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The Target Adjustment tool in black and white

From: Photoshop CS4 One-on-One: Advanced

Video: The Target Adjustment tool in black and white

So anyway, there I was, still working inside of Blended layers.psd, and all I did was, I added this Black & White layer, and then I clicked on Auto. Pretty much what we did in the previous exercise. Now we are ready to dial in something that looks much better than this. We want to emphasize the skin tones; really bring them out and sync the non-skin stuff, I suppose. And we can do that by playing with these various sliders here. Now, the easiest way to play with the sliders is to use this Target Adjustment tool, god bless it. And I'm going to go ahead and click on it to select it. And of course that de-selects the tools over here in the toolbox, and leaves me with this guy now. I wish there was some way that I could tell, oh, I'm over-red, like reds would highlight. It would go, beep-beep-beep, that's me, and then when I went over here it goes, hey, that's greens or something. And instead it doesn't.

The Target Adjustment tool in black and white

So anyway, there I was, still working inside of Blended layers.psd, and all I did was, I added this Black & White layer, and then I clicked on Auto. Pretty much what we did in the previous exercise. Now we are ready to dial in something that looks much better than this. We want to emphasize the skin tones; really bring them out and sync the non-skin stuff, I suppose. And we can do that by playing with these various sliders here. Now, the easiest way to play with the sliders is to use this Target Adjustment tool, god bless it. And I'm going to go ahead and click on it to select it. And of course that de-selects the tools over here in the toolbox, and leaves me with this guy now. I wish there was some way that I could tell, oh, I'm over-red, like reds would highlight. It would go, beep-beep-beep, that's me, and then when I went over here it goes, hey, that's greens or something. And instead it doesn't.

Instead what you got to do -- and notice, I'm going to click and drag to the right to make whatever colors those are brighter, and click and drag to left. This is so bizarre; this is first time I have landed on yellows for her skin tones. I'll go ahead and undo that modification there. I'll try again, and this time it get red. That's more normal. That's probably what you are going to get as you drag around here. So I can make them really bright. If I go all the way to the right, or really dark, if I go all the way to the left, and that would be pretty sinister if I went that dark. Let's take the skin tones up to 100.

The Reds, that is up to 100, which I think looks nice. It's a nice place to start, the entire image doesn't look nice or anything. And then I'm going to drag inside the eyes, and they turn out to be yellow. Now this is very common. Something that looks to us like green; to Photoshop is yellow. And this goes for green eyes, and green grass tends to be yellow, and green olives tend to be yellow. And in order to really be green, it's got to be like a shamrock. It's got to be emerald green. That's green in Photoshop's mind.

So anyway, this is yellow. I'm going to drag the yellow value. I'm going to drag to the right that is, or back to left, if I go too far. I'm going to drag over until the Yellow's value is 80. So that looks good. And that's about all I can get out of this image with this tool. You can poke around and see if you can find some more. But notice, if I turn off that layer, it's really all we got to work with. We got some reddish lips; they fall into the red category. I have got some, sort of orangish skin, which falls into the red territory mostly. And then I have got these greenish eyes that fall into yellow territory.

Now amazingly, I can still adjust this value. So if you want to look at your image and adjust your black and white settings, you can. You just won't be able to preview the effects of your changes, but you will be able to see which portion of the image you want to drag on, and then you turn on the layer to see what in the world you have brought? So you can't work that way. It's kind of a bizarre feature, but it's there. All right, I'm going to -- oops, oops! Look I discovered another yellow. I didn't want that, I want some red. Let's go ahead and keep it safe by dragging inside the lips, and I'll take that value once again down to a hundred. I don't have to be that precise. I'm just doing that so you can follow along more easily.

I am going to take the Green's value up to 40. And that's just going to brighten the things here and there. Because there are colors that we just can't get a grip on. They are there, and they are represented by these other values here. I'm going to take the Cyan value down, because I do want to just take some of the posterization out of the mix to whatever extent I can. So I'm going to take Cyans down to 10. And then I'll take the Blue's value, I could take it down, but if I start taking it down then I'm introducing more posterization down here. It almost looks like blistering under her lip. And I don't want that to occur. So I found that the value of about 50 helps a little bit, doesn't help tremendously, but helps a little. And then I'm going to take that Magenta's value up to 100%, and I end up getting this effect right here.

So obviously you can go your own way. You can try anything you want. After modifying some of these other values, it may occur to you that one of the other sliders needs some work. For example, at this point I'm going, I could back up the red just a little bit. It feels like we are too hot. I'll go ahead and take a look at the Histogram. And we don't have any clipping going underneath the shadows. We do have a big spike of shadowness there. But we do have some clipping going on in our highlights. We don't want that. So I'll just back off of this Red's value. And that's going to take the Histogram down, like so. So we no longer have any clipped highlights. We really don't have any clipped shadows. We have got ourselves a very nice Histogram, I would say.

And then something you can do with a lot of different color adjustments, we could have done it with the Channel Mixer. We can't do it with black and white. Any of the ones that are fairly complicated, basically is the idea. You can do with Levels, you can do with Curves, but you can't do it with Brightness/Contrast. You can't do it with Vibrance, but you can do it with Hue/Saturation, and what is it? In case, you are wondering, what is it that I'm suggesting you do to these poor adjustment layers, why? You go ahead and save out your settings. Save out your custom settings by not choosing anything here.

Pardon me, we'll go up to this menu right there, this little menu icon, and choose Save Black & White Preset, and then what we do? Notice it takes us to a specific folder that's very deep in the entrails of Photoshop here. And it's going to be a different path for Vista vs XP vs the Mac. I'm going to change the name of this to portrait_shot or something like that, so that I know this works pretty nicely for a portrait. It's a good place to start perhaps. And then I'll click on Save, and then notice that it becomes, my Black & White setting right there.

And then what I could do is I could just click on this layer, make sure it's active. Press the Backspace key to get rid of it or the Delete key on the Mac. And then I could go back to my adjustment list, here inside the Adjustments palette, and instead of clicking on black and white, I would twirl open Black & White Presets, and I would look for the one that I added portrait_shot, just click on it, and Bob's your uncle, there it is. And we have got this wonderful preset here that works obviously, very nicely for this image. I'll go ahead and call it B&W once again, and that's it.

In the next exercise I'm going to show you how to express this image as a Sepia Tone. So we are introducing some false colors that will help to warm up our composition considerably using a Gradient Map layer.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23900 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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