Photoshop CS3 Mastering Lab Color
Illustration by Don Barnett

Tanning and deepening skin tones


From:

Photoshop CS3 Mastering Lab Color

with Deke McClelland

Video: Tanning and deepening skin tones

Alright, the final step, the step we are going to perform in this last exercise here is to tan up the skin a little bit, darken the environment, give them more of a healthy glow. We are also going to add a little bit of yellow to the skin which gives him a tan feel as long as you don't go too far with yellow which sort of gives people a jaundiced feel. But you can use this yellow to take out that pink which sometimes shows up in pale people's skin. Alright, so the first thing to do, make sure you've got the right document open or if you have been following along with me, great, if not, I have saved the progress file that's called In need of tan.psd, found inside the 05 Selective folder.
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  1. 23m 30s
    1. Your doorway to better color
      2m 18s
    2. Lab and the untreated JPEG image
      6m 15s
    3. Lab and Camera Raw with a JPEG file
      6m 4s
    4. Lab and Camera Raw with a raw photograph
      8m 53s
  2. 1h 6m
    1. Don't fear the Lab mode
      1m 4s
    2. Why color is 3D
      4m 21s
    3. Device-dependant RGB and CMYK
      5m 14s
    4. Device-dependant CIELAB D50
      5m 32s
    5. Color by the numbers (mixing Lab values)
      5m 34s
    6. The Hue/Saturation color wheel
      4m 0s
    7. The slightly skewed Lab color wheel
      9m 55s
    8. Lab's wide world of "imaginary colors"
      6m 40s
    9. Examining RGB and CMYK channels
      6m 36s
    10. The strange (but powerful) Lab channels
      6m 47s
    11. How RGB and CMYK channels blend
      6m 45s
    12. How channels blend in Lab
      3m 53s
  3. 1h 17m
    1. Bad becomes great, great becomes better
      59s
    2. Cheapening a perfectly good image in RGB
      5m 2s
    3. Making a great image even better in Lab
      8m 9s
    4. Saving a Lab image file
      2m 12s
    5. Favoring yellow to balance skin tones
      6m 11s
    6. Dropping out the blues
      5m 33s
    7. Correcting a very bad image in RGB
      7m 19s
    8. Sharpening luminance independently of color
      5m 21s
    9. Correcting a very bad image in Lab
      7m 34s
    10. Sharpening the Lightness channel
      5m 47s
    11. Finessing the Lightness channel with Curves
      8m 27s
    12. Applying Curves to the a and b channels
      7m 52s
    13. Sharpening for effect, blurring away noise
      7m 14s
  4. 57m 20s
    1. The convergence of all things nondestructive
      1m 26s
    2. Correcting saturation and color cast
      8m 5s
    3. Fading the oranges and reds
      4m 32s
    4. The secret power of Brightness/Contrast in Lab
      5m 4s
    5. Smart Objects and sharpening
      3m 32s
    6. Fixing chromatic aberrations in RGB
      8m 50s
    7. Adding clarity with High Pass
      3m 13s
    8. Reducing color noise with Median
      4m 35s
    9. Protecting the sky with a density mask
      5m 48s
    10. Nondestructive cropping with Canvas Size
      6m 23s
    11. Convert to RGB, flatten, and save
      5m 52s
  5. 1h 33m
    1. Images with bigger issues
      1m 6s
    2. Fixing a color cast
      6m 14s
    3. Exaggerating a color cast
      5m 22s
    4. Quantifying and correcting a color cast
      8m 11s
    5. Sharpening an image with the Emboss command
      4m 38s
    6. Introducing a more complicated color cast
      3m 42s
    7. Drawing a custom contrast curve
      7m 20s
    8. Performing a gross color cast compensation
      3m 48s
    9. Fine-tuning a color cast compensation
      5m 52s
    10. Restoring neutral highlights
      6m 8s
    11. Masking away aberrant hues
      5m 16s
    12. Sharpen, save, convert to RGB, and crop
      6m 17s
    13. Applying a Shadows/Highlights Smart Filter
      5m 1s
    14. Tweaking Shadows/Highlights in Lab
      5m 25s
    15. Rendering Shadows/Highlights in Lab
      7m 57s
    16. Correcting color cast and contrast
      6m 16s
    17. Completing a low-frequency portrait with High Pass
      5m 22s
  6. 1h 5m
    1. Changing some colors, leaving others as is
      1m 6s
    2. Rotating hues in RGB with Hue/Saturation
      5m 0s
    3. Modifying colors in Lab with Curves
      5m 47s
    4. Blending colors with Underlying Layer
      6m 7s
    5. Changing colors in wardrobe shots
      6m 1s
    6. Blending the Red and b channels
      8m 4s
    7. Developing a base mask
      8m 8s
    8. Colorizing an isolated area
      7m 33s
    9. Revealing complementary highlights
      3m 18s
    10. Repairing strangely colored shadows
      5m 37s
    11. Tanning and deepening skin tones
      4m 13s
    12. Exposing bright eyes and teeth
      4m 39s
  7. 1m 8s
    1. See ya
      1m 8s

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Watch the Online Video Course Photoshop CS3 Mastering Lab Color
6h 25m Intermediate May 30, 2008

Viewers: in countries Watching now:

Based on the device-independent CIE specification from 1976, Lab color is frequently misrepresented as a techy, labor-intensive color space. In fact, Lab color performs certain types of color modifications more quickly and with better results than RGB. In Photoshop CS3 Mastering Lab Color, Deke McClelland explores how to use Lab color "to make bad photographs great and great photographs even better." He demonstrates image manipulations that are best suited to Lab, and walks through a typical, non-destructive Lab correction. Deke also shows how to correct lighting, apply selective color modifications, and reverse the effects of color cast. Exercise files accompany the course.

Subject:
Photography
Software:
Photoshop
Author:
Deke McClelland

Tanning and deepening skin tones

Alright, the final step, the step we are going to perform in this last exercise here is to tan up the skin a little bit, darken the environment, give them more of a healthy glow. We are also going to add a little bit of yellow to the skin which gives him a tan feel as long as you don't go too far with yellow which sort of gives people a jaundiced feel. But you can use this yellow to take out that pink which sometimes shows up in pale people's skin. Alright, so the first thing to do, make sure you've got the right document open or if you have been following along with me, great, if not, I have saved the progress file that's called In need of tan.psd, found inside the 05 Selective folder.

I'm going to click on the background layer. I'd like you too as well. We are going to add another Adjustment layer, Alt+Click or Option+Click in the black/white icon and choose Curves. So now of course this means we are heaping Adjustment layer on top of the Adjustment layer, that's really generally speaking for what we are trying to pull off here, okay, because after all so far we have been only affecting the a and b channels. And this is going to be a subtle a, b adjustment here. We haven't been affecting the Lightness channel at all and that's where most of our work is going to get done. All right, so let's name this guy tan and then click OK.

And I'm going to start here in the b channel, and I'm going to click on the black point right there which represents of course, it represents the cobalt, the blues inside the image, and I'm going to press Shift+Up Arrow in order to raise that Output value to 118 which adds a little bit of yellow to the guy in space here. As I say that little bit of yellow can tan up the skin without making him appear jaundiced, and just to make sure that we are not going too yellow, let's put back some red, let's give him a little bit of ruddy feel as well.

I'm going to go the a channel, make sure that black point is selected, and this direction up or to the left is crimson, so I'm going to press the Up Arrow key three times in a row in order to raise that Output value to -125. So that just gives him a little bit more ruddiness, just reestablishes the ruddy feel of his face. Now, he is still very, very bright and we are going to calm down the brightness in the Lightness channel. So that's where we are going to apply our most significant modifications. And I want you to lift the color from right about here on the other side of shadow, so in the mid tone area right there Ctrl+Click, and that's going to set a point some place close to the middle.

I want that Input value to be exactly 50 and I want the Output value to be more like 40. So we are mapping the Input of 50 to an Output of 40, that's darkening up those mid tones quite nicely. We need to darken the highlights as well. So I'm going to go ahead and scroll up to the forehead. We've got a lot of the sort of sweaty highlights going on up here, I mean, just glow, it's not really sweating, it's just got a little bit of a glow there. I'm going to Ctrl+Click or Cmd+Click on a point right about there in order to lift this point inside of the curve and I've got an Input of 85, that's exactly what I want.

Let's press Shift+Down Arrow in order to reduce the Output value to 77. So that's what we want, Input 85, Output 77, however, you get there, that's goodness, that's a real tanning goodness there. Now, bear in mind, we are not trying to make him George Hamilton tan, we are just trying to make him look like he gets out every once in a while. Now click OK in order to accept that modification; let's zoom back out. Actually, the image looks a heck of a lot better so this is before, he is too bright and this is after. Very, very nice.

So let's go ahead and compare our images, compare the changes that we have made. This is the original image right there and this is the modified version with a nice brown shirt and some tanned skin, a darker environment in general, and the last thing that we need to do. Did I say this was the last exercise? It's not. This was the second last exercise in this series. In the final exercise we need to bring back the white to the eyes, notice how the eyes have gotten a little darker, this is before and this is after, so we are darkening up the whites of the eyes, we are darkening up the teeth every since slightly as well.

We want to bring back those good highlights, eyes and teeth, my god, it shows a good highlight, and we are going to do that as I say in the last exercise.

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