 | surfboard, although it also
affects the hands. I don't like that.
| | 01:33 | No big deal, grab your Brush tool, go ahead
and choose black as the foreground color and
| | 01:38 | then dial in the Opacity. Here I'll use a
pretty high Opacity level and I'll just mask this
| | 01:44 | away from the hands here, because I actually
want to brighten the hands, if anything I
| | 01:48 | don't want to darken those.
| | 01:49 | I want to have focus on those. I think
it's interesting to see someone's hands.
| | 01:53 | Well now if we click on the eye icon
you can see that before and after.
| | 01:57 | We've definitely darkened
that part of the surfboard.
| | 02:00 | You know sometimes what you might do at this
step is just to blur out those edges, is to
| | 02:06 | increase that Feather amount and that
will make it look a little bit better.
| | 02:09 | Well next, let's duplicate this layer by
pressing Command+J on a Mac or Ctrl+J on Windows and
| | 02:16 | then take the layer blending mode to Multiply.
| | 02:20 | You can do that by clicking on this blending
mode pulldown menu, select Multiply which
| | 02:24 | is a great blending mode
whenever you want to darken something.
| | 02:28 | Of course right now it's too dark so we'll
decrease our Opacity to about 10% or 20% or
| | 02:33 | so and we'll increase the Feather of that
mask, and here again, it's just helping us to
| | 02:38 | darken that area, add a bit more
density to that area of the picture.
| | 02:42 | Here's the before and then now the after.
| | 02:45 | Well last but not least I'm going to
brighten up the hands and then organize my layers.
| | 02:51 | So here we'll click on our Curves Adjustment
Layer icon and make one more adjustment, and
| | 02:56 | I guess I'm laughing there because
we've made a lot of adjustments.
| | 03:00 | Invert the mask, press Command+I
on a Mac, Ctrl+I on Windows.
| | 03:04 | With your brush you'll want to paint with
white, so we'll choose white, we're just going
| | 03:08 | to slowly paint in some brightness here on
the hands, draw a little bit attention to
| | 03:12 | that part of our picture. There it is,
before and after, and then let's organize.
| | 03:18 | This layer which we forgot to name or which
I forgot to name is Layer 1, I'll go ahead
| | 03:22 | and name this bg for background darkening,
and then as I am clicking on that I realize
| | 03:29 | it's a little bit too dark, so I'll decrease
the Opacity on this layer and then I'm going
| | 03:34 | to organize my layers, so click in one, hold
down the Shift key and click in another and
| | 03:39 | then press Command+G on a Mac, Ctrl+G on
Windows to group those layers and we'll call these
| | 03:45 | tone and we can turn this on and off
to see those overall tonal adjustments.
| | 03:52 |
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| Reviewing the final project| 00:00 | Because this project was pretty involved and
complex, what I want to do here is review
| | 00:05 | the steps that we've taken in order to
add some clarity to this overall process.
| | 00:11 | So here I'll press F to go to Full Screen
mode and then I'll press the F7 key to bring
| | 00:15 | up our Layers panel.
| | 00:17 | If you hold down the Option key on a Mac,
Alt on Windows and click on an eye icon, like
| | 00:22 | on the Background Layer, it will turn off
the visibility of all the other layers.
| | 00:26 | And this is a good way to look at our
overall before and then the after.
| | 00:31 | It's also a great way to be able
to step through what we've done.
| | 00:35 | Well this was the original image and as you
remember I said that there is something about
| | 00:40 | this one that caught my eye but I wasn't
quite sure, so I began to experiment.
| | 00:45 | And here we started off with
working on some of the details.
| | 00:49 | It's almost like we created a blank slate.
We're trying to get to know the image. We're
| | 00:52 | trying to figure out
which way to take this file.
| | 00:56 | Eventually, we decided that we are going to
convert it to black and white, and to add these
| | 01:00 | tones or these colors.
| | 01:02 | Well here was that original Black & White
conversion, kind of dull, kind of uninteresting.
| | 01:08 | But then as we started to
bring in the color layers,
| | 01:10 | they started to get a little bit more life,
especially as we worked on different areas
| | 01:15 | of tone like with the background and
all of that interesting texture.
| | 01:20 | Next step was to look at
modifying the overall mood.
| | 01:24 | This is where we blended in a few different
textures and also added some film grain.
| | 01:29 | You can see how those textures all of a sudden
made this image feel like it'd been weathered
| | 01:35 | or worn, like it had been around for a
while; had a different presence to it.
| | 01:40 | Than we looked at working on some details,
in particular, a really important detail up
| | 01:45 | top here that I completely overlooked.
| | 01:49 | And again, it look kind of walking away from
the file and coming back to it in order to correct
| | 01:54 | that and to fix that area of the frame.
| | 01:57 | And then last but not least, we
made some final tonal adjustments.
| | 02:02 | And what's great about all of these different
layers and the way that we've assembled them
| | 02:06 | in this project is that we can
always change what we've done.
| | 02:10 | For example, if we don't like the intensity of
all of this, we'll just click in that group
| | 02:15 | and then lower the Opacity
of all of those adjustments.
| | 02:18 | Or if in that tone group, if one of the
adjustments, like this background darkening isn't quite
| | 02:24 | to your taste, or if you print the image and
it's too dark, well just decrease the Opacity
| | 02:29 | a little bit more to make it a bit brighter, or
darken it. Again, you can dial this in after the fact.
| | 02:35 | And that's the advantage of
working with so many different layers.
| | 02:39 | And then, by grouping those layers together
as we've done, in a sense it's like closing
| | 02:44 | the chapter on a book.
| | 02:46 | We've done that, we're ready
to move to the next step.
| | 02:48 | Yet still we have flexibility if needed to go back
in order to make any needed final adjustments.
| | 02:54 | Well let's take a look at our overall before
and after once more. Here I'm going to zoom
| | 02:59 | in a little bit more on this photograph
so we can see some nice detail here.
| | 03:03 | Here it is our overall
before and then now the after.
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ConclusionArtistic reflections and goodbye| 00:00 | Congratulations on making
it through this project.
| | 00:03 | You know my hope is that what we've focused
in on in this project that it's given you
| | 00:08 | some insight and some inspiration of how you
can start to integrate these techniques into
| | 00:14 | your own workflow.
| | 00:15 | And as you seek to create more compelling
and interesting photographs, keep this in
| | 00:20 | mind; it's never about following someone else's
steps, rather it's about learning from others
| | 00:27 | and then it's about taking your own vision
and seeing how you can make that come to life.
| | 00:32 | Well thanks for joining me in this
project, I hope it was helpful.
| | 00:36 | I look forward to seeing
you next time. Bye for now.
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