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Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.
Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
As a final effect, let's say that we want to take this young lady's irises and we want to color them differently than the rest the image; we want them to appear sort of greenish blue, for the sake of contrast. We can even use this layer mask right here, that's associated with the Monochrome layer, that we created in advance a few exercises go. We can cannibalize it, repurpose it with these other layers. So here's how it works. I'm still working along. I've gone ahead and saved my changes as Gradient girl.psd. We need to clean things up a little bit, so that we have some room to spare in our Layers Palette, as we're working inside the Adjustment Palette in just a moment.
So I'm to group our existing layers into pairs. So I've got sepiatone right now selected. I'll Shift+Click on B&W so both of those layers are selected. Then I'll go up to this little menu icon right there, click on it to bring up the Palette menu, and I'll choose this command, New Group from Layers. Brings up the dialog box and I'm going to call these two layers sepiatone, because really together they make up the sepiatone, even though that layer is already called sepiatone, I really don't care. I'm going to click OK in order to create that new group. Then you can twirl it open if you want to. It looks like a folder and it contains these indented files to show that they're inside the folder, and then you can twirl it close again, just by clicking on that triangle.
Now, I can take this Layer Mask and I can just drag it onto the group. That goes ahead and exposes the original colors of the irises. It moves the mask, so it moves it off of Monochrome, moves it onto the sepiatone group, so that it's affecting both sepiatone and B&W, which is very important. So we need a group to pull off that affect. Alright. This next group isn't absolutely necessary, but it's just going to help us tidy things up. I'm going to click on monochrome to make it active, Shift+Click on spooky, and then we'll go ahead and group these layers as well.
Another way to group layers is to just press Ctrl+G or Command+G on the Mac, groups them together. Awesome! Then you can name whatever you want. I'm going to call mine unused, like so, and now we've saved ourselves quite a bit of space inside of this document. Alright. The next thing that I want to do is I want to change the color of her irises, and I'm going to do that using a Hue/Saturation adjustment layer. So let's go to the Adjustments Palette, make sure the background layer is active, and then I want you to Alt+Click or Option+Click on that Hue/Saturation icon right there. That's bring up the New Layer dialog box, and we'll call this greenblue eyes, or something along those lines, and then click OK.
Now, I'm going to change the Hue value. Notice as I rotate the Hues what happens here. I can change the Hue value and I'm saying different Hues, different colors inside of her irises. Then at about this point things start to go really cafluey. We really start to darken up the image, and it gets pretty intense and creepy and stuff like that at 140, which is what I want. Now, why in the world is the image getting so dark? The answer is, because we've now really changed the colors that are being used by the B&W adjustment layer above them. So here, I'm going to go ahead just hide this unused layer.
Then I'm also going to hide sepiatone, so that we can see she has totally got a different color scheme going. As soon as B&W hits that; if we look at the B&W settings, we're telling it to really sort of darken up the Cyans, and we are hitting the Cyans at this point, her flesh is turning Cyan, so she is going very dark. I guess I could brighten Cyan if I wanted to, or I could retrieve my previous settings; actually, that's looking pretty good, I like that, or though, I could go ahead and retrieve my previous settings by doing this. This is pretty interesting what we're about to do.
I'm going to hide my Adjustments Palette, just so I have a little bit more room. I'm going to grab the greenblue eyes layer, and I'm going to Alt or Option+drag it, so I have my Alt key down, my Option key down on the Mac, and drop it onto the sepiatone group right there; don't drop it inside, drop it on it, like that. That way it will go to the bottom of the stack here inside of the folder. If you drag it to some other location, it will go to that location in the stack, but I want it at the bottom before B&W hits it. This is greenblue eyes copy, we're now going to rename this restore hues, and then I'll press the Enter key or the Return key on the Mac. Let's check out our settings in the Adjustments Palette, and I'll change this value to -140, and that goes ahead and reestablishes the settings we had before.
Now, I'll go ahead and turn off B&W by the way, and I'll turn off the sepiatone layer here inside this group. I'll Shift +Click on the Layer Mask to turn it off for a moment. Notice that we have gone ahead and established the original color scheme. So basically what's happening here is that restore hues completely cancels out greenblue eyes. So why in the world would we do that, why would we just cancel out one layer with another layer? Then of course B&W then traps it properly and goes ahead and creates the gray scale effect that we were looking for. sepiatone does its thing.
So how in the world were we able to preserve the colors of the eye still, and that's because this Layer Mask, if I Shift+Click on it in order to turn it back on, is affecting the entire contents of the folder, which includes restore hues. So restore hues is being masked in the eyes and therefore the greenblue eyes are revealed right there at that location. But as I say, I'm sort of looking at this effect going, gosh, I don't know about this, its okay, but it does have some posterization that I'm suddenly quite aware of here. I really liked the effect I had achieved just a moment ago, so I'm going to turn restore hues off. I'm going to go back to B&W; and this is the kind of stuff you can do with adjustment layers, you can just decide, I thought that was going to work but it doesn't really work the way I want it to. I'll just turn it off in case I decide to come back to, in case I change my mind.
Let's go to B&W and adjust its settings, because I can, and I'm going to raise that Cyan setting now to, let's say, 85, and we get this effect here, which I think looks really great. So now I'll go ahead and twirl close that folder, and this is the final effect folks. I think this is enough. I think we've worked inside of this project file enough now. I'm going to go ahead and fill the screen with this image. Doesn't she look awesome? Actually, let's bring back the Layers Palette, let's move her over a little bit so we can see her. I'll Alt+Click or Option+Click on the eyeball in front of the background layer. This is the original version of the image. Looks very good of course, very nice looking image. But this is the stylized version of the image, which looks even cooler, thanks to our use of several different adjustment layers working together, all nondestructively, all editable all the time.
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