9:00 am - Tonal Rescue


Photoshop Mastery: Image Ambulance


Lesson Info

9:00 am - Tonal Rescue

What I'm going to do is start off thinking about tonal adjustments, meaning not retouching instead any time I mention the word tonal, if it's just not a word to use, it means brightness in general, so brightness adjustments and color adjustments s o I'm going to call it total rescue? Uh, we'll see how to fix those kinds of images after that. After we take a break, we will get into more retouching issues and other stuff just so you know, I have not really worked these images, I've might have looked at a couple of them, but if I did, I didn't spend more than about two minutes on any of them just to see you know what potential with behalf. But here are some of the submissions that we've received. Some of them are going to need both total rescue in getting the initial look good and some retouch if you take a look there, uh, some of them are missing pieces, and this one, I don't know it might be bringing beyond repair not I don't know it looks kind of blurry and things, but we might get a c...

hance to look at it and see what we can do, but if you just want to see what type of images we're going to be trying to work with. I think it's fun be able toe to see these kinds of images because I don't run into these every day I like this one where we got big big band across that gotta learn high fix um all sorts of other things you know, pictures that air really faded out pictures that have, you know, big problems with it. This is the kind of stuff where if I didn't know every little in and out of photo shop I would just be given up on a lot of him, but I think it's going to be really useful for us to be able to come in here and work some of these so when it just gives you some idea, these are some of the images where I know I have ah good release form for it and I have these two pick from not sure if I'll get to all of them, so I just want to start with one was going to pick something, open it up and show you how I might start dealing with him. If the image is faded and the color is really off, then I might start in camera even if it's not a rafa it's a jape eggert if I don't care the main requirement with cameras that the image does not contain layers, so this one is a psd file his means photoshopped file format in so that particular one is a file format that I don't believe cameras supports if I go up to the file menu, see opening cameras great out. Well, I'm just going to take this image and open it just double click on it, and I'm going to say that in a file format the kamerad does support usually I would not use j peg isn't working file format find if you guys uploaded him in j peg it's just a matter of if we need to extreme changes to the image jpeg throws away a lot of information, it makes it so there's not as much integrity in the picture. A better file format would be tiff tiff does not degrade the quality whatsoever, and you get the exact information you started with so it's a good working file format, and I'm just going to say this without the layers. I'll put it on my desktop here so I'd save it out and I'll close it, then I'm just gonna go to bridge. I'm going to go try to find that file, I believe I put it on my desktop. There it is. So if it's not in a file format that supports raw first thing, I do open the image, say that. Seven and file from that does I would usually stay away from j peg used tiff instead. J peg is perfectly fine for a finished file format. You know you're completely done with the image it's when you have need to open it, make additional changes that it's throwing away good amount of imposed so it's not as good. So anyway, I grabbed that one. I'm going to come up to the file menu and choose opening camera because if you double click on a j peg what's hip apologised opens the file doesn't bring in the camera. Here we go now this one I don't know exactly what the complaint is about any of these images I'm just going to make it up as if it was my image and fix it that way, but for me the problem with this image is first off the faces or really dark and secondly, the faces look pinkish purple and then just overall there's not much detail at all in the highlights, that kind of stuff and just is there any way we could get some integrity back into this image? So if we have a lot of faded colors, what I will often dio is first exaggerate the colors there there by taking the saturation slider and increasing it, and I just pump it up higher than I might think I need I mean not tell it looks absolutely ridiculous, but until I can easily see what color is in most areas, that just makes it easier to see when I get the colors closer to being bright when I'm done, I'll come back to the slider and I might lower it if it ends up being too colorful but oftentimes with faded photos, the amount of color is so little that it's hard to tell when you're getting it right now when I do that I usually just saturation I do not adjust vibrance vibrance would concentrate on the mello colors in the picture those are often the colors that we don't even care about because in a old photo it's the skin tones of the blue sky and the green grass that we need, we don't care about the colored dirt and other things that are mellow in the image so saturation I'd bring up. The second thing I would do is I would adjust white balance white balance is going to allow you to shift the image towards or away from a color, and if you look at white balance it certainly two sliders its temperature and its tent at the opposite ends of these little bars are opposite colors, meaning yellow is the opposite of blue magenta is the opposite of green, so if I move this slider towards yellow over here I'm simultaneously moving away from blue and so if an image looks to blue moved over here, even though I'm not thinking I wanted to look yellow, so what happens with this is the opposite color absorbs its opposite. So if there's too much blue in the picture, pushing yellow in is just going to absorb mohr and mohr and mohr that blue and it's on lee, if we got rid of all the blue that we started noticing that we're shifting towards yellow, because if blue is dominating the picture, that would be the thing we notice. We've got to push the blue out of the image by putting in the opposite color on lee. When you've gotten rid of all the blue, would you start noticing you're pumping yellow into the image that make any sense? So with this image, I'm just going to look at it in overall, I noticed a kind of a magenta purple feel, and so looking at the white balance, I see a magenta purple color in here, and so I'm just going to see what will happen if I move this to the left, away from the magenta purple. I'm not just so you know, I have no idea what this picture is gonna look like so it's no guarantees here, and so I'll do that and as I d'oh I see a little bit of the purple and the outfits disappearing, but you see a lot of yellow in the background coming in. Well, the slider working with those is not one that is going to try to bring in yellow, we have a different slider above that that affects yellow, so now if the images to yellow, I might move it away from yellow up here, if you want to see if anything is helping, your image will be a little weird because we are saturation turned up, but if you turn the preview checkbox off, you could see before and after him to see where you're going. The main thing is, since we have the saturation turned up, it looks almost worse because the colors are more vivid, but I'm just trying to see what's going on, and if I want to see if any particular slider is helping or hurting, double click on the slaughter and it'll reset it to defaults. This is only in camera raw where if you double click on a slaughter, you get default settings and if you think your end result looked better than the default, just click one more time because if you haven't moved your mouse, your mouth should still be sitting right where that slider was, and you just click again to bring it back, so double click to reset click again to bring it back and just see if you think that's helping or not. Another thing you can do with white balance is instead of playing with the two sliders, there is an eyedropper up here this one right here, two of them look look, a turkey baster. The one on the left is your white balance eyedropper and it's designed to allow you to click on things that would be white or gray within your picture and what it does is it looks at an area let's say this was supposed to be white or gray, and if it's not white or gray, it figures out what color is in there and let's say that was bluish, then it would just take these sliders over here and move it away from whatever color was contaminating that area until there was no bluish in that area and it just makes it so whatever you click on becomes neutral, meaning no color, and so I can try that, too. If I confined areas that should be white or gray, I don't care how bright or dark they are, but they shouldn't contain color. So I'm assuming this was painted with white click and see if it improves the picture. It was only a subtle change, but it was doing the same change we had done previously moving things away from magenta away from yellow but I can try that in various areas of the photo. If I can get my mouse into these tiny little letters I'm assuming they were supposed to be white. I could click on him but if you happen to get any of the red that's in here it's going to try to pull all the read out so anyway that's another way could experiment. This image still isn't looking very good, is it so let's see if there's anything else we could do hopefully we can get something better, but this is what I start now. The next thing I would do with a faded photo is in kameron we've got a bunch of tabs across the top here in one of those tabs looks like a little camera that is the camera calibration tab. This is an area that few people venture into but is very useful for faded color photographs. What I find is what color photographs, certain colors in the image fade faster than others it's just like if you think of printed material and you look at any posters that have been sitting in somebody's window like a gas station or anything for a long time they always look science. I mean it's like it's almost looks like a design thing why all these designers picking only sigh into print with it because all the other colors have faded away and I'm not sure what it is for printed photographs, but I think certain colors fade faster than others in and here behind the scenes you're images made out of red, green and blue and I'm assuming one of those primary colors might fade faster than the others. Well, here we can control what those colors look like, so what I'm going to do here is first I'm going to come in and work with each one of these and I'm going to change the hugh slider I'm just going to see moving at one way and then moving at the other doesn't help the picture I won't always be sure if it helps the picture. What I'm often doing is not looking through the color suddenly looked good I'm looking to see do the color separate from each other mohr meaning can I see the difference between the red sign that's in here and let's say a blue jacket or something else? Can I see a bigger difference in color between the two? Because usually when there's a color cast in a picture everything is going towards the same color? The whole photo looks orange the whole photo looks yellow, the whole photo looks something else and if I find the spot where the color separate the best, then that's usually going to be an improvement in helping the image some of this around and just see if there's anything where I get any better separation and I think if I move it to the right the red sign starts to separate a little bit better from the other colors I'll do the same thing with the green and see how that's really affecting their faces quite a bit and I could look either until the image it looks a little bit better or until the color separate better and if I can't tell just leave it alone then go down to blew into the same thing once they've done that I'll go back to saturation we have separate slider for each if one of these has faded more than the others then it's lost its saturation and by moving it up or down we confer kind of restore it bring it back let's see if that's going to be the case but I think bringing this down a bit is helping let's tie green and let's try blue, huh? I like bringing blew way down okay so I don't know if you think he's helping or not but let's see what it used to look like if I turned the preview check box off that's only going to preview the difference that you've made under the tab that you're currently working in so that means it's not going to preview absolutely everything I've done to the image it's just going to preview what I've done under the calibration tab and if I turn it off there's before turn it back on theirs after I think I'm getting a lot less weird like purple stuff in the shadows and I think their faces they're getting to, you know, something a little little different. You also have a slider here for just the shadowing areas, the really dark stuff often times with certain cameras, you get purplish stuff in the shadows and you could shifted towards green, and in this case, I don't know if I noticed something specific to the shadows, but on occasion that will be useful. So now I'm going to go back to the normal tab. This guy over here and I can adjust my saturation again, has control of colorfully images and I just want to optimize it in general, I think the faces are way too dark so and here the slaughter that effects the dark a portion of the image is mainly the shadows, slider, it's just starting to see what's in the shadows and I can try to either on faded photos. Usually increasing contrast isn't necessarily good, but on occasion decreasing contrast it means make the difference between the dark stuff and the bright stuff less make it make them more similar, so I got to see what happens if I happen to bring contrast down see what's happening the guy's jacket on the right side, little easier to see what's in it if I bring saturation down though what I find is that often times the image just looks a little dull and if that's the case to compensate I'll come down to a different slider in that sliders called clarity so pump it up to compensate you see a little bit more of the detail in the face kind of coming out be careful with clarity though in that is if your image has texture in it like the texture of a print now certain old prince had a stippled kind of texture this is gonna exaggerate it or if your image requires any retouching it's going to exaggerate the things and so it's not that great to bring up clarity all right so that's what I've done so far I'm just going to find ten things a little bit because I noticed a little bit of magenta and the image will see if I can push this over a little bit away from magenta and it might make me a bunch of bit more colorful that's where we're getting so far with this one of the other options is if you find that the color and the images and really helping uh oftentimes with images that are really far gone if this is not giving you a great look I will often go over to the hs l area the h s l is this little tab here what it allows you to do is work on individual colors and I can come in here and say, make everything that's red in my picture shift a bit in color make everything that's green in my picture shift a little bit in color that's what the hugh does saturation will make things more colorful or less colorful, but you can do in an individual color and then luminant swill change the brightness what's nice about this though, is you don't have to guess at which slider to use to affect a particular area when you're in the hse l section of camera there's a tool in the upper left to see this thing like what the heck does that too will meet it? What is it across a circle and a little down arrow we'll click on it it's the targeted adjustment tool in with that I can click within my picture and if I want to shift the basic color of something I could click on it and if I drag left or right photoshopped will figure out which of those sliders over there on the right side would affect whatever I just clicked on so I clicked on his face and I say well they want to shift the color of anything that was the color of his face come down here to the ground hopefully it's a different color in the ground sometimes they get to be become rather similar and I came over here to saturation and I can say today take whatever's in here, make it more colorful or make it less or I can do bright and dark, which would be luminant I'm gonna hit open image to see what we have here, but actually if I had done first I might be able to show you before and after more easily what I'm going to do is hit done and I'm just going to open this image again because it has all the settings applied to it if I open it again in camera, I'll just go to the side menu and choose kamerad defaults to say this is what we started with this is where we are so far a lot more detail on the faces now what I have to decide on this image is how important is the color? Because I don't think we're going to get the color to the point where it looks like a modern photograph if I think the color is not really going to help well, end up dealing is just going to the ancient cell tab and say convert to grayscale and then I just optimize the brightness contrast to the image but if I want the color this is what I can continue doing I believe this image here for now we might come back to it work on it further but just trying to give you some basic ideas there uh here's one this was in photoshopped file format psd, so that's why I just double click down it to open it, and I could do the same thing we did in kameron there's, a starting point it's photoshopped file formats, so I'd have to open it anyway and re save it is a tip for j peg, but let's say for some reason, I don't know you hate came around or something, so you don't want to use that. There are other things we can do on this image. One of the issues with the picture is that there is a bright area right here. You see that part, and I wouldn't want to even out that to make it just blend in with the image so it looks more consistent other than that it might want to optimize the color a little bit more, although we might choose a different image to work on when it comes to optimize and color let's talk about areas that are starting to fade away like this there's a couple different approaches. If you don't like thinking about adjustments, you just technically don't like the mindset of doing that and there's an area in your image that is too bright one approach is to duplicate the layer that you have. And there's a keyboard shortcut for that that I use it's just command j to jump something new, a new layer that would be controlled jayme windows if you hate keyboard shortcuts, go to the layer menu and just a duplicate layer, so I just typed it. And if you look at my layers panel, you now will see that we have two layers and there's a way I can have this top player act as if it's being printed on top of the bottom layer. Just imagine that I sent this image through an ink jet printer, took the sheet of paper that came out and ran it through a second time, credit the exact same image on it again. So if you think about what would happen in this area, if you did that, we'd have twice as much ink one way, so that probably wouldn't be good for areas like what's down here, but I think for areas like what's up here, it could be really helpful to do that you go to the top of your layers panel, you click on the menu that's usually set to normal and you want to choose a choice called multiply and watch what happens to that bright area near the top of the photograph you see how dark and out and the main thing we want to be able to do is limit where this happens you could limit where it happens by either grabbing the eraser tool with a soft brush and just a racing away the layer that's fine if you want tio or if you want more versatility I would use a mask because a mask isn't permanent if you race away too much you'll be able to paint some back so to add a mask I'm going to go to the bottom of my layers panel and that's where I'm going to find the layer mask icon right here and if I click on it I get a normal mass going to say what a normal mask looks like watch my top player there you see the mask what happens is with a mask white allows things to show up is they usually would and I'd have to paint with black in there in order to limit you know to eliminate some of the image if I choose undue there's a way to start off with a black mask if you start off with a black mask it means hide this layer to start with and then I could just painted in and the way you get a black mass to begin with is you hold down the option key alton windows so I have that held down right now I'm going to click the layer mask icon if you watch my layers panel you see we got a black mask black and a mask means hide so it's hiding the entire layer so I'm just going to come in here with a paintbrush tool I'm gonna grab a soft edge brush and I'm just gonna paint words too bright really soft edged brush and if it's too much just choose undo in lower the opacity your brush sometimes what I want to end up doing is just building it up I'll end up bringing this down to maybe thirty percent or twenty percent I'll paint across the entire area that is too bright I'll release the mouse button so that's my first application I'll just click again it'll apply atmore and then I'll click again and apply it mohr and slowly build it up a little bit in there if I need to any area where they end up having it be two bright let's just say his shirt was it's mainly at the top of the photo and aiken slowly build that if you notice it's no longer changing, you probably have built it all the way up to white in your mask and if you need to end up darkening further, you could do the exact same process again go back to the original layer type command jay to jump it to a new layer that will be controlled jam windows center to multiply mode and then when you add a mask hold on the option key alton windows, which means start off with a black one and then I can come in here and build it up even more now, the only problem with doing this kind of thing is that the color in the area will usually become mohr saturated. And so I noticed that up there let's looking kind of brownish, and I'm guessing what used to be in that area was brownish and it's just whenever you darken something, the saturation of the image seems to go up, so what I might need to do afterwards is to mellow out the saturation I could go and create a human saturation adjustment lyric over here, human saturation. I just clicked on the half black and half white circle with the bottom that's an adjustment later and bring down my saturation problem with that is it's going to affect the entire picture? But what's nice is after I'm done. You remember how he painted on one of those masks? And if you look at this mask white is what makes things show up black is what hides it. You can see exactly where I've painted, so you can see that this particular layer that was darkening affected the top of the picture and affected these two other little areas to a lesser extent. Well, I can actually click on that and drag it up here to say, make this adjustment on ly affect those areas where I painted so therefore we're not going to make the entire image become less colorful. We're going to make just those areas where I've painted become less colorful there's actually a couple ways of doing that, but if I click on this and just drag it to here, it'll asked me, hey, do you want to replace that? And if I say yes, we got a problem and that is if you look at my layers panel, do you notice it removed it off of the later? It was on before choose undo if just clicking and dragging moves it if you want to copy it, you need to hold on the option key option and photoshopped generically often means copy if you're in like the move tool and you drag something across your screen well, if you have the option key held down, you be dragging a copy across the screen so you can get used to that after some time. That option means copy, so I'll click on option and always dragged that up there. It will ask me, hey, do you wanna replace it? I'll say yes, and now you can see that it's on both layers, so then I can come into my adjustment if you don't see the settings for your adjustment, you can double click on this little part here, which represents your adjustment and it will bring it back up and I could go over here and further see if I need to find tune that somewhere around there so let's see what we've done to this image so far I'm just going toe hide the other layers that we've added, you see the bright part of the time see how we're kind of building it back in this is only gonna work, though if there was actually detail in that area if, on the other hand, you have a white wedding dress and it's blown out to white there's nothing they're doing this is not going to do a thing because if you think about how it works, it acts like you're going to take the printer or take the image in prince internet inkjet printer and just send it back through the printer again to print a second time. If you have a white wedding dress that's been blown out to solid white if you printed on an ink jet printer, how much income they're going to put on the sheet? None right, so if you send it through again, you're still going to get none it's the rest of the picture that's going to get darker the part of the wedding dress that's messed up, not going to help at all so make sense, so this is only if there's already detail in that area then we can come in there and start to help it out now this image can also use a lot of color changes and that kind of stuff I'm not going to be trying to fix every image to the its final I'm just trying to show you the details once we get towards the end of the day we might start combining together a lot of these ideas to take images further but for now I'm looking at kind of one concept per image if that's ah appropriate that make sense so I'm going to save this and put on the desktop so get back into it later if you want to do more like I wanted to just more color that kind of stuff any questions? Yeah can you just, um clarity clarify yeah clarify the when you're using the changing the opacity on the brush what's the difference between using that opacity and the capacity on the layer okay if I use the opacity at the top of my screen this one it's controlling my brush and that means the next brush stroke I apply eyes going toe have less effect on the image when I paint doesn't control any brush strokes have already put down it's my next breaststroke and if it's on a mask and then paying with white or black I mean they're going to be making the later show up or disappear but on lee where I paint if I instead of just the opacity at the top of my layers panel it's going to lessen the entirety of this layer and so it's going to be the equivalent to me train off the eyeball on this layer but instead of turning it off one hundred percent of the way I'm throwing it off whatever percentage I put in here so the eyeball means one hundred percent turned this layer off instead I could say turn it off ninety percent of the way eighty percent of the way but it affects the entirety of the layer um so if you ever find a layer whatever is doing is doing too much in the whole layers doing too much you want to go for a passage of the top of your layers if on the other hand you like with the majority of that layer is doing this is one little part that's too much then instead you'd want toe work on the mask grab your brush in paint just in that one area s so it really depends on what you need there I'll throw a quick one out then yeah the procedure that you just went through could that have been a smart object or did you do things outside of that realm that could have easily been a smart object great yes ok and it actually would have been nice to be a smart object I was just trying not to complicate the concept I was talking about sure, but just so we clear if you let me show you just what it would look like if it was smart object and a few of the advantages that you'd have but those of you that are used to using smart objects don't think that this is absolutely necessary I'll just show you the advantage so you might see why you might want to use a smart object so what I would have done with a smart object is before I made any change to the image at all, I would have had that bottom layer active it would have been the only thing in the image and I could go to the layer menu too smart objects and say convert a smart idea then I would duplicate that I would take command j in before we set out to multiply moe didn't might we added a mask we painted on it for me? I'm just going to copy over a mask from what we already have me I'm going to re create the same thing just type command j to duplicate it and I'll drag the other mask yes replace and then I'm going to duplicate my little of human saturation so ignore the top three layers those are from the old technique the bottom one's are what it would have looked like if I used a smart object the process I went through with look absolutely identical except for before I duplicated the layer, I would have gone to the layer menu chose smart objects in chose, converted smart up that's the only change now why the heck would I want to do that? Well, here's why I'd want to do it if you think about the way our images is based is we have this bright area up here that we think is too bright, we've duplicated the image twice each one is kind of adding inc in those areas, but what if we notice like a little scratch going across that area, or we noticed some other kind of issue in that area? Well, how many layers is that issue in its in three separate layers then? And so if we wanted to retouch it out later, we would either need a new layer on top to do the retouching, but that would limit what we could do with fine tuning what's underneath because we've later on fine tune what's underneath the retouching would no longer match what's underneath. We mess with those layers, but if we is a smart object, what happens is all of these layers point back to the same original, and we can just double click on the thumbnail picture for that later. It doesn't matter which of the three because they all point back to the same original and if you double click on it it will show you the original picture in a separate document and you come in here then in that separate document do retouching like there's a little spot there there is little bitty specs and maybe there's a scratch and other things and what happens is if you edit that smart object like I am right now when you're done and you close and save this it's gonna update every layer that refers to this smart object which means all those duplicates that we ended up making, they're all gonna update to now contained this instead and so are retouching can be done and it doesn't it makes it more versatile so in order to say this I'm just going to choose save and then I'll close it in the place that it saved it was back into this file because that's where it came from if I choose undue let's see things see any difference you see little things over the top that have been retouched out, but I still have the ability to paint on the masks that are here I still have the ability of adjusting the opacity of each one of these still of the ability of changing my human saturation, whereas if I didn't use a smart object, where do I put the retouching I would have to put it on a layer above and then if I make any changed anything below it, the retention would no longer match the brightness and the color and I wouldn't be able to be as versatile that makes sense, so yes, spot objects would be great the on ly reason I won't always do things with things like smart objects is I'm just trying to keep the core of the concept simple as simple as I can because he's your understand it but know that yeah, you all those things at my disposal if it was practical to do so cool death all right, here we have some were blue thing going on. How do you do that to a picture? Um all right, this is an image where oftentimes I end of starting in camera. August is there's a lot of easy things you can do, we don't have to go, but this looks like it was a tiff and it doesn't have any layers, so tiff is supported by camera. Let me close that up and starting camera if you just double click on it just opens it in photo shop, but if you go to the file menu and she's opening camera, it should be ableto get it in there in first off what my brain is thinking is the picture is not a color picture right, but the issue that we have with it is color, so why not take of all the color out of the picture? Because if it's a black and white picture to begin with, you know that way the color will go away so I'm gonna go over here and click on the hsbc sliders that tab there's a check box called convert to grayscale I'll turn that on, but then I can notice those areas that used to be blue are a little lighter than the rest of the photograph can you see it kind of where his leg is right there a little bit lighter? Well, what's nice is we have these slaughters that can control how bright or dark areas are that used to be all these colors and so if you remember the color of the stuff that was on this photograph it was blue so I could take the blues and bring it down you see what's happening, I can control where that steyn wass because this is adjusting the areas that used to be blue and saying make him brighter or darker, so I'm going to bring that down and see if I can get it to blend in at least with this pants I think I got it to blend in look at the images a whole I just typed commands zero means fit in window case I don't describe that and if I want to see the difference, I'm just going to double click on the slaughter to reset it to its default and I'm not going to move my mouse eso if I double click, then it'll show me default settings and if I just click one more time, it'll bring it back to where I am right now so I can compare those default settings to what we have here for just a slider but you see how those areas are a little bit light, bring it in here and they seem to blend in more so I think that's helping our formally blue area but let's look at the images the whole before and after so far I'm just gonna turn preview off and turn it back on, and so at least to my eye, that doesn't look to be too bad now there's limitation to this though, and that is with these sliders it's going to affect the entire picture in sometimes I noticed that certain areas need it more than others and that's when cameron won't be the best tool to use. For instance, here I think this looks pretty good words pant leg is, but if I look below the chair, do you see it almost a diagonal area that's, right? And you see the little hint of a blue in there right down in here so if that's something where I think I might need to adjust it separately, I'll see if the blues khun darken it further, it looks like it can, can't it? That means kameron might not be the best tool for this because cameras limited I can't paint on a mask, so I'm going to turn off convert to gray scale and I'm just going to say open image let's do it in photo shop, I love it when came a rock and do it because it's just seems to be faster have more tools that I can do in one spot, but when I really need to get into it, sometimes I need tio pop into photo shop. So what I'm going to do here the equivalent to those train on grayscale and having all those sliders here would be to go to the bottom of my layers panel click on the adjustment layer icon that's the half black and half white circle and choose black and white. We get this and we have those same sliders like we kind of have in camera and in order to be able to click on your image and drag where if it decides what to use, you have a little hand tool if you want to, but I think we pretty much know it's blue, isn't it? So I'm going to bring that down his pant leg aziz good as I can get it I can do that or I can come in and apply something just in this area because I think that area could use it even further could use it like way down there does that make sense that we could use a different amount so let's see I'm going to bring this down until I like it in the majority the image then what I'm going to do in this particular case there's many different ways I could do this is I'm going to paint on this mask to just bring back the areas they don't like so if you paint with black and a mask you're going to hide that mask and reveal the image that's underneath you see right there I didn't like it and I'll just do a second black and white adjustment layer on top because what happens is if I did one on top without painting on the mask for this one without coming down here and just paying that away is that the second black and white adjustment layer would look at what's underneath it and say it's already black and white and the sliders that are in the black and white adjustment wouldn't have any effect at all because it doesn't see any color there it's not able to look all the way down to the original picture it just looks at what it looked like before you applied the adjustment you're about to why's my adjustment disappearing though you're using the spot healing oh, thank you I was just like I painted it looked fine and I start talking about my layers I glanced back and I'm like, did I choose undue? So thank you spot healing brush was attempting to heal the mask and it did a very good job of healing the mass to make it look like its surroundings, which made it look white. Now you got to be careful because here I didn't bring this all the way back. The reason why it didn't come all the way back is the last time I use this tool. We were slowly building up in effect, won't we? We're slowly building up on somebody's face if you look at the top of my screen, you see what my capacity was at, so it only brought back thirty percent. I need to get that back up anytime I adjust the opacity saying I try to remember to bring it back up to one hundred each time a quick way to do that is use the number keys in your keyboard. Three gives you thirty percent one gives you ten percent and to get two hundred, just type zero so come in here and make sure you get it all the way back, all right? I'm going to do a second adjustment layer of black and white and I'm going to take the blues again in this time it should on ly affect the area under the chair because that's the only area that still had some color in it otherwise how would it know that anything else was blue there's no blue in the image anymore when I applied this so I'm just looking under the chair trying to get that down there now in addition to that other things that I might want to do to this picture let's look it before and after here's before we got the blue stuff here's after we've kind of starting to get it tio blend in is it would be awfully nice to have more shadow detail in his outfit correct in order to be able to get more shattered itoen his outfit, the adjustment I would use when an image is this far gone is called shadow highlight shadow highlight is going to do a couple things. The first thing it's going to do is make sure the darkest part of the picture is black and then it's going to start revealing some shadow detail. The problem is it's not available as an adjustment layer, which means I can't just apply it to this layer stack that's here that we already have built up it's only available when you have the image itself active and you go to the image menu choose adjustments and you find shadow highlight and if I apply that right now to the bottom most layer it might change what the two adjustment layers above it see you know who is going to change what what it's looking at so I want to do something special that incorporates those adjustments we already have into the picture and still allows me to apply shadow highlight so here's a trick if you select all the layers just go to the select menu there's a choice called all layers you could then convert this into a smart object although right now the background layer isn't selected let me when you say select all layers the background is not actually considered to be a layer it's like the cardboard backing out a note pad you know it's not one of the sheets it's background it's the you know so just make sure they're all selected I could go to the layer menu too smart objects and convert it to a smart object that's going to take whatever this image is made out of even if it has retouching and other things applied to it and encapsulated into what looks like a single layer if you watch my layers panel it looks like it all combined together we still have access to the individual layers we just have to double click a month from now for this to see them but now if it's a smart object I can cover here and cheese image adjustment shadow highlight and so that's kind of nice it's a way that they got around not being able to use it as a adjustment layer, and I'm not sure how much this will pull out. I've never worked on this image in my life, so but let's see what we get with this? You have basic sliders for shadows, which is going to brighten up your shadow detail, and we have it for highlights, which is going to darken up your highlights he's so much more detail and get an address, but there's more to this than just these two sliders. If you choose show more options, this looks like becomes much more complicated to see the really long list there, but still you have an amount slider for shadows and you have an amount slider for highlights it's just that it added to other sliders underneath each those let's see what those sliders do. So first, I'm going to bring up my shadows here and seeing what shadow detail we might be able to get out of this, then there's a setting called tunnel with total with means what range should we consider to be a shadow from starting with black going upto? How bright should be considered a shadow? So if I bring this down, it's going to limit the change that I'm making to the absolute, darkest part of my picture and as I bring it up higher and higher it's going to get closer and closer to it also affecting the mid tones in the picture and so if I bring it up to hide all affect too much of the picture so I'm going to sit there adjust this until it seems to be isolated on lee the area that really needs it then we have radius and radius controls how it creates the transition between that area that were adjusting and the rest of the picture because you don't want to have a hard transition between the two and there's a bunch of different ways you can handle it so we can mess with the radius to see that I like getting in more detail in that chair tio kind of come out now I notice in her dress we're getting close to not having any detail kind of in this area and down in here it's just not that easy to see so we could go toe highlights in bringing up highlights is going dark in the highlights so let's try it there let's bring it up see how it helps and then again we have total with which means from white to what brightness levels should we effect and so I might bring the total with down considerably and then slowly bring it up to see how high does it need to be to get her dress without getting into other things that it shouldn't kind of like it about there and then finally we have radius which controls the transition in the overall look and we can see what might be appropriate if you want to see what this has done. I'm gonna turn the preview check box off here is before you see her dress here's after see the dress also look at his outfit now we're losing a little bit in his outfit in that he has what's known as poster ization big flat spots, a color or of tone kind of in here but that's justcause there's not any detail in that part of the photo at all so there's nothing we could bring it out does that make sense? What we're what we're getting here now at the bottom there's some other controls color correction doesn't matter on a black and white photo, but if you brought it up it would give you better separation between the colors. If you brought it down, things would look a little more similar in color, but midtown contrast effects all the other stuff in your picture, meaning we've adjusted the highlights we've adjusted the dark parts what about everything else? And so I can do mid tone contrast just to see what do I want in those other areas? Click ok if you want to before and after it is turned off the eyeball on the smart filter here's before there's after get more detail in her hair, getting more detail in his outfit ah, and in her outfit on ly area, I'm really not all that satisfied with its right in here and that's simply because that part of the photo does not contain detail, and so it stands out a little bit of a flat area. One thing I don't like is what's happening in the upper left corner, that background I don't think we really needed to peer mohr into the deep shadows in the back, so when you apply this as a smart filter what's nice is and your layers panel here's a smart filters was just means all the filters you've applied and there's the one we have there's a mass quitting their that mask determines what part of the image can in effect right now, it's completely full of white, which means go ahead, affect whatever you want in the whole image, but if I click on that mass to make it active, you can tell it's active because the corners air highlighted. Now I can paint with black and if I paint with black or remove that adjustment from the image, so if I didn't like the way it looked in the background of the image, I must paint with black right here, and all I'm doing is removing the adjustment from wherever I paint I don't think we needed to pull out more detail into the chair I could paint there, although I don't mind that detail because we lose the little blackpool of stuff just turn off the eyeball next to smart filters to see what would it look like without it and see? Is there any area where is not really helping? Maybe I don't like what was happening right here like that little being brighter makes sense, but shadow highlight can be really helpful when you're really, really close to going to solid white were really, really close going to solid black, but if you hit solid white or solid black not going to help you and so that's, why in his suit we have these areas that don't look at that's, where we had solid black in the picture is just nothing it could do there. Ben question from photo maker what would be the difference between creating a stamp player to work with shadow highlight versus selecting all the layers and making them a smart object? Okay, I think he's using a term I'm not used to, which is just a stand player, I think what he means is what would be the difference between when I was in my original picture, creating the layer that merges the layers we have already the's in applying it to that versus doing a smart off so what happens is some people, when they end up getting a complex bunch of layers and they need to do something like apply filter to the whole thing, like sharpening or something like that sharpening could only affect one layer. All your filters only affect one layer at a time, so somewhat cheat you could say there's a way to combined these layers together into a single layer, but then leave a copy of the originals underneath, just in case you ever need to get back and tweak them. And what you do is if I remember the keyboard shortcut. I think some people call it the claw get katrina, I think because of the cloud it's shift option command e that shift all control e in windows it's like, well, how the heck do you know that keyboard shortcut? Well, it's not actually that hard. If you go to the layer minion, there is a keyboard shortcut called merge visible. It means merge all the layers that currently have the eyeballs turned on and what's the keyboard shark at shift command e. Right? Well, if I do that, I mean, undo what I've already done. But if I do that right now, watch my layers panel shift command e it's like, combines all the layers remember there was a key and photoshopped that work on a duplicate just like when we dragged the mask from one layer to another it means dragon duplicate or if he used the move tool and move layer over and you hold down this key and it moves a duplicate the option key so all I did was add the option key to that keyboard shortcut that's called merge visible in a man hey emerge a copy of those layers does that make sense so sometimes people just think these keyboard shortcuts air like some weird like engineering joke or something that somebody came up with yeah let's make it so it's this you know nine key is you have to hold down but there's a usually a logic behind it so I'm assuming that that's what he means by any came on he's saying why not just do that? Because if human saturation needs to if it needs to work directly on the layer contains the picture there you got the result of what we've done thus far you could do that the problem with doing it is if later on you decide you need to make changes if later on the person says man I didn't want you to pull out that blew in the picture that's part of the picture I don't want to be black and white picture I wanted to be colored the client standing right there will you suddenly then have tio throw away that layer in fact, throw away all your layers for the most part and kind of start over because you have that inside of you've merged them altogether, whereas in the version I had, I just double click on the smart object I see the original layers, I just turn off to eyeballs to save, and it would update the smart object, but I'd still have my my shadow highlight applied it's, just more versatile, is all I'm not saying you shouldn't do what he mentioned is just not the most ideal necessarily and it's it's sort of kind of I'm still working on this myself. It's still sort of old school correct with the idea with a stamp layer because of smart, smart objects are new it's the way he used to have to do it before smart objects existed exactly quick question based on that, because I'm new to it as well. If emerged those and you made a smart object. If you were to do cloning on your smart object at this point and maybe frightening of teeth and eyes and cloning and stamping out scratches and such? Yep, can you still then go back to those layers? Those color adjustment layers and still adjust color based on that smart object, or is it is long and something closest? I'm in the middle of what he was doing and I want to make sure I don't miss things okay? So here's our this is what our end result look if I needed to do re touching things it all depends how versatile I'm trying to keep the image you know sometimes keeping it so you can make changes later somewhat cripples what you're able to do now kind of thing and sometimes it's a mindset that's just hard to think of where things should go but if I want to do retouching to this I can either create a new layer on top of this and do my retouching but then I'm somewhat committed to the changes I've made previously because if I make if I go back and change that black and white adjustment layer or if I go back and change the settings for shadow highlight the retouching I have in a layer above this we're no longer match it will be to brighter to darker or whatever if I double click on the smart object to see its original contents and I click on the bottom layer that's the absolute original picture I could put a layer above it and do my retouching right there if I'm able to do mary touching right there then I could just saving close this and all the other stuff updates and so it's a matter of thinking about what would be most versatile for you and how committed are you to the changes you've made thus far there's no perfectly right answer is just a matter of how you like to work so if there were obvious changes to this image for instance you notice in the upper left corner we have a little hint of white up there that's an easy to retouch out thing so I could turn off these black and white adjustment layers to see the original greater layer on top and we'll talk a bit more about this later but let's see if a particular feature will work for me there's a feature in photoshopped that doesn't sometimes like to work on an empty layer but I'm going to see if it'll work anyway if it works I'll tell you what it is um so anyway in here there is retouching that sometimes is easier to perform here so you can make changes to those other adjustments later we're not in this case there's ah adjustment I'm going to need to create a new layer for that contains the picture I'm just going to duplicate this layer to duplicate any layer I type command jake control jam windows like the sound effect so anyway here we have two copies it's not the way I like to work because it's going toe that cover up what's underneath it it makes it a little bit less versatile but the kind of retouching that works really well on the edges of pictures is one called content aware phil and aiken select these areas on the edge? I should have got a little bit more there, but if I select the areas on the edge, I could go up to the edit menu and choose phil and there's, a choice called content where it's in fact, the default and it usually does a pretty good job on the edges of photographs where the whatever is on the edge of the photograph is radically different than brightness from everything else. A lot of other tools mess up when you're on the edge of the document because they try to blend in with what's on that edge. So if there's white on the edge, it'll try to incorporate that white into the end result, whereas going up to the edit menu and choosing phil seems to ignore what used to be on the edge of the photographs that doesn't try to blend them with it. So anyway, there, you see, I selected little areas. I went to the edit menu choose content where phil and it's under the normal phil concern these back on, but we're getting away from like the overall idea of what we're doing here, so here's what we have a tw this point one thing was, if you remember the original, it had a brown tone to it that was probably just from age. But if for some reason I liked it on by want to reproduce it here, one of the things is, when you do a black and white adjustment for one, you have a choice and they're just called tent. You could turn that on to get some of that hint of color back on. If you click on the little square next to tent, you can control how vividly colored it is. I might just put a little hint of it, so it doesn't feel like a digital, black and white image. Instead, it has a little bit of a vintage feel. I put a very subtle one in there and there's more that could be done to any image as far as we can try to reconstruct some of the detail in this suit, we could brighten up their faces a little bit special woman on the right a little bit, that kind of stuff, but I think we're probably going to find that issue and other pictures where we might be able to use those of better examples, so I'm going to save this image on my desktop case. We need to get back to it later and let's see if I can show you the difference, but before and after so here's before we had blue gunk on the image. We had corners that we're not lined up after corners air fixed after we got rid of the blue gunk and after we have a lot more detail in it apparent in her outfit and a little bit more in hiss although his outfit could use more work if we really decided to do it that cool looking good and then I got a question what's that sam cox loveland, colorado hey has been so you're going to be teaching us lots of techniques for repairing specific problems and photos. Do you have a recommended order for applying them? I e cloning color totals what's your what's your m o when an image is really far gone usually a lot of the times it's fixed the biggest problem first, but um oftentimes I would say overall color and tone ality adjustment eyes not a bad place to start and then biggest problem first after that because if you don't do the color and total adjustment first, if you do any retouching and you d'oh just a slightly sloppy job, you might not notice that you're being sloppy until afterwards, when suddenly you increase the contrast on the image you brighten it back up and suddenly it made it much easier to see any problems and your retouching so usually doing the total and color adjustments first makes it so when you get into any kind of retouching you can really see the end results instead of something where it might be hard to see if there be any issues with it, but otherwise I tackle the biggest problem first and just try to progress on from there that makes sense perfect thank you let's see what image to play with this one doesn't look very fun. You get rid of that big blotch thingamajig err on the upper right in the colors mean with images like this oftentimes there so far gone, though you're not going to get it to look like a normal photo with full fidelity because it's just not in there, but we can usually make it look a lot better than it is so first thing I would do with an image like this is probably starting camera wrong because in camera we have that calibration area where weaken individually affect the red green and the blue and there's not as user friendly of a choice like that in the main part of photo shop, although there is something new if you have photoshopped cc but not too many people you know in the whole audience of creative live has that finish up c c stands for creative cloud and it's, where you get footer shop by pain monthly instead of buying the normal version and upgraded right now there seems to be some controversy with that word people don't like change and so some people are being slower and adopting that than others so I'm not going to do that right now but I'm just going to do it from here opening camera if I had photoshopped cc though what I would do it is I would just open this image by double clicking so it opens all the way to photo shop I would convert it into a smart object and then I would go to the filter menu to get to camera the advantage of doing that is after I'm done applying camera I could add a mask and I could paint to the masses say affect this area less that kind of stuff but for now I'm not going to get into that because it's just the number of people that have photo shops sisi it's not the vast majority it is maybe thirty percent or something else and so we might do that on some other image for now just starting here in bridge go to the file menu opening camera I want to mention it though joe just so that those who do have finish up cc have an idea of how you could deviate all right so as I mentioned before I will usually bring the saturation up just so I can see what colors air in there because if I have it all the way down I might not be able to tell what color the sky is I might not really be able to get a good sense for what colors in here but if I boost my saturation it just makes it easier to see the colors we already have when I'm done adjusting the color I might decide to lower saturation but at least here I can see what we got the next thing I usually do is just like with the other image we've done in camera is I will just the temperature in ten and in this case if I move it away from yellow and then let's just see if this is gonna help here sometimes it's hard to tell in this case I ended up you know, barely changing anything if there's anything blatantly obvious that should be white or gray within the picture you look at it you recognize somebody's wearing a white shirt or there's a white note pad in the photo or something else I could grab the white balance eyedropper with this image that might have been a white shirt but it might have also been slightly sayin ish in color it's hard to say if I was there when the photo was taken and I remember then I could do it but you can find out just click on the area your thinking might be a white or gray object and when you click if the colors look really bad it wasn't a white object if the colors improve then it probably wass so I'll click right there and then choose undue I don't know it's hard to say because this image is pretty far gone so if that's not making dramatic changes then I'm going to go instead over to our camera calibration tab and again I'm going to be adjusting the red, green and blue let's see I'm looking to see is there any way I can get the colors to separate better so I can see that the red in her hat is more distinctly different than the bluish green that's in the background above it is moving this one direction might make that more distinct moving in the other may make it less distinct and I'm also just looking at her skin tone because I think that's one of the more important parts of the picture to see if I can get it to look a little better everybody has a slightly different idea of what better is and your monitors at home are not calibrated to mines they don't look exactly like the one I'm looking at, so this will be a little bit weird but also adjusting the saturation sometimes saturation of a much bigger effect because one of those colors will be mellowed out in whichever one faded the most is the one that he's going to aa need the biggest adjustment see if that's helping or not not an overly huge change but let's see what we can do I'm gonna bring up my shadow see even get a little bit of shadow detail if it's going to help or not got to be careful with clarity clarity is going to bring out details in the image which could help it pop but it's also to bring out details and exaggerate the retouching you had to do in this case though I think it's alright springing up some detail in the background that should be all right if you have an image that rather faded a couple things that are d'oh, it's overly fatted, the blacks and the whites sliders are usually going to help. This image has a good amount of contrast so it's not going to be dramatic. What happens if I have an image to where you can barely see anything in it the blacks and whites sliders are really going to be a big difference. I usually try to make sure I have a small area of black of my picture and you can decide if you have that or determine if you have it by holding down the option key alton windows and click on the black slider I haven't held down right now it's going to show you if anything's black in the picture and it's going to show black areas as solid black those scient areas air getting close but not there yet I bring this down until I see an area turned black I see blues I see science and see magenta cz cameron wears black well, I finally hit black near the upper left I see a speck of black within a big massive blue if you can see it very small left side in that big massive blue in alecko and let's see if this is helping it all I might need to brighten the rest of the picture afterwards, but if you look at the darkest part of the picture in this case the problem is there's the fidelity of the dark part of the image everything is so close to black that getting the darkest part two black is putting everything else too close to it. So in this case, not gonna help us much so I might not go quite as far, but I'll still bring down blacks a little bit. I also noticed that if you ignore the areas of the photograph that are missing, you know the processes that need to be retouched there's nothing anywhere close toe white in this picture you see how dark the brightest part of the picture is? Well, the slaughter called whites affects the brightest part of the picture so let's see what happens if I bring it up. All right, if you want to see if anything is becoming solid white by moving this, you could hold on the option key when you click on it and I'll show you which areas are becoming solid white just remember where the areas that need to be retouched are so think about what's truly part of the picture instead of that part that's worn away so hold on the option clean click on the whites ok and I see nothing in the image itself only where the retouching would go is why I could bring this up see if I could get any part in the image up near the trees I think we have some but that brighten it up quite a bit in its concentrate on the brightest part of the picture when it does it unlike when you bring up any of the other sliders this is thinking on lee about the absolute brightest and bringing that up it brings up the rest of the image with it but it's concentrating its adjustment on that absolute brightest area if I double click on the white side or you'll see what it looks like before and then I'll click one more time to bring it back to where I had it and after you see how that's doing quite a bad night now before I had brought up my saturation slaughter I might need to bring it back down a bit just to make it so it's not overly colorful and I'm going to hit open image let's work more on this invention photo shop and in fact if you want to see before and after I can show you before and after two and that's what we started with if that's what we got so far to say no ok but now in photo shop I'm not going to think about the total on color changes right now I'm going to think about the retouching for this kind of retouching there's two things I'm going to do I'm going to treat the three corners that are clipped first and then me to try to tackle the big blob any time we have stuff on the edge of our photograph that is the issue that needs to be retouched usually I find that the content of where phil is one of the most effective choices and unfortunately if I create a brand new empty layer to do it in it often gives me an air message and doesn't like working I wish it would and just because of that I need to duplicate this layer aiken type command j to duplicate it and then you made to make a selection so I'll just use the lasso tool and I'll select this corner if I hold on the shift key I could select mohr the next time I click because otherwise it would replace my selection and I'll select this corner and that little edge then we'll go for the other one I have shift key held down still ok and I'm just gonna ignore the upper right for now we're going to do that a different technique I'll go to the edit menu I'll choose phil and that's where I find content aware click ok click away from there and see if it looks good and in this particular case I don't think it's too bad if there were any areas that did look bad I would select them and I would give this tool up to three chances to just select a smaller area where the problem is fill it again content where give another chance if it's still messed up see if you can isolate it into an even smaller area that is messed up go back to the edit menu filled content aware now for the area and the upper right how the heck you gonna deal with that that looks pretty wild on that I mean you could try content aware but content where thinks about its surroundings and so if I come in here and select this mean heck want to try it because if it happens to work it's going to be the least amount of of time well if you don't mind a hill over there you know what a hill then then then you might be fine there but what I think I'm going to do with this particular one though is I'm going to save this one and after we have a break I'm going to start getting into the retouching we have questions, comments, issues we has a question yeah on on that image when you were back in camera raw and using the black and white sliders contrast what's the difference between the blacks and whites and the contrast blacks whites in the contract okay, well, the way I think about it is I actually think about the history graham but I don't know how much you're used to thinking about history ram's I don't know if the cameras can do this well or not, but I'm going to draw heck one and I draw in photoshopped that way you can see it even worse because photo shop makes it so any time you take the pen out of your hand you put a mouse or something else into it I didn't bring my tablet today. Um so this would be more amusing but the way I think about it is this so your image is made out of syria's brightness levels and that could be represented with the grady. Okay, so this represents all the brightness levels you could possibly have in your picture see if I can make it so you can easily see the right edge. Okay, so that represents our whole brighten strange and if you look at a history graham history ram tells you which off those tones you have in your picture so I'm just going to draw fake history and I'm just making it up so brutally needed to be that's our history man imagine this is filled in sound effects really help um so that's what we have and all that means is we have this brightness range in our picture we don't have any of this we don't have any of this because if we had any of that stuff they would be part of the bar chart above those shapes, right? The height of the bars means this stuff which is whatever is directly below that this stuff is more prominent takes up more space use more commonly throughout the image than the rest you know, that's all about high parts mean anyway that so we have if I end up grabbing the black slider what it's going to do is grab the absolute darkest part of the history graham it's going to grab this part right here suppose I can make this more versatile that part okay that's the blacks if I grabbed the whites it's going to grab here instead those are the parts it's going to grab and it's going toe pull them so if I adjust the blacks it's going to grab this and either pull it this way making it darker and darker and darker then you eventually hit black or remove it the opposite direction it would push it this way if I go to whites it's grinker have this end of the instagram is going to either pull it out this way and eventually hit white or push it the other way so that's blacks or whites when I do that it's the equivalent to taking this guy and just saying, hey here's the black slider we're going to pull that over there until it's black so now instead of having our original range now we go from black upto whatever so making sense and if I grabbed whites is equipment grabbing this side and say, what should we do should make it so white is we used to be white is over here or should we go? Hey let's bring it way up until hey, it actually turns white and that's what I ended up doing to this particular picture in bringing the blacks over didn't help them because there's just so little stuff in their low info that it it clogged it all up. So anyway that is the blacks and whites now contrast is going to grab instead the dark issue stuff actually usually not been there for the darkish stuff and the bright ish stuff and it's going to take these and move it this way if you increase contrast or the opposite way if you decrease sounds similar but the difference is I don't have individual control of one end or the other and it it is not just grabbing the end, it's grabbing a section, and you can kind of see that often times. But come in here, let's. See if I use contrast. If you can tell, I'm looking at the history graham it's, kind of hard to tell him. I should really used to thinking about his two grams. But the main thing is blacks and whites lets me isolate one end or the other, and move it. Contrast is moving both at the same time and it's grabbing a wider range, not just the ends that is thinking about.

Class Description

Part of the Complete Photoshop Mastery Bundle. Learn how a Photoshop Hall of Famer and 20-year Photoshop veteran would tackle the most difficult problem images that *you* submit! Techniques will include: • Removing dust and scratches • Extreme color correction techniques • Retouching in Perspective • Tonal Rescue Techniques • General Repair and Restoration Techniques • Unifying skin tone and color • Eye and Teeth Tweaking • Red Eye Removal • Removing Lens Flare and glasses glare

Software Used: Adobe Photoshop CC 14.0