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Making a localized adjustment in a practical example

From: Inkjet Printing for Photographers

Video: Making a localized adjustment in a practical example

Ben: All right, Amber. We have got the Levels adjustment in place that's adding some extra punch and some whiteness to the image. In the process of it brightening these things up, it's blown out the fingers here. It looks to me like this has maybe lost something, and the fingertips here gone. Ben: So what we're going to do is use the layer mask that's built into the adjustment layer to try to constrain the effects of this brightening. So right now the mask is completely empty. Wherever there's white, that shows that it's like an open stencil, but the Levels effect is going through to the image.

Making a localized adjustment in a practical example

Ben: All right, Amber. We have got the Levels adjustment in place that's adding some extra punch and some whiteness to the image. In the process of it brightening these things up, it's blown out the fingers here. It looks to me like this has maybe lost something, and the fingertips here gone. Ben: So what we're going to do is use the layer mask that's built into the adjustment layer to try to constrain the effects of this brightening. So right now the mask is completely empty. Wherever there's white, that shows that it's like an open stencil, but the Levels effect is going through to the image.

Ben: So we would like to block off the mask in the places where we don't want it brightened. We could do it at the other way; we could fill the mask with black and paint into the mask probably where the areas that we do want brighter, but that would be more painting and-- Amber: Yes. Ben: Personally, I'm lazy. Amber: A lot more time. Ben: Okay, so grab a paintbrush. Amber: Okay, right. Ben: And we'll make sure we have black paint because we are wanting to fill the mask up. It's also not a bad idea to checkup here and make sure that these are set to full strength. Amber: 100%. Ben: Yeah. So make sure the mask is selected, which it is; just click on it.

And now start painting over these areas. Aha! It's coming back. Yeah, that's good. So get his other fingers. So as you're doing that, we're filling up the mask so that the brightening effect doesn't hit those areas. Ben: And I am sure you necessarily have to completely... Amber: Yeah. Ben: But we'll leave it like this for now and we'll go back and put some highlight back on. Amber: Okay. Ben: Go ahead and hit that one. Amber: Completely? Ben: Mhmm. Ben: Yeah, go ahead and completely cover those up; because what we can do--we need to get this hand.

What we can do here is where there's white in the mask we're getting full brightening; where there's black in the mask we're getting none at all. If we paint into the mask with gray or with a semi-opaque brush, we'll get something in between the full effect of the Levels adjustment and no effect at all. Ben: So let's try like 50%. Grab one of these middle-gray shades here, and now maybe--well, that brush size is okay. Let's just hit that highlight right along the top of his finger there, and that's brightening up a little bit, because we're painting into it not with the black but with the lighter shade of gray, and so that's letting some of the Levels adjustment go through.

What do you think? Do you want more highlight on there or do you like that? Amber: I think it needs a little more. Ben: Okay, then go to a lighter shade of gray. There we go. I think you are right. Now, have we lost detail there, or do you think that's okay? Amber: I think there's enough detail. Ben: Okay. Amber: Highlights. Ben: Cool! Any other fingers that? Amber: Yeah. I'd say this one needs it. Ben: Okay. Good. And maybe one on this hand over here. Amber: Yeah, like right here.

Ben: Now as you're painting, Photoshop is updating the little mask icon over here, so you can see that you have got these little spots of black and gray going in there. Amber: Yeah. Ben: I'm wondering about these, have these blown out? Amber: No. Ben: A little? Amber: Also the windows. Ben: Yeah, comparing this to the print. You could go over those with a little bit of light gray and see what happens. I like them brighter. I don't want them to go back to where they were before. Or maybe just leave them alone. I don't know. Do you have any opinion.

Amber: I think they're okay. Ben: You think they're okay. Amber: There is still a little detail-- Ben: Okay, then leave it there, cool. All right, let's go into the other images-- Amber: Okay. Ben:--that also needed some repair. Ben: Here's Haley's reflection so what's wrong here? Amber: The hand. Ben: The hand. Anything else? Amber: A little bit of the window around her face. Ben: Yeah. Ben: And if I look up here, I see there was detail out here Amber: Yeah, like here. Ben: And that's gone here, yeah. All right, so you're going to need to patch those up. Amber: Okay. Ben: So what you're going to do? Amber: Go to black. Ben: Very good. It's a good idea to start with black just to see what it's like having no effect at all and then if you decide that it needs to be broadened a little bit, go to a lighter shade of gray, and you can start painting some brightening back in there.

Now, one thing is, a lot of times it's easy to get uptight about, oh, I have to paint perfectly around this thing or that thing. You don't. You can cheat these masks like crazy, especially if you've got a big soft brush. Here you go. Wow! There was a lot of detail down from there. I think that looks good. Now that's a tough call. Amber: I kind of like that lighter. Ben: I agree with you. Amber: I really regret that decision. Ben: So let's undo. Amber: Okay. Ben: Yeah, that actually adds a lot. Amber: I like it. It kind of balances a lot.

Ben: Yeah. Okay, cool. Let's go into your last one. Amber: Okay. Ben: So this one doesn't really need that much. It's just a question of, is that too bright? Amber: I'm trying it out. Ben: Okay. Drop a mask on it and let's see what happens. Ben: Hmm, it brought back this line that we didn't even know was there. What do you think? Amber: I would be fine with it either way.. Ben: All right, well let's look at it again the other way. We can't undo now because you clicked twice, but you painted black in here before, which has stopped up that part of the mask. If you switch to white, you can now open the mask back up again.

I almost feel like that line's distracting. Amber: Yeah. Ben: That it's nice without it. Ben: That she's crawling out of the nuclear blast that's plainly going on out. Amber: It's like the light is pushing her. Ben: Yeah, the light's pushing her inside. That's cool. All right, I think the next thing is let's print these out and see how they compare to Ben: our original. Amber: Okay.

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This video is part of

Image for Inkjet Printing for Photographers
Inkjet Printing for Photographers

68 video lessons · 14355 viewers

Ben Long
Author

 
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  1. 9m 18s
    1. Welcome
      1m 50s
    2. Exploring why we print
      4m 3s
    3. Understanding what you need for this course
      3m 25s
  2. 13m 29s
    1. Why inkjet printing?
      4m 36s
    2. Understanding ink types: Dye vs. pigment
      4m 26s
    3. Discussing considerations for black and white
      1m 48s
    4. Reviewing the features
      2m 39s
  3. 1h 1m
    1. Printing and your workflow
      3m 3s
    2. Printing black-and-white photos
      6m 49s
    3. Understanding the histogram
      7m 37s
    4. Understanding what localized adjustments are used for
      2m 38s
    5. Explaining the histogram with a practical example
      6m 51s
    6. Making a localized adjustment in a practical example
      5m 30s
    7. Evaluating a localized adjustment in a practical example
      2m 29s
    8. Refining a localized adjustment for effect
      13m 36s
    9. Making a gradient adjustment
      6m 47s
    10. Paying attention to viewing conditions
      4m 49s
    11. Summing up
      1m 50s
  4. 54m 36s
    1. Understanding pixels, printer dots, and resolution
      2m 44s
    2. Understanding resolution
      2m 33s
    3. Defining resampling and interpolation
      3m 41s
    4. Understanding where resizing fits into your workflow
      2m 12s
    5. Defining native printer resolution
      2m 39s
    6. Understanding the relationship between viewing distance and print size
      2m 1s
    7. Reducing image size in Photoshop
      9m 11s
    8. Cropping to a specific size and resolution using Canvas Size
      4m 34s
    9. Cropping to a specific size and resolution using the Crop tool
      5m 15s
    10. Enlarging an image in Photoshop
      7m 7s
    11. Creating a triptych
      3m 55s
    12. Creating a triptych using Automator on a Mac
      4m 5s
    13. Exploring the aesthetics of print size
      4m 39s
  5. 1h 17m
    1. Understanding how sharpening works
      3m 18s
    2. Sharpening in JPEG mode
      1m 26s
    3. Exploring sharpening workflows
      3m 47s
    4. Sharpening in Camera Raw
      6m 17s
    5. Looking at noise reduction
      1m 46s
    6. Sharpening output with Smart Sharpen
      11m 52s
    7. Understanding selective sharpening
      4m 25s
    8. Sharpening through an edge mask
      7m 17s
    9. Reviewing high-pass sharpening
      4m 30s
    10. Applying aggressive sharpening
      8m 53s
    11. Exploring advanced sharpening techniques
      9m 7s
    12. Exploring the Print dialog
      11m 35s
    13. Proofing at smaller sizes
      3m 3s
  6. 53m 9s
    1. Exploring how color works
      2m 5s
    2. Reviewing color models
      2m 56s
    3. Defining gamut and color space
      9m 55s
    4. Reviewing when colors go out of gamut
      4m 54s
    5. Configuring Photoshop's color settings
      5m 47s
    6. Changing color space in Camera Raw
      4m 7s
    7. Working in an advanced color space
      6m 13s
    8. Assigning a color space in Photoshop
      2m 20s
    9. Correcting a color image
      9m 17s
    10. Printing a color image
      3m 30s
    11. Evaluating the print
      2m 5s
  7. 34m 46s
    1. What is color management?
      4m 16s
    2. Profiling a monitor
      8m 45s
    3. Evaluating a monitor profile
      4m 37s
    4. Exploring paper profiles
      5m 17s
    5. Understanding soft proofing
      11m 51s
  8. 24m 33s
    1. Understanding how paper quality affects the appearance of black in prints
      3m 26s
    2. Looking at third-party papers
      3m 46s
    3. Looking at paper finish
      3m 44s
    4. Understanding paper traits
      6m 31s
    5. Discussing paper choice and presentation
      7m 6s
  9. 23m 18s
    1. Printing a black-and-white image
      11m 45s
    2. Printing a color image
      11m 33s
  10. 1m 16s
    1. Goodbye
      1m 16s

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