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Enhancing eyes


Photoshop CS4 Essential Training

with Jan Kabili

Video: Enhancing eyes

The eyes are the most important part of a subject's face. If the eyes are red or have dark circles underneath them, they can really detract from the beauty of the subject. In this movie, I'll show you some ways some ways to make tired eyes look better. I'm working in face_5.psd, and I've got two copies of the image open. The one on the right is here just so that I can see my changes on the model's full face and I opened that from Window > Arrange > New Window for face_5.psd. Working in the image on the left, you can see in the Layers panel that there are number of layers here already.
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  1. 2m 31s
    1. Welcome
      1m 27s
    2. Using the example files
      1m 4s
  2. 25m 14s
    1. Touring the interface
      4m 25s
    2. Working with tabbed documents
      5m 15s
    3. Using tools efficiently
      3m 51s
    4. Arranging panels
      3m 53s
    5. Customizing keyboard shortcuts
      2m 50s
    6. Saving a custom workspace
      3m 0s
    7. Changing screen modes
      2m 0s
  3. 19m 3s
    1. Touring the Bridge interface
      6m 31s
    2. Opening images from Bridge
      1m 20s
    3. Reviewing images
      4m 42s
    4. Finding images
      6m 30s
  4. 44m 53s
    1. Setting preferences
      4m 23s
    2. Choosing color settings
      8m 11s
    3. Zooming and panning
      5m 27s
    4. Resizing and image resolution
      3m 17s
    5. Adding to the canvas
      2m 2s
    6. Rotating the canvas
      1m 44s
    7. Choosing color
      4m 49s
    8. Sizing a brush tip
      3m 4s
    9. Undoing and the History panel
      5m 0s
    10. Saving and file formats
      3m 29s
    11. Creating a file from scratch
      3m 27s
  5. 37m 58s
    1. Making geometric selections
      6m 14s
    2. Modifying selections
      4m 43s
    3. Combining selections
      3m 16s
    4. Using the Quick Selection tool
      5m 34s
    5. Refining selection edges
      4m 12s
    6. Using Quick Mask mode
      2m 18s
    7. Selecting with the improved Color Range command
      4m 32s
    8. Selecting with the Magnetic Lasso tool
      2m 28s
    9. Using the Background Eraser tool
      3m 7s
    10. Saving selections
      1m 34s
  6. 39m 56s
    1. Understanding layers
      5m 43s
    2. Creating layers
      5m 12s
    3. Working in the Layers panel
      2m 19s
    4. Locking layers
      4m 17s
    5. Working with multiple layers
      4m 6s
    6. Merging and flattening layers
      3m 55s
    7. Adding a shape layer
      4m 43s
    8. Basic layer masking
      4m 23s
    9. Using layer blend modes and opacity
      5m 18s
  7. 23m 19s
    1. Cropping
      3m 26s
    2. Straightening
      3m 17s
    3. Transforming
      4m 42s
    4. Working with Smart Objects
      6m 48s
    5. Using Content-Aware Scaling
      5m 6s
  8. 1h 10m
    1. Reading histograms
      4m 21s
    2. Using adjustment layers and the Adjustment panel
      6m 4s
    3. Adjusting tones with Levels
      7m 49s
    4. Limiting adjustments with layer masks
      5m 40s
    5. Using masks in the new Masks panel
      6m 9s
    6. Limiting adjustments by clipping
      3m 6s
    7. Adjusting with Shadow/Highlight
      5m 7s
    8. Adjusting with Curves
      7m 37s
    9. Adjusting with Hue/Saturation
      3m 42s
    10. Adjusting with Vibrance
      2m 16s
    11. Removing a color cast
      4m 26s
    12. Using the Black & White adjustment layer
      2m 39s
    13. Using the Dodge Burn and Sponge tools
      4m 11s
    14. Reducing noise
      2m 39s
    15. Sharpening
      4m 42s
  9. 38m 0s
    1. Using the Spot Healing Brush tool
      5m 17s
    2. Using the Healing Brush tool
      5m 51s
    3. Using the Patch tool
      4m 52s
    4. Using the Clone Stamp tool
      4m 8s
    5. Enhancing eyes
      9m 29s
    6. Changing facial structure
      5m 0s
    7. Softening skin
      3m 23s
  10. 44m 38s
    1. What's a raw image?
      4m 25s
    2. Touring the Camera Raw interface
      7m 35s
    3. Working in the Basic panel
      7m 54s
    4. Working in the Tone Curve panel
      2m 21s
    5. Working in the HSL/Grayscale and Split Toning panels
      3m 46s
    6. Looking at the other Camera Raw panels
      3m 45s
    7. Using the Adjustment Brush tool
      4m 2s
    8. Using the Graduated Filter tool
      3m 56s
    9. Working with multiple files
      6m 54s
  11. 21m 6s
    1. Using the Brushes panel
      8m 30s
    2. Filling with color
      3m 49s
    3. Replacing color
      4m 14s
    4. Using gradients
      4m 33s
  12. 16m 55s
    1. Working with point type
      9m 59s
    2. Working with paragraph type
      3m 17s
    3. Warping text
      3m 39s
  13. 25m 23s
    1. Adding a layer style
      4m 6s
    2. Customizing a layer style
      3m 35s
    3. Copying a layer style
      3m 5s
    4. Creating a new style
      3m 32s
    5. Using Smart Filters
      5m 22s
    6. Working in the Filter Gallery
      5m 43s
  14. 13m 14s
    1. Auto-blending focus
      4m 47s
    2. Creating Photomerge panoramas
      4m 2s
    3. Combining group photos
      4m 25s
  15. 23m 27s
    1. Creating an action
      7m 16s
    2. Batch processing with an action
      6m 36s
    3. Using the Image Processor
      9m 35s
  16. 29m 20s
    1. Printing
      11m 32s
    2. Making a contact sheet from Bridge
      6m 12s
    3. Creating a web gallery from Bridge
      7m 17s
    4. Preparing photos for the web
      4m 19s
  17. 30s
    1. Goodbye

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Watch the Online Video Course Photoshop CS4 Essential Training
7h 55m Beginner Oct 13, 2008

Viewers: in countries Watching now:

Photoshop has become an indispensible tool for photographers, designers, and all other creative professionals, as well as students. Photoshop CS4 Essential Training teaches a broad spectrum of core skills that are common to many creative fields: working with layers and selections; adjusting, manipulating, and retouching photos; painting; adding text; automating; preparing files for output; and more. Instructor Jan Kabili demonstrates established techniques as well as those made possible by some of the new features unique to Photoshop CS4. This course is indispensable to those who are new to the application, just learning this version, or expanding their skills. Example files accompany the course.

Topics include:
  • Learning and customizing the interface and workspace
  • Utilizing various manual and guided selection techniques
  • Working with Adobe Camera Raw
  • Adding special effects with layer styles and Smart Filters
  • Creating Photomerge panoramas
  • Optimizing photos for the web and creating web galleries
Jan Kabili

Enhancing eyes

The eyes are the most important part of a subject's face. If the eyes are red or have dark circles underneath them, they can really detract from the beauty of the subject. In this movie, I'll show you some ways some ways to make tired eyes look better. I'm working in face_5.psd, and I've got two copies of the image open. The one on the right is here just so that I can see my changes on the model's full face and I opened that from Window > Arrange > New Window for face_5.psd. Working in the image on the left, you can see in the Layers panel that there are number of layers here already.

We have been doing some retouching using the Healing Brush, the Patch tool, and the Clone Stamp tool. I'm going to use the Healing Brush again, but I am going to do it on yet another layer. So, I will go to the Create New Layer icon at the bottom of the Layers panel, make a new layer and I'll call this lefteyecircle and press Return or Enter. I'll get the Healing Brush tool. I'll check in the Options bar that it's going to be sampling from the current layer, the lefteyecircle layer, and below. So that the tool looks at the layers below including the photo layers below to find good pixels and then lays them down on this lefteyecircle layer.

Now I'm going to go into my image and I'm going to press the Right Bracket key to make my brush bigger. I'm going to hold down the Option key on a Mac or the Alt key on a PC and click on this unblemished skin underneath the dark circle to sample some good pixels. Then I'm just going to come over that dark circle and drag. At first, that's not going to look very good, but when I release my mouse, the Healing Brush tool blends those good pixels into the pixels underneath. We'll do it another time from the other side.

Option or Alt+clicking here on some unblemished pixels, and then running over the dark circle, and then I can just come in and fix up this area where I see a little bit of a pattern. I'll make my Brush a little bit smaller, I'll hold the Option or Alt key, I'll sample some pixels a couple of times, and I'll click a couple of times. Up here is a little bit where I might do the same. Now take a look at the difference between this eye that I just worked on and the other eye. I think that's quite an improvement.

If I go to the lefteyecircle layer and I click the eye icon to the left of the layer, you'll see how it was a minute ago and when I click again, you'll see how the eye looks now. The next thing I want to do to this eye is to make sure that the whites in the eye really are white. I'm going to zoom in a little further by getting the Zoom tool and zooming in like this. You can see that this eye isn't pure white. There is some red here around the edges. So the first thing I'm going to do is to create a Levels adjustment layer to brighten up the white parts and then I'll try to get rid of the red parts with a Hue/Saturation layer.

I'm going to open my Adjustments panel by going up to the Window menu at the top of the screen and choosing Adjustments. I'm going to take the Adjustments panel and drag it beneath the Layers panel, and then I'll close this extra tab group. Here in the Adjustments panel, I'm going to click on Levels. Now I see my Levels controls in the Adjustments panel and all I'm going to do is to take that gray slider and drag it over to the left just a bit to brighten the entire image. Now I don't want the whole image to be this bright.

It doesn't look real. So I'm going to use this layer mask that comes with the Levels adjustment layer, to hide this adjustment from everywhere except for the model's eye. I'll start by filling the layer mask completely with black. To do that, I'm going to press D on my keyboard to switch the foreground and background colors to white and black, and then I'll press X on my keyboard, and that makes the foreground color black. You can see that way over here in the toolbox. In the Layers panel, the layer mask is selected and to fill with that foreground color of black, I'm going to press Option+Delete on the Mac.

That's Alt+Backspace on the PC. So now the Levels adjustment is affecting nothing in the image. I'm going to get the Brush tool from the toolbox and I want to change my colors, so that the foreground color is white. I can either click this double pointed arrow or just press X on the keyboard. Now, I am going to move in with my Paintbrush. I've got a soft medium size brush here, and I'm going to paint across the entire eye including the iris and the pupil and the whites of the eye.

As you can see in the reference image, that doesn't look very good. To fix that I'm going to go to the Levels 1 layer, make sure that it's highlighted and I'm going to go to the Opacity slider and drag to the left to reduce the opacity of that levels change until it looks quite normal. I might stop somewhere around 50%. I'm going to evaluate whether I like the iris and the pupil like this and I think in this model, the iris would look better if it were dark. So I am going to switch my foreground color to black by pressing X on the keyboard and with my Paintbrush, I'm just going to paint back over the iris and the pupil of the eye.

I think you can see that better in this reference image than you can in the closeup. Because this is a Levels adjustment layer, I can modify this adjustment at any time either by increasing the opacity of the layer or by coming in and making a change in the Levels Adjustment panel. Another thing I might do here is to emphasize the catchlights in the eye here and the reflection of those catchlights right here. I'll make my brush a little bit smaller again, and this time I am going to switch and go back to white paint and drag over just the catchlights, and then I'll make my brush a little bigger and I'll drag down here to add that glean.

You can see in the reference image that looks pretty nice. So that's how you can use the Levels adjustment layer along with a layer mask to really spruce up a model's eye, and if there is some red still in the eye, then I'll bring in a Hue/Saturation layer. So I'll go to this large arrow at the bottom left of the Adjustment panel to go back to see the icons in the Adjustments panel and I'll choose Hue/Saturation. That adds yet another adjustment layer in the Layers panel and I'm going to use the controls in the Hue/Saturation Adjustments area by clicking on this On Image control.

This allows me to come right into the photo and click and drag on the red part of the eye to reduce the saturation. I'll click and drag to the left and just the reds on which I have clicked are becoming less saturated. We can do it a little over here too. So I'm going to use the very same mask on the Hue/Saturation layer that I used on the Levels layer. To do that, I'll just hold down the Option key as I click and drag the mask from the Levels layer up to the mask area on the Hue/Saturation layer, and I'll say Yes when asked if I want to replace the layer mask on the Hue/Saturation layer.

So now that reduction of red is affecting only the model's eye. I'll show you how her eye looked a few moments ago by turning off both the Hue/Saturation and the Levels 1 layer. I've brightened it up and I've reduced the red. There is one more thing I'd like to do to make these eyes pop a little bit and that is to add some virtual eye makeup. To do that, I'll go back to the Adjustments panel, I'll click the green arrow, and I'll choose a Levels adjustment again to make yet another Levels adjustment layer.

In the Levels adjustments controls, I'm going to take the gray slider and I'm going to move just slightly to the right to darken the entire face. I am going to fill the layer mask on this Levels adjustment with black by pressing X on my keyboard, so that black is my foreground color, and then pressing the Option+Delete shortcut, that's Alt+Backspace on a PC, for filling with the foreground color. I have now hid the darkening adjustment from the entire image and I'll just paint it back where I want it.

I'll get my Paintbrush, I'll switch to white paint by pressing X on the keyboard, and I'll come in and I'll soften my brush, maybe I'll make it a little bigger than this and I'm pressing the Shift key and the Left Bracket to soften the brush. I'm just going to paint along the edge of the eyelid, darkening there slightly. I can do that on the bottom eyelid too if I want. Also, I'm going to make the brush bigger and paint on the eyebrow. Make it smaller again, and I'm making the brush bigger and smaller using the Left Bracket key to make it smaller, the Right Bracket key to make it bigger.

Now if you look here you can see that that's way too much makeup, but that's okay. I can do two different things here. I could either reduce the opacity of this Levels layer or I could come back to the Levels adjustments and drag the slider a little more to the left, so it's not creating such an extreme effect. There, I think that looks a little better. It's really important that eyes look their best without looking fake. I've shown you a number of different techniques for making eyes look better. One of the things I did is take the Healing Brush and do some coverup of the dark circles under the eye.

You can use that same technique to reduce any wrinkles or crow's feet on an older subject, and you can even come in with the same technique and reduce the shadow on the inner side of the eye. I also have lightened the whites of the eyes, got rid of some of the red, enhanced the catchlights, and added a little bit of eye makeup, all of which combine to make the eye look better. You might want to try all of these things on your own on the other eye and see if you can improve that one too.

Find answers to the most frequently asked questions about Photoshop CS4 Essential Training .

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Q: How can artwork be transferred from Photoshop CS4 to Illustrator CS4 without the background?
A: Save the image in Photoshop’s native PSD format. The background in Photoshop must be transparent, meaning there should be no background layer. (To remove a background layer, move your artwork to a separate layer by selecting and copying the content, minus the background, to a new layer, and then delete the background layer. A checkboard pattern behind your image indicates transparent pixels.) 

In Illustrator, select File > Open, and select the PSD file. In Photoshop Import dialog box, select Convert Layers to Objects.

Q: How do I retouch an image I have of an old photograph I scanned?
A: There are a few courses that address image restoration. Check out the Photoshop CS4 Portrait Retouching Essential Training course, and for problems dealing specifically with old photographs, watch the Restoration movies in chapter 15 of the Enhancing Digital Photography with Photoshop CS2. Additionally, learn how to research and date photos with our Growing and Sharing Your Family Tree course.
Q: A client has asked for artwork to be delivered as JPEGs or BMP files in 16-bit format. In Photoshop CS4, there does not appear to be an option to save an image as a 16-bit JPEG. Is there a way to save JPEG files as 16-bit in Photoshop?
A: Unfortunately, JPEGs cannot be saved in 16 bit. JPEGs, by nature, are 8-bit. So if you open a high-bit image into Photoshop CS4, you will see no option in any of the save dialog boxes to save the file as a JPEG. You would first have to convert the image to 8 bit (by choosing Image > Mode > 8 bits/channel) and then save it as an 8-bit JPEG. If you open a high-bit image into Photoshop CS5, you will see the option to save it as a JPEG in the Save, Save As, and Save for Web dialog boxes.  But the JPEG will not be saved as 16-bit. Instead, Photoshop will downsample it to 8-bit for you  before saving it as JPEG.
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