Fixing Common Problems


Fixing Common Problems


Lesson Info

Fixing Common Problems with Dave Cross

Anyone who has a bit of money can go to purchase a camera and light room and say, okay, now I'm ready to be in business because it's, frankly not as big as investment as it used to be. So the most common questions? Well, how can I differentiate myself? How can I charge what I wanted charge? Because I'm a professional, I know what I'm doing and more and more recently, my answer has been, well, maybe photo shop is at least part of the answer, which seems to say that because on the one hand, I'm always saying spend as little time and photo shop is possible, but the idea behind this three days is photo shop is an investment, both financially and in time, so as a professional, if you learn how to use photos, show not just as a tool to fix problems like we are this afternoon, but also as a creative tool. I have a term that I use called photo shop photography, and that means I take photos with the intent of doing something to them in photo shop. So, for example, in this class will talk about ...

these one of a kind portrait's where you take six or eight photos in a studio on a tripod and then combine them together to make a portrait like I have one example, it's, a girl reading a book in her chair is flying backwards and her shoes flying off. Is this very dramatic, unusual thing, but it's six photos put together to get that effect so that's the kind of thing where average joe with camera would even attempt something like that because you couldn't do it in one shot and that's kind of the point you don't, you plan on putting something together, and then the other side of it is that hole? Get more work done, work more efficiently. So you're making money that way by shooting mohr, but also a big part of it is changing your mindset so photoshopped changed from being the I'll fix it if I need to tool to a creative tool that goes hand in hand with your camera to create really interesting things that average joe with camera can't so that's kind of the concept of the classroom to spend the whole three days talking about all the topics that that revolve around being efficient but also being creative. And how do you use that to differentiate itself from the craigslist photographer that wants to charge, you know, one hundred dollars for a wedding or whatever it is so that's kind of the idea, and I can't wait and that's april, right? Wow, fun, so that's it do we want to jump right in with the rest of the class now or what do you want to yeah go ahead take it away well on the screen right now I have just in case you missed it before I have both my twitter and religious at day across in my facebook page which is p s guy dave cross just in case you're interested in that and the premise of this class is very simply fixing common problems so I have a bunch of photos that I brought and I also we asked for some submissions from our viewers which we received which is always much more fun because I only saw them three minutes ago so and that's part of the reason why I suggested doing this because frankly when you spend a lot of time as an instructor you find a photograph that is a common problem but because you teach it over and over again you can fix it in like thirty seconds because you've done it so many times so it's much more challenging and frankly fun for me to look at a photograph and go how would I address that so we're kind of kind of mix and max here where some of them are photos that I brought that I know are very common based on questions people have asked and then a few where we'll look at some audience submitted images and try and look at some strategies and before we jump into it, I always kind of start off by saying, when it comes to fixing problems, I always like to have at least a plan a and a plan b and a plan a is try and do it as automatically as possible, like use one of the built in photo shop tools that's supposed to be able to fix something and at least give it a shot. I would say perhaps half the time it won't work or it won't really fix it, but it's worth the effort because if something and photoshopped takes, you know, ten seconds and it would take you three minutes to do it yourself, why not try it? The worst thing is you all can undo that didn't work. Let me try something else, and the good news is that with each version, the photo shop, some of these automated fixing type functions are getting better. I'm still not a big fan of anything that has the word auto in front of it, like auto tone or auto color or any of those because I'm not necessarily a big fan of the result of gives. The problem with any auto function like that is it's all or nothing it's black or white? You go auto tone and fixes that the way it thinks it should if you don't like it well, it's it used undo it and try something different it's not like you can say, well, let me tweet that because there really isn't a lot of tweaking going on having said that, some people are saying, well, I use auto tone every so often and it works for me and I'm like, well, great then use it I just I'm afraid that what if it doesn't work? What do you do then? Also having a plan b sometimes you have to have a plan c and maybe a d because all the things you try and what usually happens is the further down the alphabet the longer it takes, so plan a and plan b or the hopefully fairly quick things and then over time the other thing I will never I teach a class on fixing photos like this I always like to preface it by saying I might not necessarily completely fix the photograph because frankly, some techniques take forty five minutes, so I'm going to show you the concept of it I may not go through the whole thing because if for example someone said I got a photo that's really dusty I would show how to remove one or two specks of dust and just assume you can fill in the blanks and do the rest was watching me do another forty minutes of dust removal really doesn't help very much so I could only say that because I wouldn't want you to think that in every case will have this beautiful before and after because we probably won't because a lot of the time it's just like well now you get the idea let's just pretend we finished and move on so first example here's a photo that's just it's a little crooked not quite straight and in the good old days of a couple of versions ago that would typically mean unlocked the background layer and used free transform an eyeball it and try and get it to work more recently it's a little easier because there's the ruler tool has an option where you drag across what should be straight so you pick you say well this really should be the line of horizons always you're not drawing a lot of horizon you're saying this crooked angle should be the line of horizon and then up to the top there's a button that says straighten layer this button is a little bit misleading because if I click it what happens is it straightens well now we're doing straight layer and it's you see that it's straightening it but it's kind of leaving these gaps here so what's happening is while it strains that it's not magical and won't fill in the blanks so you'll end up with yes, it straighten, but now you have extra room around it, so let's just do this again, she can see as I do that I have said, ok, now, that looks nice and straight, but the problem is I've got these extra spaces here, so then the challenge becomes, well, how do I fix that? Because having a photo that straight, but in this case, this because it's rotating the layer, it looks like transparency, but even if it wasn't, you'd still see white, they're still not going to fill in, so eventually I printed this, you would see out the sky, his has disappeared there, so the first thing I would try because I hi, I suppose I could crop it, but my concern is look at how little space there is above the top of the tree, so my concern is like crop it I'm going to potentially touch the top of the tree, so that might be the only solution, but my first thought would be this would be a rare case where I would actually use the magic wand because I can just very quickly click in these transparent areas, and I'm just holding down the shift key toe click on multiples of them and I'm going to use content aware, phil, but one of the little twists here a little bit because I've selected the transparent areas, it means my selection is coming right up against the edge of the photo and if I use content where phil there's always a chance to see a little tiny hairline between the content where phil and the original photograph so one of things that I found works in these situations is to go to a command called modify, expand and just expand the selection by a few pixels, and now that means you can barely see it, but it means my selection just bites into the original photograph just a little bit. So now when I go to the phil command and try using content aware it's going to look at the surrounding areas and do a pretty darn good job in this case and here's the thing with content, we're filling and there have been various classes, including lisa taught one. I talked about a little bit that content aware phil succeeds very well with organic things like sky and grass, so I knew without inviting, I never tried before. I had a pretty good guess that content where phil would do a good job here because it's blue sky greengrass know if that was a brick wall or some definitely repeating pattern, it might be a little more challenging. So if you have something that's really crooked sometimes you may have to decide to crop it a bit and risk losing a bit of the photograph because would take so much effort to kind of fill in the blanks around the outside keeping in mind also that now in photos of cia six if content where phil doesn't work just by saying phil you also have the option of using the patch tool with its content where options least then you're in control and you could say use this area as my film I would still try content where phil first cause it's quicker but if it doesn't work at least I now my plan b becomes the patch to of content aware because aiken decide where to put things all right let's see what else we have here that I want to show you one other thing I just every so often I just feel like I want to show this because it's almost like after well we kind of got out content where phil it's pretty good so check this out the first time this was one probably the second or third thing I ever tried with content where phil so the story was I took a panozzo several shots shot vertically on the deck of a cruise ship so needless to say there was not a lot of straightness of handholding going on so when I did photo emerge in photo shop this is what it did so well, that's the best I can give you so the mountains in the water but there's all this stuff that the edge which is wet? Kind of no. So I thought, well, it's, probably. The chance is here are pretty slim, but let's, do the same thing. Make a selection and then do expands. I want expand into the photo a little bit. This is a fairly large photo. But when I did content aware on this one, I gotta admit, this is one of the first times I was totally, totally impressed by what it did. Because I was like, what that's? Pretty amazing, isn't it? I mean, again, using my favorite question compared to the alternative, I would guess that would have taken the gun hour and a half to two hours of cloning and it would have looked that good. So the fact that it just did that I was like, ok, that's pretty darn good. Now again, to be fair, it's, because it's, very organic. And, you know, if it was anything else an occasion, you see, like a little repetition here and there, but that's an easy fix with the clone stamp to fix that one little area as both through the whole thing, so that's why I see, say, there's, nothing wrong with having a plan a of saying, well, let me try content aware phil and see if it works or not, if it doesn't, then you can always try something different. The other thing that I think is really important to talk about is the role of camera raw camera has become for me, one of my number one sources for trying to improve things, even a photograph that didn't start off very well. We've got a lot of room to play if it's in a raw file, having said that, you may have occasions like I have here where someone said, well, all I've got is a j peg so let's, talk about this a little bit because there's two different aspects to it. So here is a raw file, and the story behind this photograph is I was in maine, and it was one of these overcast but very bright days. So when I tried to take a photo of this interesting looking barn, I was faced with a challenge photographically, because if I expose for the barn, the sky would be so blown out will be white, and if I expose for this guy the barbie to dark, so my theory was put your camera and tripod remember how to do bracketing on your camera. And take multiple exposures and just as I was about partway into that the person was organizing our photos that were leaving I was like all right, so I basically had one shot so I thought well if you're ever faced with that situation then the best thing you can do is at least get something in the sky because you get pure white in the sky you can't recover anything out of nothing so if you have only one shot to photograph something make sure the sky looks good because you can always make dark things lighter let's put it that way it's very hard to take make light things very dark this way it's a lot easier so there's two things I want to do first I want to make sure I have this open and photo shop as smart objects because I let me do that kind of back and forth thing they're going to make these a little bit smaller just for the sake of time and what I khun do with camera is aiken almost treat it like bracketing after the fact bracketing is a photographic technique which means set this thing on your camera to take slightly different exposures here I'm going to attempt to do that after the fact and there's to a degree you can and in some cases you can actually push it further than you could with bracketing five or whatever number of exposure as you do so what you have to do it it takes a bit of a mind set is you have to remember the fact I'm going to do this in two pieces so first of all I'm going to look at the sky I don't care what the building looks like I want to make the sky look good and that's hard because your eyes are going to go you but the barn is like just don't look so look up here don't look here look here not here so as I start to say well let's make this sky look a little like more like this and maybe push some contrast and really push some of the vibrant and saturation so I'm getting something that looks a little more the way that I want and right now I'm doing horribly nasty things to the bar but I told you don't look there because this is just the first one and I hit open object it applies those settings is now I got a nice sky horrible burn it's a smart object and this question was asked in the last class about how do I make smart objects that are independent? This is the technique that I mentioned but I'll do it now is you actually choose new smart object via copy as opposed to going duplicate because what that does it's still the same photo but now it's a copy that I can edit independently of the first one if you just hit duplicate and you adjust the top one, the bottom would adjust equally the same and you'd be out of luck so this way the benefit of it is it's the exact same photos so everything's lined up enough to worry about aligning it because it's the same photo but it lets me now treat it differently so now I would double click to go back to camera on that's why did as a smart object so I could do this and now the other way around now let's look at the barn not worrying about the sky so I normally do that by starting off back at camera defaults which is another way of saying the way it was captured that kind of put it back to square one and now I start looking just at the bar and saying, well, let's push up the exposure to the point where I can see the barn little bit better something like that normally I would be terribly worried if I saw a big white sky like that now the clipping warnings aren't on but if they were then I would also be worried if I was seeing something like this with big huge amounts of red that's usually a really bad thing but because this is my second exposure and all I'm worried about is the barn I don't really care about that in fact is you'll see that's almost a good thing so when I click ok, now it says all right, we've got two versions at this point somehow I have to blend them together so this is back to our discussion of plan a plan b I look at this and the first thing I see is my goodness there's an awful lot of white there and I think to myself I wish there was a way that somehow by dragging say I don't know blend if slider I could say take everything white and make it see through and because I know that's an option I would try that first cause it's the quickest and I just say all right that's not bad but it needs a bit more work but in about four seconds I'm on the way to being there now sometimes you'll look at it and kind of go yeah, the problem is like say for example, these frames were white, those would disappear is well, so it doesn't just say just this one sky areas has throughout the whole photograph anything that's bright so in this case it has a chance of working just because of the separation but honestly sometimes you don't know how gosh that's so close but not quite so in this case I would then do that options put the triangle thing see if I can I'm a little concerned about this edge right here and in part that's because to demonstrate the technique I've deliberately kind of gone overboard on both ends on both the barn and the sky but once I blended these together this way now I could say all right well let's try and see if we can't pull this back of it so I kind of went maybe a little overboard here and the same time I kind of went a little bit much here so now that I've done this I can kind of pull things back a bit and say maybe more like that and all of a sudden now that edge doesn't look anywhere near as bad as it did before so that's one of the reasons why the whole smart object way of working means I can continually play now if the blend of slider didn't work at all because of the circumstances where for example there was white elsewhere then plan b would be take some selection tool like the quick selection tool maybe and add a layer mask which I need to invert so now I'm using a more traditional kind of masking method this often takes a little longer but has the benefit where if you know it's so down there doesn't look is good you can adjust it more easily than with the blend if where's kind of all or nothing that's why I usually try blended first because when it works it's almost like yeah, I'm done but a lot of the time you're like oh, that's so close, but it's not gonna work, so then you pull it back. But I again my philosophy is you might as well try it because you'll know in about five or ten seconds that blend if is gonna have a hope of working and if it doesn't, then you move on to some other planet that point. Hey, now, just out of curiosity, I'm intrigued to see because in the last class I was trying to show you guys something and it just wasn't cooperating, so I'm gonna try it again and see if it works this time, it might still really slow to convert to smart on just I'm not sure why that happens. Okay? So there is this function under smart objects called stack modes that does some kind of calculation and I must have it the first time I tried it, I thought, of course I should have realized I could have used and tropea or curto sis on my photo because, you know, curtis is so one day I went to all of them and one of them went ok, well, what is maximum do? And I said, well, it kind of doesn't do much in this case, so let's ok, so let's, try think the other one and might try in this case is back in high school days were like media and that's kind of like halfway isn't it or something so I thought, well let's try that and it says without doing any masking I'll just blend the two together and that's actually not bad so that's another often unfortunately on ly available in the extended version so this is a plan I don't know what x have plan x for extended about that so if you have the extended version than the stack moz become an option but unfortunately can't rely on them because it's not in the standard version of photo shop so that idea of doing camera smart objects can give us some great advantages what's important to note is for example, here's a photo that someone submitted previously not today that's clearly it's got some exposure problems but is j peg I'd love to just say, well, let me just open that raw file but all I have is the j p well, you can open j pegs and cameras well and do almost the same amount of things you don't have quite the same room to play but you can do that so there's a number of ways of doing it because I spend most of my time starting in bridge I discovered much to my delight that there's a keyboard shortcut that opens it in raw on it's very simple to remember it's commander control are for roping in raw so you just hit that and it's a j peg, but it opens in camera, so now I have all the camera raw ability to say, well, what happens if I move the exposure and add more contrast and put some vibrance back in all of sudden, I'm being able to adjust this photograph mostly just by moving sliders, which is a real nice plus that may not still get me all of the way there, but the fact that aiken don't have to worry about oh, well, I don't have a rob version that's okay? And what's interesting to me is this is a j peg that I've opened in camera raw when I open it, even though it's a j peg, I can edit it over and over again because it's a still camera smart object so that's opening up a possibly that is normally there with a regular j p because usually once you open a j peg that's it, you can make a change and then here, but here I double click and again, it'll go just like before. Like I say, maybe that violence was a little much and you can start adjusting things very easily. So here I'm going to say, well, I didn't start there it's still not quite where I wanted to be, so one of the controls we have any time you have a photograph and you're saying it's not quite as intense as I wanted to be one of the my plan a attempts in this case it would be to duplicate in this case I'm treating it just like a regular layer at this point and then change the blend mode to multiply and that just kind of intensifies all the colors if it's a little much than use opacity to kind of pull it back to taste to say this is where I think it looks better now as an aside I know if you noticed this before I should say these things out loud because I just kind of do them by habit sometimes a lot of people I know's when I watched the muse photo shop when they're working with layer opacity they come over here and they pop up this little slider and they move it like this which is ok but it's much easier just to put your mouse right above the word opacity and just drag left and right that's been around for a little while photo shop it's called scrubby sliders and just means you're not always having to go to the exactly the right place and pop up a little sly you just kind of hover and that appears just about anywhere photo shop where you see a field with numbers so you can just hover over it but that's not all one of my good friends from rome adobes name is russell brown never seen russell teach he's kind of a maniac that knows everything about photos and one of his favorite expressions is but wait there's more so and the other option is if you know you want to jump right to a certain capacity say fifty percent my mouse is over here see where it is and the left I want to change the opacity I'm too lazy to go all the way over there and move that slider two fifty so I just press five you press the first number of the opacity automatically changes it so five for fifty six for sixty seven for seventeen and so on what's on ly slightly odd about it is zero for one hundred so if you want to go back to one hundred, you have to actually president figure that out but a way that means if you know as a habit I'm gonna change the multiply and go to sixty percent you know, multiply six that means multiply mode and sixty percent capacity and if you're really into keyboard shortcuts there's actually keyboard shortcuts for blood most too, but we won't go into that today that's another topic so the point of that little exercise is the more you can do in camera raw all the better because it means you have got mohr opportunities to do as much as you can simply by moving sliders as opposed to having to worry about well, I have to go to kurds have to do all these other things, so I want to show you a little technique and then we'll look at some of the audience of middle ones but here's a question I get all the time is how do you deal with glare on glasses? And first, I want to show you the best solution if you're the photographer and for those who were watching the panel discussion, we kind of talked about that a little bit, and that is I take two photographs, and I tell the subject ahead of time between photographs I want if you have someone else, it's actually better to have someone else do it, but if it's only a subject between photographs, won't you stay as still as possible and take your glasses off? If there's a someone else, then they can reach over and do it. So I have two photos taken moments apart, this one and this one so you can see they are taken a little bit apart and he obviously moved a little bit because they're the back in a little different, but that's okay, all I'm worried about is right here where his eyes are, so I take these two documents and I can load them into one document as separate layers they don't quite line up that's okay let's see a photo shop can do it for me will use that auto align layers thing see if it works sometimes it will work great times not so much to see what it does I don't really like that as much I think I might just do it myself in this case so I'm in a little closer and lower the opacity of this top player I got tell you the first time you do this be prepared you can go a little seasick because it's got this really slightly off three d weirdness happening so you got to figure out which is the one you're moving and you're tryingto find like the eyeballs and get them lined up so that's one option and once you've done that then it's a simple matter of doing this you just add a layer mask wherever you don't want the glasses glare it is paint to reveal the eyeball without glasses on it and because you were sitting here watching me do this or like but his eyes moved a bit if I showed him this without him watching that you'd be like oh cool because he didn't see me do it nor did you see the before and after so that's a simple trick if you have the luxury of taking two photographs if you don't, then frankly it's much harder seriously, I mean, because now we just have to try and fix or invent pixels that were never there. So the worst case scenario is when both of his glasses lenses have glare and it's at least partially over the eyeball that's the worst possible situation, because at least here I could try borrowing this eye and moving it over here so that that glare isn't there. So I would do that my original way that used to be like the clone stamp tool, but then you've got to be very accurate, so instead it struck me and I should just sort of do a very rough selection of the good I shall we say and duplicate it and then move it into the appropriate location. Now, if this is one of these things where often feel sometimes in photoshopped tutorials, there should be a little wait for it clock, because if you just thought, yeah, that looks awesome, dave it's like, well, not quite finished yet because it still needs a little bit of work. The hardest part about this kind of work is people are not mirror reflections of themselves so one side of the face, but I would still a the very least flip his eye the other direction so that at least it's the inside of his eyes at least a little bit more reasonable and I'm my goal is still not to replace his entire I I want to replace his little as I possibly can so that means I probably should've grab just a little bit more actually but I'm going to hide everything except this little part right at the top where that glare is so your goal should be replaced as little as you possibly can because the more you replace the more chance that is of looking artificial I used to work with a fellow I still keep in touch him occasionally but he did a lot of restoration of really old photographs where people would say fix this and it would be like missing half of a face and I was watching him once working and he said, oh, I need to open my forget what he called it emergency file or something and he opened this multilayered photoshopped document and it was actually called body parts thought psd and every time he was looking at old foes like oh that's a really good here and he would just put it onto a later by itself so it was really bizarre because he had this whole multilayer docking with little arms, elbows and eagle with that'll work especially because it was all old photos that are black and white you have to worry about matching colors it was just there's an elbow there's, a knee and it's like that's both weird, but really cool. And in that environment, I mean it's not a bad theory to say build up a collection of bits and pieces, especially to a lot of this kind of facial reconstruction, with glasses, glare and everything else is, the more of those good eyeballs and everything else you can grab it sought as it sounds, it's actually not a bad theory to do that. Okay, let's, take a look at one of our viewer submitted. This is one with karen robinson. I think, gloria, you have a kind of the backstory on this photograph. I sure dio the images from kara robertson, a robinson excuse me, and the story that she sent us an email with this image is my mother in law was diagnosed with the most aggressive form of melanoma last fall and was given six to twelve months to live. This photo was taken in december, right before her chemo treatment started. I chose an unfortunate position and did not use a lens it or filter when shooting. When I move position for our family photo, there wasn't any trace of lens flare. Of course I was, I really was hoping to reshoot it, but there was no time I consulted a graphic artist friend who wasn't able to do any better of a job than I could my photography studio instructors told me it was a difficult fix and they would work up a quote to fix it if I was interested since my husband was unemployed for two months I wasn't able to afford to pay an expert at the time to fix it. We visited my mother in law the other day and she mentioned how much she wanted the photo printed for her wall so it's really been on my mind I'm even okay with converting to black and white or anything else if that's a better option okay well, we have two versions of this thankfully and one is a psd and one is the original raw file now, needless to say any time you have a raw file it lends itself to the ability to do things in camera and one of things I think you'll find with a lot of photographic problems is as much as the problem might seem very different like in this case there's a lens flare and some of the the we do whatever is right behind them is too bright you can almost break it down very often to there's an area that's too writer too dark or something like that so it's they might seem like very different problems but it usually comes down to exposure brightness, color cast kind of issues and that's good because it means we can apply similar techniques to different things so let's first of all say all we have is a psd or something we can't open in camera raw so how could we try to deal with this? So as we look at it, the one of things that I noticed right away is our eyes are drawn to the latest part of photographs, so my eyes were drawn right here right beside this young man's head because the sun is really picking up the top of these whatever they are, I can tell bulrushes or wheat or whatever it is those things in the background at the same time there's obviously a little bit more on here, so my thinking is I need to darken up some areas but not everything now there's again various ways of doing it just to give me an idea of where I'm headed and let me take a pause back and say just to clarify I saw this very shortly ago and have not made any attempts so you're watching meet my thought process live as I think around what I do here, so I like to try and give myself an idea of the path to go down. So even though I probably wouldn't use this as a solution, I would try duplicate the layer and a soda before change the blend moto multiply and start to say ok that's but even this part you see it's still kind of bright so that might tell me that I need to do even more work in that area. So it's still telling me? Ok, that's that's a good start. So that's kind of telling me that yes, I can find some way too dark and everything up a little bit so I would tend to use curves as we saw some of us were watching the panel discussion yesterday. Ben wilmore is like the master of curves and he talked about this kind of thing where it all comes down to brightness and where you are on the image. So this little hand tool which is called the targeted adjustment tool, allows me to click on a particular area and say, I need to dark in that but what's happening as it's darkening everything else as well. So it does everything overall to begin with. So I might want to then go nearby and kind of pull back up a little bit here to say that was all to bed. Try and get a little better hoops that was do you love it when your folks I'm sorry goes whips so that's getting this part of the better but it's not doing much to help the rest of the photograph and that's why? Once I try that then we look back at our way adjustment layers work is adjustment or has this mass till right now the entire layer is being our entire photo is being affected by this curve we're really I just want affect this one area more than the rest so whenever you look at a photograph with a layer mask he always have two options together paint with black to hide little parts but in this case I need to almost say hide everything except one little part so in that case the easiest way is to commander control I to invert the masked a black which means temporarily the effects were hidden everywhere now I can zoom in to a particular area take my paint brush and paint with white so right now my foreign color is black so I press letter x to swap to write to white and now as I start to paint aiken sort of selectively pain to say let's try and take away some of these really bright bright areas here and as I mentioned upfront I may not be ableto get it completely accurately right at this point just because of the time factor but already you can start to see it's looking a little better now part of what I want to along the way here is kind of interrupt myself and say here's some other thoughts to make your life easier one of the most common and I hate to ever call something a mistake and photo shop because if you get your work done, that's the most important thing, but one of the biggest distractions people give themselves is on a photo like this, they zoom in like this much to do painting to try and get it really accurate, which is a good theory into you realize when you printed that area will be this small. So why you zooming into a zillion percent where you're not really going to see it that big? And as a result, people often spend a little too much time on details that you're human. I can't even see, having said that, it's helpful to zoom in right a little bit. So one of my suggestions for any kind of fixing retouching restoration, where you're tempted to zoom in really close is this little technique I you do almost all the time, and it takes a couple of steps once you've done it once or twice it's pretty straightforward, what you do is we go to the window menu and there's a command that call it's called arrange new window for the name of your file. Now this is not duplicate image that would make a separate document, this makes a second window of the same document. So at first we were like, why would I want to windows of the same document let's? Because we're not finished yet, so then you go back to the window menu issues arrange tile he start to see where this is headed now. So now on one view I keep it that kind of zoomed out it's going to print this large view and on the other window I zoom in a bit now just to make a point not that you would do this, but I want to show you what's happening here is clearly as I can, if I take my paintbrush not to say that we would do this to someone, but watch what happens I let go see how it's also over there it's the same document, so any change you make to the zoomed out few you're seeing it in context of the more realistic view. So what this does is it for many people it helps save them time because otherwise they zoom in so close they're obsessing over all there's a little thing there another part there and then when you look at in this further off, you're like, oh it's not actually that necessary to do that so that's part the reason and it really just it's a habit you have to get into depending on the size of your screen, you can either keep it fairly large or like in this case, I might say I really want a bit more room for my zoomed in view, and I'll make this window a little smaller and just have to make sure you first clicked activate to say this is the window I'm actually working in, and the other window will show it as I worked, so that way is I'm doing things like painting on the layer mask, and I'm trying to be as accurate as possible without worrying about every little detail I can kind of every so often do some work and then pause and kind of oh, yeah, that doesn't look too bad there, so I'm kind of waiting for that feedback from the smaller the document is to put it in more context of how I'm going to see it. This is where and I don't want to make an inverse mint for pressure sensitive tablets, but boy, it makes a difference, because I actually have to set up exactly the way I normally would, because the pressure sensitive is not as strong the way this has been set up. But instead of constantly changing the size of the brush, if you barely touch the pen to the tablet it's a very small brush, if you press harder, the brush gets bigger. Instead of constant going back and forth and saying change the size of my brush to make a bigger make it smaller, I'm just doing it based on touch and that's one of the benefits of a pressure sensitive tablet is the fact that you can say over here I need a little tiny brush, so you're barely touch and it's small as I press harder, it gets bigger you won't actually see the view on the screen, but you'll I mean the circle of the brush you won't see, but you'll see the effect you see why was I press harder? Got much bigger, so when you're trying to do a detail work that's one of the greatest benefits of working okay? So the other option it struck me as I was looking at that quick kind of multiply version that there are some other areas where I needed to make something a little darker and you always have a couple of options. You could either do an adjustment layer like we did here and then paint on it. The other approach would be to make a selection even a rough one, and I'll just arbitrarily pick an area say this whole area here needs to be darker, but I don't want to do it with a hard edge because that would tend to be fairly obvious, so I'm gonna have doing extra step but the difference is if you have nothing selected when you add an adjustment layer, it affects everything. If you make a selection first and then added adjustment, layer whatever I do next, it's only in effect that selected area, so it makes the mask for me in effect. So if you know ahead of time, this is a very specific the area I need to work on. I would make even a rough selection of that first, and I'm not again suggesting I would darken it in this way. I just want to show you what's happening here, and if you recall, we also have this mass council. Then aiken soften the edge by feathering to say, I don't really want such a noticeable edge and now we can start to play with it that way and then go back. It's okay, that's way too dark let's put it in here and just sort of darkness. We can use that same target adjustment tool to say this needs to be a little darker, that kind of thing. So my plan for this photo is to take it on the plane with me and actually finish it, because as I look at it more I can see there is I'm not going to be ableto. Completed the way I'd like to. But I want to show you kind of the techniques I would use and the approach that then just takes more time and more effort to got to get it the way you want. But along the way, if you use this method of that two window thing, I speak based on my own experience. I know I was had the worst habit of zooming into a brazilian percent and touching someone's eyeball and then looking at later and going with a magnifying glass I can barely even see what I just did. So this duel window approach at least reminds us. Keep it in context, it's okay to zoom in to do a bit of work, but keep looking at that it's going to print around this size version and see how it looks that way. Okay, so I'm going toe safely. Save this away for later so I can work on it. Dave, thank you so much for taking the time to work on that image. And you just mentioned that you'll be taken at home and working on it and completing that image later. And I want to let karen robbins and no thank you very, very much for submitting your image your story has completely touched us here it creative live and so many around the world and we're pleased to let you know that creative live will be sending you a wall print of the final image once they've completes it so thank you very much thanks dave back over to problem so here's another photo someone sent any years ago that I thought was a really good example because it's is more of a snapshot problem with a point and shoot type camera that the flash came on I went oh cool then took a photo and had big giant shadow it's like ok great now I've got this really nice photo with very distracting what is that big stain on our wall and are you know it's just kind of like you so this is the cool part of photo shop I think how things change because I first started working on this images example probably four years ago and at that point it was a much more complicated well I would make a curves adjustment layer and mask it here then I would make the colors match and now my first thought would be well let's do a couple of steps and photoshopped to kind of make our life simpler so the first thing I would consider doing let's take my quick selection tool that's going to be on my background layer he said but he didn't actually click on it again okay, so first of all quick selection tool because what I want to do here is say overall these two people right here look ok, so whatever I do, I don't really want to affect them however I don't really want this big honkin shadow on the couch either and I'm going to add a mask and then inverted and most of his reaction is, well, that's great now you just take him out of the total completely, but the reason for doing that is think about the way content aware works it looks at surrounding areas well, I just remove them as a potential fix, so because content where is to see them, it won't use them anymore because one of the problems would be you try to content where phil, that big thing on the wall and it would say, let me just use her ear and you're like no now it can't because it can't see it so one of the nice little fixes for content where phil is make a master's, eh, don't let it use that, but make sure you add a mask because that way once you've done content where phil, you can show them again so that's the first thing I would try and then if I did let's actually just show you I just did content where phil just to see let's have tried this before, but let's just see what we do. Content aware, okay, do it thinks about it not so good, but that's why we try it so once I know it doesn't work, then very quickly plan b becomes and honestly, I would have done this first cause I kind of guessed that might happen the patch tool with content aware sample all airs. So this way I can say I would like to use this space I can kind of line up the couch back of the council did not know was how about first? The colors look way off, but what's cool about it is that kind of takes note of that and then kind of starts to blend it in so it still has a bit of them a problem, but now I can continue to kind of work on it and pick nearby areas even they kind of overlapped themselves because you can take a few steps to do this. If you use whatever kind of frame of reference to say, find a nearby something a lot like the back of the couch or whatever it might be. So over here, you kind of say let's, see if we can't patch that away oh, and there's one other thing I forgot to tell you most tools in photo shop you have to set the options in the options bar before use the tool because it determines how that tool operates the content aware patch tool is one of only a couple of tools and photoshopped brand new that led you changes setting after the fact to see if you can improve performance and it's this little menu that says adaptation and it goes from very loose to very strict whatever that means. So the idea behind this is you say well, let's, try that as a patch and you look at and go oh well it's ok to see those kind of dark areas there let's try and see what happens if I put it to very strict instead and as long we haven't done anything else, it kind of updates and says let me readjust it most tools don't do that most was once you've used the tool changing the option part does nothing because it means the next time you use the tool this and the content were moved tools are the only two that let you say ok, well, that didn't quite work let me see if I can adapt it slightly one side let's pretend that all this stuff was looking a lot better now then I would come over to my original photos I don't need that mask anymore because I need to see them back where they were and there's a bit of an overlap so in fact let me go back a step I should've done this first if I click to command click on the layer mask it actually makes a selection from the mask and that's where I had them originally now if I delete it and I look on this layer now I'm going to break my own rules here because norman like don't use the eraser because it's very destructive but in this case I don't really want to ever come back to the couch that's covering up her arm so in a case like that, I'm ok with actually using the eraser tool because there'd be no reason for me to keep this part so go in here and just lead in that way I'm not having to worry about where I'm painting to a race because I'm doing within the selection so it's still against the wings a little bit of help but you get the idea where as you're going through you say well let's try this and see how that works and in this case I tried content where phil because it was the quickest way whereas to be perfectly frank the more I do things now I jump directly to the patch tool because the ability for me to say how about using this as the patch is a huge difference and the fact that you can put the patch on a separate layer so then you can tweak it and adjusted move it that's a big plus a cz well and uh let's see, I want to show one other one really quickly here which one's um well there was one other submitted one it was this this one oh here it is so it's ah raw file it's got some wires in there so I'm going to and this is a personal thing at this point I mean if I knew as I do in this case I'm going to remove the wires in this case I probably wouldn't open as a smart object because there's really no point on have to come back here did you need to throw something out there? We thought it would be fun to kind of share the back story is a story that's okay? You know to this image so it was submitted by marty reid and he wrote I was in the chat last week and promised I'd submit a pick I took this monday morning right after it snowed finally in albuquerque the lights mixed blue in the mountains son on the chimney para line running through it and a bit of garbage on the bottom can you show me how to best fix this and then put a non centered vignette on it so again I the main reason I use camera raw smart office if I want to come back here but as I think I showed you earlier if you then do any kind of cloning or healing, it kind of eliminates the ability to go back and tweak the exposure and stuff, because then that healing layer wouldn't work anymore. So in this case, I don't know that I would necessarily keep it as a camera smart, I will just for the sake of discussion. But do you have to keep that in mind that in the next step where I add a new layer and say let's, do something across here to try and fix it, then I wouldn't then go back and change the exposure because it wouldn't match anymore, so I'm going to use the strong tool, the spot healing brush I keep saying it, but I'm actually clicking on the wrong one, so once again, voice activated things letting me down, so I wanted to be everything normal content aware, sample all layers now, as we hopefully know by now when you leave a tool a certain way, it will stay that way, so I don't even bother checking anymore because I always have the spot healing brush on content where sample all layers just leave it that way because that's, to me, the best way to work but I want to do is I want to make my brush just big enough to get a little closer here. To have the wire, this is a pretty big honkin wire compared to some of them, so I want to make sure I have the wire and a little bit more now, at this point, I will drag my most extremely slowly attempting to paint in a straight line I want that would be the really hard way, but some people do, because if you were, you know, teaching yourself how to use this tool, you might have missed this little trick, and this is for any painting tool at all paintbrush healing, brush clothes, stamp tool, click on one and single click, hold down the shift key, click on the other end and it paints a straight line for you, and then it says, let me just to go and see if I can't do some calculations, okay? It still needs a bit of help, so we'll go here and then this end, and I might take a couple of passes back and forth, but instead of me trying to paint along a straight line very carefully, click shift, click will stay. I will draw a straight line between the two ends. Now what I did not think to check because on my computer, I wouldn't have changed this, but it clearly was changed by somebody who is teaching here before there is an option for the paintbrush where it's actually there is some pressure sensitivity so when I did a straight line it wasn't actually a thick straight line it kind of tailed off which meant it didn't work quite as well so if I turn that off for this particular case then up here quite is big so the same thing click shift click will attempt to look inside there and see if I can't fix that up bad keeping in mind this is a separate layer so that if you decided well the bottom one worked pretty well for the top one is not so good this actually worked pretty darn well in this case but here's a typical scenario that you might have is when you look at the two year like I miss a little bit so I want to feel like I want to shift that top hell up a little bit but I really can't because they're on the same layer I didn't do them separately so in that case I could just sort of strong tool I could say well, somewhere in here I know there's that one layer or the one healing part and now I could say there it is and aiken either shifted up or down a little bit if I wanted it's not quite on now it would take too long for me to show this if you have the hardest part I think is when you have wires and in the sky that air drooping because then you can't paint a straight line because it's not straight anymore so I'll show you the principle of it really quickly let me do it this way so I still need a new layer but I'm going to use paths and this thing called the mental what we can do with the pen tool is we're just gonna have to pretend there's a curved electrical wire of some kind so with the pen tool you can actually trace the same curves oldest again pretend that there was a power line that drooped like that so that's the path then you go to your later make sure on a new layer and make sure that we have our healing brush with all those settings he's gonna blow your mind this is so cool so I'm on it the result would be on a blank layer I've made a path and then there's an option down here that's called stroke path if you clicked it it would stroke it with your foreground color if you use the super secret hidden option or all to click on it it says what would you like to stroke it with? And I'm gonna say I'd like to stroke it with the spot healing brush and it will just go and paint right across that path for you which in this case will not serve any function whatsoever because there's nothing there but you can imagine if there was a power line, that it would go and they would fix that one and what's cool about it is once that once fixed, then you click on this path and drag it down to the next weir and go stroke path and then dragon and adjusted the next one to go stroke path. And I, the first time I tried that, I just had all this was like, okay, that would have taken me on our previously with other manual methods. It just took me four minutes. You probably took six minutes because I was too of me going. Whoa! That's! Awesome. So that's, one of those kind of hidden things where some people don't use pass, understandably because they're not the most obvious things in the world. And then on top of that, to know that there's, a hidden way toe pop up a dialog boxes says, stroke it with the spot healing brush. Okay, what's really odd to me. Odd, but also interesting, because it makes me think, why would you want to? For example, one of the ones that always struck me was interesting. Where was it? I mean, some of the options, like stroke with the quick selection tool, make a selection along a line that's just not sure what that one so some of them are just a little bit unusual choices but basically means all these tools that have like a painting type function you can choose to say struck with this tool along that path so the only the trick to it is you have to first before you go to that function whatever to we're going to use make sure the settings air correct up in the options bar also you wantto make sure you're still putting onto a blank layer you don't do it on the background because when you get to this step you don't see the layers panel anymore unless you have separated them but that ability to option click say stroke along a path that offers some really interesting possibilities for things like that where it's not a perfectly straight line or if it is but you've got ten of them you do one and then dragged down next dragged down next just makes life a little easier, so that's kind of a cool idea I think, um I'm sorry and their original I just went off on a whole tangent there so I can't remember what their original request was I think they talked about also I mean an easy fix would just beat a crop it a little bit to get out that kind of unnecessary part at the bottom and then this is where if I if it was a camera smart object and then I realized I really wanted to do a vignette the other way to do a vignette if you have a camera smart object is actually right inside camera raw because you can come in here and to say I want to add a vignette, this is actually the intention of this is really to take away of in yet, but you can also add it in by just moving sliders they don't want to make it a little darker, so that's another option for some situation just wanna have a very subtle kind of get around the outside how we doing on time? We're just about ready for q and a when you are go for all right, well, first of all, does anyone in the studio audience have questions? I've got one you were talking earlier about the pressure sensitive pad, and I was just wondering what kind of tip you using your pen? I don't even know the one that comes with it seriously, I mean, that that's the interesting part about these tablets now is this is not just a stand it's a whole bunch of little tips and you can see I don't if you can't see this, but they're all still there, so clearly I'm using whatever came with my pen, I have a good buddy that's the master of tablets he probably has already had to reorder some because he's always changing and he uses so much person seventy that he's actually do wear down so fairly soon I'm going to probably have to switch but I don't even know which one it is I just use it sparingly to the point where I barely touching or pressing harder what's more that thie brush setting that it is the pen itself fantastic thanks okay no more questions from the in studio audience I'm going to go to the internet all right so from a mes que speaking of blue skies what is the best way to remove heavy noise and artifacts after saturating to get deeper blues noise filters alone don't seem to do the trick or simpler question how do you get more saturated blue sky without causing heavy noise or artifacts? Okay well there's a couple of things that I would consider one of them is the noise reduction camera raw is better than any photoshopped filter at least the built in ones I mean if you buy a third party filter their some of those air are better but compared to photo shops noise reduction I always attempt that's why I always try to do is much like candid camera because if you're pushing things in camera to say I need more vibrancy anymore saturation and you start to see noise then in camera raw you do have the ability to say I'm really pushing this and I'm worried about noise, so then I could go into camera raws noise reduction and it tends to do a better job of removing noise while preserving detail some of the noise removal filters you tend to see doesn't look very realistic court almost looks little blurry this does a better job so that's why would again kind of gravitate towards doing this as much as possible? The other thing and we ran a time to cover today, but in almost every case when someone says, I really want to bring out more of my sky and I'm going to sound like I'm kidding but I'm absolutely not my erections or you could put in a different sky because frankly sometimes it's so much easier I have a whole collection of folder called skies that there's different combinations of blues and cloudy skies and when I have a photo like this where there's nothing I mean try and say pull up more blue out of that out of what there's nothing there. So in that case to me that's a prime candidate for let me paste a new sky right in there and try and blend in to make a look mohr realistic because trying to pull something out of almost nothing you are gonna have quality problems because there's nothing to deal with camera can help but ultimately pulling sky out of nothing is not going to help you so I usually have don't have why probably another folder but I have at least one or two nice blue cloudy sky puffy clouds guys that I can look at or different ones angry clouds not so angry no clouds and then pull those in anyone who's ever tried to dislike paint a sky yourself you know it just doesn't work it's really hard to make a local realistic with a grating or something so just take a sky in a nutshell there's a command called paste into which will put the sky into the old sky with a layer mass you can tweak it that's kind of bottom five seconds summary of what's a fifteen minute tutorial but that's where I would look to first frankly, does it be easier grapes? Um we have a question from cheryl may and she says, can you give any specific tips on restoring old photos? Certainly and one of the I've done a fair bit of that in my time it's actually a favorite little hobby because I know that most of time it's going to take a while? I mean very bad photographs it's it is going to sound again odd, but it almost I enjoy it when someone says, can you restore this photo and they haven't envelope and they empty it and there's multiple pieces because that means now I got to put the puzzle back together and try and fix those, but at a certain point I throw people off by saying one of my favorite tools for restoring all photos his camera because when I looked at old photo once I thought what's the problem with this old photo it's kind of faded and there's a lot of dust specks on it and I thought that's kind of like exposure and noise so when I open in camera and went move the exposure fixed the noise and went that's about eighty percent of the way there with one thing so now cameras my most favorite ist restoration tool once you get to the point of having the major stuff done like rips and tears but to fix overall stuff it doesn't change the fact even though it's an old photo do as much as you can and camera and don't be thrown off by it's not in raw form and it doesn't matter open a j peg opening tiff in camera and apply the same theory of moving sliders and adjusting noise as you would to any raw file cool all right, jaycee lee asked what's the most efficient way to fix a harsh shadow across a skin tone like the face well that's um that's probably one of the ones that and I hate to say go on watch what ben did in his tutorial during the panel discussion but he did a really good description of how you can use curves it's a measure that color and then match that one so that's a very nutshell answer but that's the difference is here's the thing if you have a photograph like this one where the problem is I'd much rather have ge larry spot like that than a dark spot because a glare spot like this I can probably do something like take the clone stamp tool and change the blend motive this blank layer to darken that means whatever you do on ly affect the pixels that which you could make darker the clone stamphill normally would just say I'll clone everything but the difference is here if I pick a spot nearby it's just going by and saying let me but it's not cloning over everything looks like it is but because this darkened moded saying I will on lee really affect the areas that aiken darken so I'm sorry what was the question? I think that's a complete side oh yeah dark harsh shadow so if you have the info palette this is where when you hover over anything it's showing you numerical values to say this part of his skin tone is these values or are these values then when you look at the shadow party while I got to take those shadow areas which are too dark and kind of match him up with these colors and we do that using curves and the fact that you khun type in red, green and blue values to match and again that's one of those things where it's a quick question, but an answer that would take longer than I have, but luckily, just go and re watch that panel discussion, and ben did an awesome job of showing how that works. He really did all right, next question of is from photos by deb's what is the best resolution to scan photos? Because you can I mean that I'm not trying to be facetious, but it's, just like when you capture a photograph and camera raul, one of the benefits of that is you've got this nice big file you can always make smaller and I'd hate for someone to say we're gonna printed on my purchase all scandal two hundred and then they're trying to fix up, especially for restoring old photos I would scan at the highest resolution I could in gray scale, so it's not gigantic, even though I might end up scaling it down. It's a lot easier to fix a rip on a piece of an old photo if the rip is this thick versus a little tiny line, you can barely see you don't have enough resolution. So obviously you want to go overboard, but I would say even though your end resolution might be not that big for a website, I would still probably want to scan it quite large to give myself the option of looking at a big and then scaling it down. We have one yeah, I've actually got a follow up question for that specifically, if you don't have access to a high resolution scanner, would you be may be better off assuming that you can line it up correctly, possibly taking a photograph on dh using that instead, and I've done that a couple times where we're somewhere I didn't have a scan or this can they had was a fairly basic one or the scanner they had was like here's, my scanner is one of those words you feed it through it's like I don't know if I want to feed this multi pieces of photo taped onto a piece of paper. One of things that one of my buddies suggests I think was a great idea is he went to a framing store and bought a piece of non glare glass and then he put the photo and put the glass on top it so it kind of pushed everything down so you didn't get the little ben's you might get from taking a photograph of scanner lid would do the same thing that we don't have that putting a piece of non glare glass, you can still have enough light to photograph it. And, ideally, on it. Some kind of a trite potter stance was not moving in the same thing. Capture the photo as high quality as you can. And, yeah, sure, why not?

Class Description

Dave Cross will show strategies to fix you photos! This is a chance to see real world solutions to your real world Photoshop problems.

Software Used: Adobe Photoshop CS6