New Feature: Playlist Center! Pick a topic and let our playlists guide the way.

Start learning with our library of video tutorials taught by experts. Get started

Photoshop CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Smoothing blemishes while matching noise


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Smoothing blemishes while matching noise

Okay so in the last exercise I showed you how to use the surface blur filter a modestly capable filter at best as it turns out. In order to smooth away skin imperfections not that freckles are imperfections I think I have said enough in that vein but this is just a stand in for a blemish X that you might want to remove you know tightly packed blemish X that you might want to remove in somebody's face. Anyway surface blur does a pretty good job so forward on an intense deadline and we are just trying to get this done or we have got you know 15 images we need to smooth out then this is okay this is without the surface blur layer and this is with it, so it definitely downplays those freckles.
Expand all | Collapse all
  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
please wait ...
Photoshop CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Apr 16, 2007

Viewers: in countries Watching now:

Photoshop is the tool of choice for most creative professionals and has quickly become household name synonymous with computer art and image manipulation. In Photoshop CS3 One-on-One: Beyond the Basics, internationally renowned Photoshop guru Deke McClelland teaches such digital-age wonders as masking, filters, layers, blend modes, Liquify, Vanishing Point, and vector-based type. Along the way, Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, trimming away jowls and fat, and wrapping one image around the surface of another. Plus, the training teaches how to construct and organize the elements in a composition so you can edit them easily in the future. Exercise files accompany the tutorial.

Ready for more Photoshop CS3 training with Deke? Check out Photoshop CS3 One-on-One: Advanced Techniques.

Note: Photoshop CS3 One-on-One: The Essentials is a recommended prerequisite to Photoshop CS3 One-on-One: Beyond the Basics.

Download Deke's customized keyboard layouts for Photoshop from the Exercise Files tab.

Topics include:
  • Understanding what Photoshop CS3 is and what it can do.
  • Zooming, scrolling, and getting around an image.
  • Making the most of the new-and-improved CS3 interface.
  • Using Adobe Bridge to organize and manage images.
  • Saving workspaces for maximum comfort and efficiency.
  • Correcting colors using the Variations and Hue/Saturation commands.
  • Taking on the professional-grade luminance editors, Levels and Curves.
  • Resampling an image and selecting an interpolation setting.
  • Cropping and straightening a photograph.
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Smoothing blemishes while matching noise

Okay so in the last exercise I showed you how to use the surface blur filter a modestly capable filter at best as it turns out. In order to smooth away skin imperfections not that freckles are imperfections I think I have said enough in that vein but this is just a stand in for a blemish X that you might want to remove you know tightly packed blemish X that you might want to remove in somebody's face. Anyway surface blur does a pretty good job so forward on an intense deadline and we are just trying to get this done or we have got you know 15 images we need to smooth out then this is okay this is without the surface blur layer and this is with it, so it definitely downplays those freckles.

In this exercise we are going to say you know surface blur, you are getting sort of 50% the way there and doing you know half paid job that's not good enough. Let's go ahead and try to do a better job by throwing the dust and scratches filter into the mix as well. So ahead and click on the background layer if you are working along with me and turn off the surface blur layer which I just did well I was yammering at you as it turns out. And I am going to go ahead and jump this guy to an independent layer as well by pressing Ctrl+J or Command+J on the Mac and now I am going to double click on the name of this layer and I am just going to call it good old D and S because I know what that means always.

It's only one filter in Photoshop that's DNS and that's dust and scratches which as you may recall fixes neither. Alright anyway with the DNS layer active let's go up to the Filter Menu choose noise this time around, choose dust and scratches even though it's no good for removing dust and scratches inside of an image it's great for averaging skin tones while living the digital noise that's inherent inside the image intact and the idea being that we need that digital noise because we are going to later paint in and just a few seconds here we are going to paint in this effect into the image and we need to make sure that our transitions between the painted areas and the unpainted areas is nice and smooth.

Alright so the values that I want you to enter I will just go sort of cut to the chase with this one, is a radius value of 25 so I am going to take that radius value up just in an attempt to blur away more of these freckles and I am going to leave the threshold value set to 15. For you it might be something different so go ahead and enter these values 25 and 15 so all neighboring pixels that vary from each other by less than 15 luminous levels they will stay, they will not get blurred. Hence we retain the digital noise as you can see if you inspect this image.

I will go ahead and zoom in on the image and you can see that we do keep those random pixel variations inside the image but we get rid of the big stuff so we can see this little noise here but then the lips are very blurred. Alright so go ahead and click OK in order to except that modification. Now like the surface blur filter right after we apply it the effect is no good, right we have just goofed up the image something fair so I don't know what could we have done this image. We have kind of smooth over her freckles I guess but at the expense of some pretty nifty details inside of her face like her eyes and her nose and her mouth for example.

And notice that I am not bothering with the selection by the way I am like who cares about the background inside of this image if it gets a little blurred away that's okay. But we do worry about the face and the hair and so on so we are going to start with this filter turned off with this layer turned off. And I am going to add a black layer mask, alright and black in a layer mask means transparency, right so we will start by turning off the entire layer with the transparency mask and then we will brush in white in order to brush in the layer. And here is I want do it make sure the DNS layer is active then press and hold the Alt key or the Option key on a Mac and click on this little square with a circle inside of it that little layer mask icon and notice when you Alt click or Option click on that icon you add a black mask instead of a white mask.

So you get to play the bad guy in the movie for once. Excellent alright now go ahead and get the brush tool the standard brush tool right here, we haven't really spent anytime with it yet very common tool inside Photoshop, allows you a just brush away inside of an image. And I have increased the brush size a little bit actually I might take it up another notch so I have got a 125 pixel brush, doesn't really matter you can brush it any size you want to but it is important that mode is set to normal opacity a 100% flow 100% and this guy right here the air brush icon turn that off if it's on.

But these are the default settings by the way, and then white should be a foreground color because you are working inside of a mask. So make sure the mask is active so that we are painting in right part of the image and then make sure that white is your foreground color and start painting and see while we get here we are now painting in these details and I am going to make this brush actually bigger here. And I am painting in along the skin I am painting in this effect I am painting in the dust and scratches effect so that it's not applied all over the place and you can see how this takes a little extra work in.

Feel free to paint over the hair we are going to bring that back in a moment so don't be thinking well that looks terrible which of course it does. But go ahead and paint over the hair we are just going trying to hit all these skin tones I am going to have to make the brush smaller. I am sizing the brush of course by pressing the left and right bracket keys and now I am going to paint over in this portion I am just painting away every single freckle area that I can and I am trying to avoid edges like the edge of the nose for example or the edge of the mouth. But I will paint right into the mouth. Actually you know what I am going to paint into the lips just a little bit.

Oh and I should say I have a very soft brush active too. You should have a soft brush active as well meaning that the hardness value up there in the options bar which you can get to by bringing up that Popup Palette up here that hardness value should be set to 0 so that we have really soft transitions between the areas where we have applied the dust and scratches filter and the areas where we have not applied the filter. Now go ahead and paint in down here a little bit as well and this is looking pretty darn good, actually a little bit of overkill of course.

I have gone too far with the effect but that's alright we can always back it off. Now check out the mask Option Click or Alt Click on this mask icon here inside the Layers palette. Doesn't it look exactly like that guy from the movie Scream? All of a sudden she is very scary she has got this Halloween theme going on in the background and here's why it might look a little different that that, it might look even scarier spooky, spooky. Alright Alt Click or Option Click once again on that mask in order to bring back the full color composite image and the next thing that you need to do is just reduce the opacity of this layer so go ahead and click on one of the selection tools and then I want you to press something like let's press the 5 key again in order to reduce the opacity of that layer to 50%.

And this is what the image looks like without that layer. This is what it looks like with the layer. We have nice smooth transitions between the painted areas and the unpainted areas. Thanks to the fact that I was able to retain the noise, a level of noise from one area from the painted area all the way through to the unpainted area. So we are looking at the inside of our mouth that I didn't paint. In that way that people aren't likely to notice that harsh transition that where your noise suddenly disappears. That would be a give away that you have been inside the image and you know in as much as where saving ourselves time and trying to do quick and dirty job that doesn't mean we want our effect to be sloppy or look like garbage.

It's just modesty effective it's what it comes down to. I have got this DNS layer set to 50% now I am going to also turn on the surface blur layer I am going to click on it and I am going to reduce the opacity value for it to 30% by pressing the 3 key and so this is basically it folks. This is the final version of the effect. Once again it gets this you know let's say 85% the way there or conservatively 75% the way there. I don't know how we would graph or measure such a thing but this is the original version of the image and this is the revised version of the image thanks to a dust and scratches layer with a layer mask and an unmask surface blur layer that's set to a low opacity value.

There are currently no FAQs about Photoshop CS3 One-on-One: Beyond the Basics.

 
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

join now Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop CS3 One-on-One: Beyond the Basics.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.