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Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.
In this movie, I'll show you how to tint an image using a brightness adjustment layer. And then we'll bring back some of the original colors in the image in order to create a truly custom black and white photograph. If you're working along with me, double-click on the thumbnail for that alt B&W mix layer in order to bring up the Properties panel. And you'll see this checkbox called Tint. Now the idea is this. The last thing you want to do with black and white photographs is print them using a single ink either using an ink jet or laser printer or when you send the image out to a commercial print house.
Because if you just use one ink then your shadows are going to end up looking lightweight. Whereas if you print with multiple inks then they build on top of eachother to give you nice rich shadows. Another thing to think about is when printing just a standard black and white image it may come out a little bit cool, or somehow tinted with some other color, depending on how well your printer is calibrated. So, one way to ensure that you get nice rich blacks and other shadows, as well as achieve a predictable tint, is to turn on this Tint check box.
So, I'm going to go ahead and turn it on. Now, for my money, this is way too much color. Especially, since it's just a single color that's being infused into the shadows, mid-tones and highlights inside of the image. So in other words, we don't have that natural variation in color that we were able to achieve when creating a custom sepia tone using the channel mixer a few movies back. So my suggestion here is to get rid of some of the color, so I'm going to click on this color swatch, and you can change the hue value if you want to infuse this image with something other than warmth.
But I'm going to leave it set to 42 degrees, which is the default, and I don't care about the brightness, but I do want to take that saturation value down quite a bit to a modest 6%. And then click OK, and you can see that we do get a little bit of colorization, and here's the difference. This is the before, strictly black, and white version of the image, and this is the after slightly infused version. Alright, now what I want to do is bring back some of the red in this forward woman's frock.
So, I'm going to alt-click or alt-click on the eyeball in front of the photo layer. And I'm going to go ahead and click on that layer to make it active as well. And I'm going to use the easiest tool for this job which is a quick selection tool. Make sure the Auto enhance check box is turned on. And then, go ahead and drag inside that red area. Now more likely than not, you're going to see the same effect I'm seeing. Which is to say, the selection is left outside of this red area. Don't want that, so I'll Alt-drag, or Option-drag on the Mac.
You may find that you have to Alt+Click or Option+Click multiple times, or even revisit with a click in order to add back to the selection, now Alt+drag or Opt+drag in this region in order to get rid of it. Now we need to zoom in on this little detail there, and I'm also going to reduce the size of my brush cursor and try to see if for all the world I can go ahead and paint this region without having it leap out like it just did. Well, so, the only thing to do is to Alt+drag or Opt+drag inside of this black fabric, and that didn't do quite what I wanted to do, so I'm going to try again.
I'm going to press Ctrl+Z or Cmd+Z on a Mac. In order to re-establish the selection because the last thing I want to do is have to paint up into this region again which is going to make the darn thing jump I'm guessing. If I drag like so, well actually, it's holding on there so that looks pretty good. All right, then I'll, I'll drag or option drag to unpaint some more, maybe click right there and hope for the best. That looks good actually. Now, I'll drag or option drag down like that. And I've done it.
I've managed to select just that little region. I'm going to go ahead and zoom out a little bit here. And now we want to use this selection to mask away the two adjustment layers. So I'm going to turn those two layers on. Click on one, shift-click on the other, and I'll press Ctrl+G, or Cmd+G on the Mac to group em together, and then I'll go ahead and rename this group, black and white group. And I'll add a layer mask, not by clicking on the add layer mask icon, but rather by Alt clicking or Option clicking on that icon In order to mask away that selected area.
And then finally, I want to add a little bit of a feather. So I'm going to double-click on the layer mass thumbnail to bring up the masks panel. And I'm going to raise this feather value up to, let's say, 4 pixels, by pressing Shift+ up arrow 4 times in a row. And that will apply a temporary blur to the mask. I can always come back and change that setting later. All right, now, I'll go ahead and hide the Properties panel. And I'll press Shift+F, in order to switch to the Full Screen mode. And that friends is the final version of this black and white image, fully customized with tint and some natural color here inside Photoshop.
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