Fixing problem coronas (pupil edges)

Video: Fixing problem coronas (pupil edges)

In this final exercise of the chapter, we are going to complete the correction of the red eyes inside of this photograph by fixing Max's eyes right here which are the peskier, more troublesome eyes because they have those wicked dark coronas around the pupils. I am still working inside the image called In A Perfect World.psd that I opened in the previous exercise, and I apply the Dummy Layer, you may recalled in order to correct Sam's pupil, so here are his pupils without that Dummy Layer, here are his pupils with the Dummy Layer. I will go ahead and zoom in so you can see that better. This is without and this is with.

Fixing problem coronas (pupil edges)

In this final exercise of the chapter, we are going to complete the correction of the red eyes inside of this photograph by fixing Max's eyes right here which are the peskier, more troublesome eyes because they have those wicked dark coronas around the pupils. I am still working inside the image called In A Perfect World.psd that I opened in the previous exercise, and I apply the Dummy Layer, you may recalled in order to correct Sam's pupil, so here are his pupils without that Dummy Layer, here are his pupils with the Dummy Layer. I will go ahead and zoom in so you can see that better. This is without and this is with.

So a slight correction but a meaningful correction goes ahead and deepens those pupil so that they better match the environment so that they look more naturalistic. And we are keeping the highlights, so we are not over-correcting, don't you know the pupils are a little lighter than you might expect but they look great. I think, somebody coming to this corrected image would think this is the way it was originally photographed, which is of course the whole idea. All right, let's move over to Max's pupils and you can see they've got those coronas, I will go ahead and zoom in, by which I mean those thick black outlines right there and the pupils look very different from each other; one is nice and round, the other is sort of strangely shaped, which is either a function of the way that the pixels were captured by the camera or possibly Max's iris was actually in flux, during the photograph that might have happened as well.

But anyway we are going to take care of all these problems, we are going to make the eyes look nice and dark, we are going to make those pupils look black, we are going to keep the highlights, we are going to get rid of the coronas, and we are going to make both of the eyes symmetrical so that they look a little more normal. All right, and here is how we are going to do. We are going to start things off by generating our own selection outlines. People, go ahead and grab the Elliptical Marquee tool from the Marquee tool Fly-out menu, zoom in a little more on this left eye, Max's right eye, of course, and I want you to select like so. So the idea is that we are selecting the entire pupil including the corona, with a hard edge selection or at least it is anti-alias but it's not soft.

We are not going to blur it or feather it or anything like that, so you want to make sure to select about as much as you are seeing me select here on screen. If you select too little or too much, the effect isn't going to look right, so you want to make sure that you get that corona as well as the pupil. Now I want you to go down to the bottom of the Layers palette. Press the Alt key or the Option key on a Mac and click black white icon and choose the Brightness/Contrast command once again because it too will serve as a Dummy Layer for fixing the pupils here. We will call this layer Max, click OK, don't make any modifications inside the Brightness /Contrast dialog box, just click OK again.

And I want you to change this blend mode here from Normal to Multiply, so that we are burning in the effect. We are using the image to multiply itself essentially, to darken itself, and we get a better looking pupil, I think it actually looks quite a bit better so I completely fixed but it's fixed enough it will look good. The corona however looks terrible. We have made the effect even worse, we have made that edge even darker, we are going to take care of that dark edge by adding a couple of layer effects, by adding an outer glow and an inner glow effect. So I want you to click on the Effects icon and we will start by choosing Inner Glow. So go ahead and choose that command, and that does fix the corona to a certain extent but it does makes it nice and bright and light now, like he has got some sort of sun inside of his eyes.

So let's change that color, also let's change the blend mode, I am going to change the mode from Screen to Normal and then I am going to click on the Color. Now ideally, we could just go ahead and lift the color from the iris, but if I try to click with the eyedropper there I am going to get black. Notice that if I click in his flesh, I get black as well. What's that about it? If I click in the white of his eyes, I get black. The only time I don't get black is if I click inside the dark pupil, in which case, I get white, what kind of wacky upside down world is? Well, we are lifting colors from the layer masks. That's all that Photoshop can see when you are working on an adjustment layer like this, so we can't see the actual composite image, which is a big pain in the neck.

Luckily, I went ahead and researched the color of the irises in advance, and this is what they are, in the case of this image. Now I don't mean to make it sound like this is some kind of magical fix, every value that I enter for every single image you encounter, rather the fact that we are using Outer Glows and Inner Glows to correct the corona, that's the proper approach. So this Dummy Layer combined with Multiply, combined with Outer Glow and Inner Glow to defeat the corona, that's your approach, you can use that in another images as well. The specific values you work with though, you are going to have find those out on your own, you are going to have to experiment.

So I am going to change the Hue value to 110, the Saturation value to 10 so very low, and the Brightness value to 23 which might seem like wow! Is that a specific brightness value? Yes it is, and it happens to work out very nicely for this particular image. All right, I will go ahead and click OK. I am going to take the Opacity value up to 100%. I am going to take the Noise value up to 10%, so that we have a little bit of noise action right there. And I am going to take the Size value up to 6 pixels like so. Now that softens the inner edge of the eye pretty nicely, we need to take care of the outer edge, and I am going to assign an Outer Glow like so, change the blend mode to Normal, we want the same color. So I am going to once again enter 110, 10, and 23, and I will click OK. And an Opacity of 80% works a little better for this outer edge, and then, I am going to take the Size value down to 3.

Now it might be attempting to take it up but if you take it up, you are going to encroach on the eyelashes, and you don't want to do that, so take it down to about 3 and I am going to change the technique from Softer to Precise. So that we are precisely tracing the outline of that pupil. Now if you find that you still have an edge after these values here, so here's the values oops! I want you to take the Noise value up as well. So we want 80, 10, 0, 3, Precise, you got the color, that's a 110, 10, 23. And this is our Inner Glow settings right here. Make sure blend modes are always set to Normal for both of these. We've the Opacity value of 100%, Noise of 10, 0 for Choke, Size 6, Softer is fine here, click OK.

If you are still seeing a weird edge right there is because you didn't draw your selection outline big enough from the first place and it needs to be a little bit bigger is probably might yes. Or might have to be smaller, but you are going to have to fool around with that, so it is important to get that right. Let's go ahead and zoom out a little bit. I have gone ahead and fixed this pupil. It may not look like it's completely 100% fixed, but as soon as we zoom out, you will see it looks great. Now I want you to go ahead and grab this area like this, go ahead and make a big selection around this pupil because we are going to duplicate this pupil selection that you may add, we are going to duplicate it over onto the other pupil, and I am going to do that by Ctrl+Alt dragging or Command+Option dragging the pupil. Notice we get a pupil, we can put it right there in the middle of his head if we want to, if we want a third eye to protect my son.

But I want to move it over here into his other eye like so, and it becomes a bigger pupil, notice that it's more dilated then it was before, but it better matches the other pupil and I think it looks more natural as well. And you may need to sort of dance it around a little bit. I am nudging it by pressing the arrow keys in order to get it into the right place because you want it to look like he is looking at the camera, not sort of, you know, looking off in this space over here. You want those eyes to be following you, across the room like he is Monalisa or something.

So just nudge them and it might help to zoom out a little in order to get the nudge right. But that looks good to me, I might nudge it over just a little bit. Actually, now that looks perfect. Okay and that's it. Isn't that great, doesn't it look good from this distance? It's going to look great in print as well, believe me, even though when you are inspected, you can see that you have been there but when you get far away, it looks like this is exactly the way the image was photographed. So here is the original, I will go ahead and turn-off all those adjustment layers with those wicked red eyes and here's our correction. Thanks to taking the proper manual approach to red eye inside Photoshop.

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2h 13m
1. The Odyssey Continues
2m 39s
2. Mapping one image onto another
7m 12s
3. Making a custom contrast mode
7m 10s
4. Luminance blending
8m 40s
5. Forcing the visibility of underlying layers
4m 4s
6. Adjusting the appearance of clipped layers
4m 34s
7. Selecting a Blend If channel
6m 12s
8. Enhancing highlights by hiding them
5m 9s
9. Smart Object first, layer mask second
7m 22s
10. The Fill Opacity Eight
4m 30s
11. Blending Smart Filters
7m 24s
12. Cleaning up edges
7m 39s
13. More fun with luminance blending
6m 22s
14. A first peek at the Calculations command
12m 11s
15. Masking a softly focused model
11m 46s
16. Moving layers and masks between images
7m 35s
17. Matching colors
9m 13s
18. Building transitional blended layers
6m 33s
19. Restoring normal colors
6m 50s

2h 33m
1m 20s
2. Rotating and stretching
7m 54s
3. A jet of motion blur
9m 18s
4. Keyboard tricks
5m 4s
5. Merging sky and landscape
6m 3s
6m 37s
7. Creating two windows into an image
7m 42s
8. Whitening teeth and adding other highlights
3m 46s
9. Mapping a texture onto an image
4m 1s
10. Isolating a texture with a layer mask
6m 44s
11. Welcome to the glass composition
3m 18s
5m 51s
7m 24s
9m 23s
15. Adding and blending the goldfish
8m 45s
16. Assembling the perfect group photo
5m 12s
17. Aligning photographs automatically
5m 26s
18. Masking in each person's best shot
5m 18s
6m 17s
20. Crafting the perfect final poster
5m 16s
21. From the improbable to the impossible
1m 56s
22. The fantastical "world of clones" effect
10m 0s
23. Upsampling and blurring a background
8m 39s
8m 3s
25. Choking edges with Gaussian Blur and Levels
3m 46s

2h 27m
1. The corrective power of masking
1m 6s
7m 22s
3. Brightening and neutralizing the eyes
8m 22s
5m 52s
6m 4s
6. Averaging away irregular flesh tones
3m 52s
7. Modifying specific colors
7m 46s
6m 0s
6m 40s
10. Adjusting the edges around fabric
7m 56s
11. Perfecting hair
9m 35s
12. Sharpening with a High Pass layer
10m 12s
4m 48s
8m 48s
15. Fashioning a depth map
6m 12s
16. Invoking a depth mask from Lens Blur
6m 38s
17. The perfect depth-of-field effect
6m 25s
18. Sharpening an archival photograph
7m 7s
8m 29s
20. Making a High Pass sandwich
7m 46s
6m 2s
4m 6s
4. 13. Channel Mixing and Other Tricks

2h 3m
1. Channel Mixer, I am your father!
1m 39s
2. Three ways to gray
7m 49s
3. Meet the Channel Mixer
8m 26s
4. Mixing a custom black-and-white image
7m 10s
5. Creating a professional-level sepia tone
5m 36s
6. Employing the Black & White command
8m 1s
7. Extreme channel mixing
4m 50s
8. The infrared photography effect
6m 43s
9. Taking shadows to the brink of black
3m 56s
10. Elevating highlights, leeching saturation
5m 58s
11. Deepening a black-and-white sky
5m 49s
12. Infusing luminance levels with color
5m 44s
13. Creating an opposing colorization scheme
4m 58s
14. Bolstering contrast with the Green channel
5m 37s
15. A tiny improvement to a terrific technique
7m 39s
16. The simple (but wrong) approach to red-eye correction
6m 39s
17. Channel-mixing red pupils
9m 18s
18. The expert approach to red-eye correction
5m 20s
19. Fixing problem coronas (pupil edges)
8m 9s
20. Making pupils match
4m 8s
5. 14. Calculations (aka Channel Operations)

2h 33m
1m 37s
2. The Calculations command
8m 16s
3. Blue Screen blending
7m 40s
4. Refining the Blue Screen mask
5m 53s
5. Brushing away color fringing
7m 24s
6. Locking the transparency of a layer
6m 22s
7. Nondestructive layer painting
7m 36s
8. How the Add blend mode works
8m 40s
9. How the Subtract blend mode works
6m 43s
10. Focus, noise, and other masking challenges
5m 33s
11. The Add mode in action
7m 51s
12. The Subtract mode in action
8m 25s
13. Comparing two channels with Difference
5m 24s
14. Enhancing the contrast with Curves
9m 11s
15. Gathering details with Apply Image
9m 43s
6m 6s
17. Dodge and Burn in action
8m 24s
18. Painting in the scalp
10m 1s
19. Painting away the face and chin
4m 53s
20. Compositing complementary images
4m 13s
21. Multiply, Minimum, Blur, and Apply Image
6m 40s
22. Crafting the final composition
7m 7s
6. 15. The Pen Tool and the Paths Palette

1h 57m
1. Mark of the Pen tool
1m 35s
2. The big paths project overview
6m 51s
3. How to make a path
8m 25s
4. Corner points and freeform polygons
8m 6s
5. Editing paths with the arrow tools
5m 2s
5m 15s
7. Adding and deleting interior points
6m 6s
8. Converting a path to a selection
3m 35s
9. Converting a path to a mask
6m 38s
10. Smooth points and control handles
8m 57s
11. Making cusp points
6m 0s
12. Combining paths in a vector mask
7m 55s
13. Turning a path into a shape layer
8m 57s
14. Combining paths to make a layer mask
7m 52s
15. Mixing layer and vector masks
10m 14s
16. Editing character outlines as paths
8m 39s
17. Using the Convert Point tool
7m 8s
7. 16. Masking the Tough Stuff

3h 17m
1. Where there's a will, there's a way
1m 18s
4m 10s
3. Applying the cast show
4m 2s
3m 7s
5. Applying an arbitrary map
3m 50s
7m 17s
7. Roughing in an object mask
6m 49s
8. Drawing missing details with the Lasso tool
4m 7s
9. Combining flesh and object masks
3m 53s
4m 10s
11. Selectively choking edges
3m 58s
12. Power duplication in Photoshop
7m 9s
5m 48s
14. Using Levels to mask iterations
3m 14s
15. Drawing an iteration boundary
4m 55s
16. Merging the best of two Levels iterations
4m 4s
17. More fun with Dodge and Burn
6m 14s
18. Fixing edges with the Pen and Stamp tools
7m 29s
19. Pulling from another file with Apply Image
4m 52s
20. Blending clipped layers independently
5m 43s
9m 22s
22. Amplifying the flame
3m 53s
23. Masking an image against a busy background
5m 15s
24. The Freeform and Magnetic Pen tools
6m 52s
9m 32s
26. A more deliberate approach to arb maps
10m 51s
27. Combining arb maps with paths
9m 28s
28. Masking with the help of the History brush
11m 38s
29. Creating a High Pass mask
7m 25s
30. Coloring in the outlines
8m 31s
31. Mastering Calculations
7m 29s
32. Subtracting and merging the beak
11m 6s
8. 17. 16-Bit/Channel and HDR

1h 33m
1. The meaning of bit depth (and why you care)
2m 50s
2. Scanning line art in 8-bit and 16-bit
5m 9s
3. Measuring the 16-bit difference
8m 9s
4. Correcting 8-bit images in the 16-bit space
9m 31s
5. Opening a raw image directly in 16-bit
6m 13s
6. Editing in Camera Raw, opening in 16-bit
8m 22s
7. 16-Bit/channel vs. 32-bit/channel (HDR)
8m 18s
8. Working with auto-bracketed photographs
5m 6s
9. Using the Merge to HDR command
6m 0s
6m 0s
11. Building a 32-bit sky mask
6m 29s
12. Properly exposing land and sky
4m 25s
13. Modifying a layer mask in 32-bit
4m 56s
14. Converting to and correcting in 16-bit Lab
12m 7s
9. 18. DMaps and Lighting Effects

2h 8m
1. Photoshop flirts with the third dimension
1m 13s
2. The displacement map
8m 24s
3. Making custom waves
7m 14s
4. Creating a Gaussian distribution
4m 32s
5. Using a two-channel displacement map
6m 28s
6. Creating a rustic edge effect
8m 21s
7. Distorting and shading with a DMap
6m 34s
8. Moonlight reflecting off water
8m 48s
9. Mapping the reflection onto the water
7m 7s
10. Dipping the moon into the water
6m 18s
11. Turning flesh into stone
7m 55s
12. Wrapping the stone around the face
7m 27s
13. Softening a displacement map
8m 5s
14. Making a repeating watermark pattern
9m 22s
15. 3D embossing with Lighting Effects
10m 48s
16. The amazing credit card type effect
6m 56s
17. Lightening the credit card letters
6m 16s
18. Wrapping the background around the text
6m 27s

1m 43s
1. Goodbye
1m 43s

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