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Photoshop is the world’s most powerful image editor, and it’s arguably the most complex, as well. Fortunately, nobody knows the program like award-winning book and video author Deke McClelland. Join Deke as he explores such indispensable Photoshop features as resolution, cropping, color correction, retouching, and layers. Gain expertise with real-world projects that make sense. Exercise files accompany the course.
Download Deke's free dekeKeys and color settings from the Exercise Files tab.
I'm going to go ahead and save my progress so far as Dodged and burnt.jpg, right about now we should think about addressing some of the saturation problems inside of this image that have newly popped up, thanks to our use of the Dodge and Burn tools. And we can address some of that saturation using the Sponge tool right here, so go ahead and select it from the fly- out menu, or press my DekeKeys, keyboard shortcut of N and notice that by default it's set to Desaturate, Flow in this case, instead of Exposure, it's set to 50%, same deal though, you can press the '0' key to change it to 100%, you can press 1 for 10% and so on.
I'm going to set it to '2' for 20%, because we really don't want to do too much work too quickly, you can either adjust Vibrance, that is either Desaturate or Saturate the image, using Photoshop's Vibrance function, and you may recall that that helps the colors that need help the most. Or you can just work with Flat Saturation, if you turn Vibrance off. I would leave it on as by default; and then if it's not quite doing what you wanted to, go ahead and turn it off. And you have two modes, Desaturate, Shift+Alt+D or Shift+Option+D on a Mac and Saturate, Shift+Alt+S or Shift+Option+S on a Mac.
We're going to start with Desaturate, as by default, because we have too much Saturation going on, in this area of the eye for example, so I'm going to reduce the size of my cursor, again, I'm working with the Soft Brush and paint in those areas of over-saturation, and I might just paint sort of around the eyes in general, because I think they started off a little too Saturated, that is they're a little red. And my lips might benefit from a little desaturation as well. And bear in mind, the Flow value is only 20%, so each Brushstroke provides us with very modest changes.
I'm going to go ahead and scroll up a little bit, with my scroll wheel, increase the size of my brush and I'm just going to paint across this area of the forehead, in order to take it down. That looks to me to be too much, so I'm going to press Ctrl+Z, Command+Z on a Mac, to Undo that Brushstroke and press the 1 key, for a Flow Value of 10, and then paint over that area again. And then finally, I'm going to reduce my brush and go into the details that need more saturation, for example the side of the head here, and I'm going to do that by pressing Shift+Alt+S or Shift+Option+ S on a Mac and painting over this area, and you can see that that brings back some Saturation that we actually needed.
Down here it looks like I lost some saturation on that eye bag, as well, and we may needs some more saturation, in the jaw and over on this side too, I definitely lost some over there, under the chin maybe, and that looks pretty good to me. You're not going to make too many modifications using this tool, as a rule of thumb, you're probably going to get in and out pretty quickly with it. As I was saying earlier, this is a great tool for working with teeth, you would want to make sure the Mode is set to Desaturate. That way you can take the yellow out of the teeth and you'll be surprised how much of a difference that will make.
Keep your Flow Value very low though; you don't want to get rid of all the yellow inside the teeth that would look unnatural. You may also find that desaturating works well inside of the whites of eyes, I don't really need it here, although I could add saturation to the irises by painting inside of them, just a little bit. So you have a lot of options available to you when you're using this tool. I want to show you one more thing about the Toning tools in general. When you're working with the Dodge tool, and if for example, you're painting inside of the Mid-tones, I'll press Shift +Alt+M or Shift+Option+M on the Mac and increase the exposure value to 30%.
And I am sort of painting rather in this area, and I over lighten it, I look at it and I just decide, you know what; I really need to darken that area. So I'll press Ctrl+Z, Command+Z on the Mac, to undo that modification. You can get to the Burn tool on the fly while you're using the Dodge tool by Alt dragging. So notice, Alt+Dragging or Option+ Dragging with the Dodge tool will Burn and Alt+Dragging or Option+Dragging with the Burn tool will Dodge, and respect the settings that you've set up, for that tool.
So in other words, you're going to keep the Dodge tool settings, while you Burn or the Burn tool Settings while you Dodge. And to get a sense of how that works just go ahead and try it out. I'm going to reduce the size my Brush and Alt+Drag around here as well. That's a little too much Burning, so I'll Undo that modification, reduce the exposure value to 10% and Alt +Drag or Option+Drag again. So in other words, you can do all the brightening and darkening work with one tool, if you so desire. In the next Exercise, I'll show you how to back-off your edits using the History Brush and I'll also pass along a tip for Nondestructive Editing, stay tuned.
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