General Retouching Part 1

 

Photoshop Mastery: Image Ambulance

 

Lesson Info

General Retouching Part 1

So we've been talking about fixing photos, we just got a pile more to look at each one I hope we learn something from and so I just ended up putting together another poll full of images to look at. During the break I went looked for any new images, there was a bunch of new ones, they're still downloading the folder was big enough there, so I haven't had a chance to look at those yet, so I think we'll be delayed, like buy one, break as faras when you upload things, but let's, take a look at some of the other images we're going to attempt to fix. Possibly we already started on this one, but we have the upper right to fix. This is the original here we have some, you know, the scratches and missing pieces do that someone's not going to be fun, is it way might have to try it, though. Uh, here, okay, interesting problems, camera shake, really getting blown out over there, see if we can deal with some of that. Oh, look at that thing, all sorts of scratches. So, anyway, these are some of the k...

inds of images we're getting sent in, why don't tweet, jump in and start dealing with some of them, so this one I'm only going to one part of it, and that is if you look at it, it's got some relatively obvious motion blur here I can see kind of a double image of the truck, all right there in that corner, I can see double image there as well and in many other areas, which tells me the camera was most likely in motion when the shot was taken. Now the fix for this is going to be something specific to the absolute newest version of photo shop, which means he would only have access to this particular feature if you have photo shops. Sisi c c stands for creative cloud and it's, where you get photo shop by paying a monthly subscription fee or can be an annual fee, but if you don't have that, then you won't have this solution. They just happen to add something that would possibly be good with this photo. Now I'm not overly versed with using this particular feature, so I'm not going to tell you every little bell in west limit, but I think it's going to do an ok job with this if I go to the filter menu and I choose sharpen there's a choice that you only find and photo shops, sisi called shake reduction that's what we're going to abusing and when I get into shake reduction this thing pops up and it automatically puts a little rectangle on my image to say this is a part of the picture that it thinks that it should analyze. The main thing I want to do is make sure that no part of the frame of the image you know, stuff that wasn't actually part of the scene where the photo was taken is within that and I did a pretty good job of finding a place like that I'm gonna turn the preview checkbox off and let's just see what it's done stare at the edge of this truck here for one part before I could see a double edge there you know look kind of soft after it kind of popped it back in there did that for many other places if you look at the tree that's there as well before it used to be kind of blurry and just not looking very crisp where's afterwards opponent in there much better now in here you can tell it what part of the image it should analyze that's what this big rectangle khun b and if you click on the corner you can resize it so if there's any part of that is going beyond the edge of the frame like out here onto the outer edge that's not really part of the photo you could do that you could move it around by clicking in the middle so if you needed to analyze a different area could do so and you can define multiple areas for tow an alliance by just clicking and dragging in another spot doesn't mean it's actually going to improve the results but I haven't looked at more than one but you can have it at least analyze those over on the right side you do have a few controls blur trace bounds moving and artifacts oppression if you find that the end result looks like it's almost been compressed with j peg file format with really terrible compression you know how can break up the image you can try to bring up this artifacts oppression because sometimes you just get some weird textures within the image and you could also try smoothing if you need to but I'm not overly versed in the use of this filter so I'm not going to claim to know how to think about every little option I just thought it might be appropriate for this particular image and so I wanted to be sure to bring it up. So if I turn preview ofthe before turn preview on after and remember that that particular function is only available in founder shops sisi and that's just dealing with one little issue they're not necessarily fixing everything in this picture just one idea that I wanted to share just going to save that image so if we need to get back to it but let's, look at some of the other images that we have here. I want to tackle this one. What I see in this image is something that is not untypical for black and white pictures, and that is you have a black and white picture, but whatever problem it is that you have with the image is something that is adding a certain color to your picture in this case, it's kind of a gold ish tone that's in there, and if you ever have that kind of a problem in your image, be sure to scan the image as color don't scan it is black and white because that color information we can become overly helpful in trying to repair your image. What happens is behind the scenes your picture is made of the three primary colors red, green and blue. You can see that by going in the channels panel, and if you don't have the channels panel visible on your screen, just go to the window menu. This list all the panels you can possibly have in photo shop, so if you choose channels, you can see that panel now when it comes to making shades of gray the way make a shade of gray is used on equal amount of red, green and blue, you could say balanced amount of red, green and looks it's identical in all three so if this is truly great scale in here, it's not brownish, your yellowish, your pinkish or something else and there might be a little tone in here then if I go to my channels and I click through them, the part of the picture that is black and white should remain consistent if it has a tone in there and this one I think has a very slight color in that area, then the channels will very just a little bit so let's, take a look here is just like the background, the part that doesn't have the problem. Okay here's, red, green, blue look pretty consistent between the three, but notice that the problem is much more pronounced in the red channel in the green channel it's immediately showing up in the blue channel is the cleanest channel that's their right. So what I'm going to do is make a new black and white picture, starting with the base of the blue channel. So that's, what we're going to start with, but then the blue channel I can still see the problem a little bit right? And so somehow I want to be able to isolate and on ly have really affect the problem area, so I looked through the channels and say, where is it most prominent, the red channel possibly there's us feature and photoshopped that will allow me to brighten their dark in the picture based on one of these channels and we're going to try that feature out see if it'll help us out so I just inspected the channels to see which ones the cleanest that we can base our image on in which one makes the problem stick out the most separate the most from the rest of the image that makes sense. Okay, now let's, see if we can figure out howto make the change happen I'm going to click on the top most channel that always gets you back to normal like in full color normal image I'll go over to my layers panel and I'm going to use an adjustment layer that is called channel mixer all it does is mixed those channels in the channel mixer we can either convert to monochrome here, which means make it black and white or we can attempt to keep the image and covered it all depends on how important the exact color of the rest of the images in this case I don't think the exact color the rest the image is all that important. I think if we just had a black and white picture would be fine if we like this tone ality, we could always add a hint of it back in the black and white of justice larry of the tent choice or this mother choices you could use so I'm gonna turn on the monochrome check box when I do that photo shop comes up with its own little mix of what used to be in the channels panel it says let's use forty percent of what used to be in red, forty percent of what used to be green and only twenty percent of what used to be in blue that's how it's making this image but you remember that the cleanest channel wasn't it blue? So why don't we just take this thing and move it all the way to one hundred? Not two hundred, one hundred four blue to say use one hundred percent of what was in the blue and let's bring these down to zero to say use none of what was in the other channels now which we should be seen is what the blue channel looked like then we want to see if it's possible to lessen what's still there as far as the artifact goes, when the channel that made that stick out the most I think was the red channel was not. So I'm going to just see if it would help it all to move the red channel, maybe if I move it to the left to say dark and using it or something let's, just find out that would brighten let's go the other direction now right about there can you see the problem any more now? So let's, see what we've done to this image might end up being a little too dark overall, but before after and we see we're getting rid of quite a bit of that now overall brightness, though it's gone down a bit, right? Well, let's see here if this little slaughter might able to bring it up a little, or all we need to do is when we're done you something like levels or, you know, another adjustment, but the main thing that I did it's win the issue is with a black and white photo, but the problem that was introduced to the photo is one particular color then often times using the channel mixer, I'll have to look through the individual channels first, which one's the cleanest that's, what I'm going to base it on, and then which one makes that problem separate the most from the rest of the photo that's the other one that's going toto, allow me to most likely isolate. So after doing this, I'm just going to do another adjustment layer. I might end up using something like levels in in levels. If you look at the history graham, you notice that the history graham does not go all the way across and black is representative the left white is represented on the on the right and it means we don't have any white in this picture the way I read this system graham is just look at the grady in't that's down here and if there's nothing above part of the grady in't those shades or not in your picture so the brighter shade is right here that shade right there that's why the image looks a little dull we have some black in the image but you noticed how tall the line is there it's like a spec which means it could literally be some noise or some other kind of spec so what I'm going to do here is just pull in this slaughter until it touches the end of the history ram that's going to make the brightest part of the image white you can actually see which area becomes white because I wouldn't care if this area out here becomes white it's the areas in here I wouldn't want to lose detail in so if you want to see where it's becoming white just hold on the option key that's all time windows grab that slider that forces things toe white click and I'll show you where you have white right now I don't have any white yet I'm not touching the history ram ok now it's only on the absolute edge but I can pull it over and I probably just well, I don't know if there was any detail on that lamp because otherwise it would have showed up separately from the border like I'd be able to hit an area like that so I think maybe right there on the opposite end I can also do this if I hold on the option key, it'll show me where we have black and you see it's just some specs usually with black on an old photos sometimes it looks good to get a blob of black a spec will be like a expect that needs to be retouched out kind of spec eso let me bring it on and see if I get a blob by a blob I don't mean a huge area those air starting to become blobs I mean something that is just multiple pixels not sure if that helped or not I'm just going to take that slider I just applied and slide it back to where it used to be to see if it looks better here or where it used to be see how it's just looks a little more faded when it's here so I just know that that setting that was at a moment ago is the furthest I want to go, you know, maybe about out there middle slider will control the rest of the image, so if I need to make it a little brighter darker can do so but if I really wanted to get a lot of the shadows that's when you'd use the choice called shadow highlight instead so let's take a look at what we've done to this image those farm just gonna hide the other adjustment layers there's before there's after I wouldn't say it looks perfect, but considering the amount of time invested, I think it looks a lot better than that now I might want to do a few additional adjustments um I noticed that when I turn this off and turn it back on, you see the tone ality the another tuna with color it here it's, black and white where is their? I found some wealth, some warmth in it, and I might like that one because it feels like the lamp then it's kind of bringing some warmth into the image since it's a black and white picture one method for doing that. This is just do a black and white adjustment layer because within the black and white adjustment layer is the little check box called tent and then the little square next to it. Just try not to make it too strong, so it becomes really obvious that you've done it if you get to be too strong now, let's see if that's bringing that warmth just a little bit back in don't know if it's the exact same color will see here's before after not quite exactly the same, but does have some of the warmth so I could come in here and do a whole bunch of other things to this, but I think we're going to be doing those other things and other photos like I could brighten up his face, bring out some detail in his face, those kinds of things, but I think the main issue with the image has at least been lessened. I'm going to save this image case we need to get to it later let's see what else? Well, we started on this image we might as well finish the top. This is the before version, though I'm going to go open the thie after version that we had created earlier. So this is where we were at before when we left this photo. I want tio try to fix the upper right corner of the image and we tried the content aware phil and it kind of added a little stone hill going up into the corner, that kind of stuff. Um it all depends how picky you are a ce faras what that corner looks like for most things for me when I look at this photo, I'm assuming that whoever is in the photo is what's important in that the background itself is not absolutely critical, but we wanted to look appropriate so what I'm going to end up doing in this case is I'm going to use the lasso tool and with a lasso tool, I'm going to select the good half in the background select right up to near her head around the top of her head like that, and I'm going to copy that area to its own layer so we can use it over on the other side if needed. So in my layers panel, I can see that we have the entirety of that area sitting here on its own, you know, sitting up there already I'm just going to take command, jay, if this area, though, was made out of multiple layers, if I looked underneath and I saw retouching layers and adjustment layers and other stuff in order to copy what's there, since it wouldn't be met out of a single layer, I would instead of typing command j to jump it to a new layer, I go to the edit menu and there'd be a choice called cop emerged, and it would be in copy what I have in there but merged the layers that it's made out of in the one piece before you copy it it's not actually gonna merced layers when you look, but it will have done the equivalent to that, and then right after choosing cop emerge, I would simply choose paste and I would end up with a result that looked like what I'm going to get here when I typed command j but since it wasn't made out of a bunch of laters didn't need toe think about that now I'm going to use the move tool and photo shop and I have a couple choices I could if I were if I didn't care that much about the background, just flip this horizontally and move it over to the outside, but then the grass that's there, the really tall grass is how it kind of bends towards the left as it gets there it's going toe, then towards the right and it might be a little more obvious, but if you wanted to see how you do it and it transform flip horizontal, then used to move tool, click on this one, just drag it over like that, and then you could do a little bit of retouching here in re touch a little bit of this just to make it so it doesn't look like an exact duplicate, but if you look at it, it's kind of making it a little bit more obvious that we have flipped it because it's so symmetrical, so if I choose undo a few times here, I might and said decided, just slide this over so the grass ends up being oriented the same way ah, that is going to create more work for me, because here I have a more brownish area here and and it's coming down into different things, but that's, what I might consider doing for part of it, or I can combine both, and I might decide to combine both because what I could do it, I just chose undo it, I'll do the first thing flip horizontal would over with the move to him, and then I'm just going to duplicate the layer again, you know, it's only going to duplicate that one piece that I have command j and I'll flip it back and we'll use just that part for the grass. Now we have a little piece where we could replace some grass, and then all I'm going to do is either use the eraser tool or use the mask depending on what I'm comfortable with. So I'm going to take this and add a layer mask my case, I'll paint with black black will hide whatever is in the layer I'm working on, and I just say what part of that grass I want to use? I just kind of painted out where shoulder is painted out, where I can see any seems I'm gonna paint out the top here to that, the top layer I'm on ly using this little part you can use my move tool if I need to tow fine tune its position in our keys on your key party can help you do that too. Then I'll take the other layer the one that we had flipped I put that on top now so I could see where it is just drag it up on my layers panel and all I had a mass to it and if I paint with black I'll just hide it where the grass is so that we'll use that for the upper portion but the grass down here will be going the right direction if I get too much because over here I've seen some white come in, I'll just paint with instead of black, which hides things I'll paint with white to bring him back to see what I can get there but let's just say that that was good enough to get the grass to be in the right orientation. Afterwards I would create another new layer on top to put any additional retouching in and I would use the spot healing brush spot healing brush looks like a band aid with a little kind of dash circle behind it and the only thing you have to do in order to get that tow work on an empty layer is you need to have a check box turned on at the top of your screen called sample all layers as long as that's turned on than this tool should be able to work on that empty layer and so in here I would come in and retouch whatever's left over just paint over the parts that look weird and it's going to try to fix them and give it three chances in each area if it messes up just trying to get a smaller and smaller brush each time in the main thing I would be trying to do is try to make a left and right sides look a bit different from each other so anything that's overly prominent like this part here where I can see the exact thing same thing over there I might decide hey let's try to remove some of that now the problem with the healing brush in the spot healing brush is both of them will try to blend in tow their surroundings so if I attempt to get rid of this part over here it will often bring in those little shades on the edge like because it it doesn't it's not able to clean up right up to the edge although sometimes if you give it two or three chances maybe three but there goes taken dio just getting it so this side is starting to look a little bit different than this at least where the sky is right there doesn't look like a perfect duplicate here though I see this v of dark stuff over here I see a v of dark stuff so I'll see if painting across that might be able to get it too fill that in or not or at least get it to look different so it doesn't look like the exact same the it's going to look a little soft over there I might manually copy from some areas um but I like starting with the spot healing brush because it does most of the work for me and I don't have to be overly precise with my retouching they just paint over what I want to get rid of I might end up here and just continue working with little areas until it no longer looks like complete repeat but it really depends on how much time do you want to spend on it? It it's really hard to say if it for close or not one of the thing I might do in an image like this is come in and do a human saturation adjustment layer it just to make the subject of the photographs stand out more bring down the saturation and then once you're done, grab your paint brush and paint with black where your subject matter is because then it's going to remove the human saturation adjustment layer that I have applied that was reducing saturation and you could bring it back right where your subject is and that will usually make it so you are eyes drawn more to the subject and less to the background. Where is in a lot of these faded photographs? The background ends up with some kind of weird colors in it that could be distracting to the eye, but if you come in here and do a human saturation adjustment and just get it to mellow out the background and get it to keep the subject relatively colorful, then your eye gets pulled right to the subject and you don't notice a ce much about that. If you're just going to paint on the mask, there'll be careful, it's, very easy to have gaps in your painting, and so after you paint on the mask with black there's, a little trick to check your work and your work doesn't have to be perfect nobody's going to see this mask, they're going to see the end result. It just tells you where to analyze the picture, to see if you need more work. So in order to do this, I make sure that the layer that contains the mask I've worked on is active and then on my keyboard, right above the returner and turkey and the keyboard is the backslash key, not the ford slash key used like with, I think, used with website addresses and things, the other one, the one you rarely touch. Right above the returner and tricky if I press that we'll get a read overlay and you see little gaps I have in there where I didn't realize I haven't painted so I can continue to paint just make sure that you're still painting with black into that red stuff indicates where this adjustment is not affecting the image those are the areas where I've already painted with black and so I could come in here and touch that up mainly making sure I don't have any gaps in it and mainly making sure I don't have just any a blatant missing or overlapped areas but again remember nobody's going to see this mask it does not have to be perfect it just is a good little safety measure to double check your work when you're done you press the same backslash key a second time and it will turn off that uh overlay so I mean it's so I'm going to save this image for now and I'm gonna call it good enough because we're just trying to talk about concepts here and we might all depending on how many images we get submitted today and depending on what other issues we run into today near the end of the day we might have time to start combining together mohr techniques to take some of these images further it really just depends how much investment you want to put into each one but we started out with pretty big huh distracting element in the upper right and we're done it's not precisely done but it's ah, not too bad if I still see this one little what's this one little part I can't help but paint on especially you do it before and after and you see that that's a chunk of the old bad stuff all right, let me know if there's any questions again all right, what else can we work with you guys I know you want me to do that. I know you do so I have to like delay and do this one instead yeah he's like on any kind of tv show and after the break or something though any time a news story happens of course they had like have to wait til you've seen the weather or something s o this image noticed couple things about it first off my brain goes back to the same thought it did on a previous one which is it's a black and white photo with a color problem, right? And so I've never opened this image like to work on it before so I have no idea what it's going to give me his end result but I'm assuming a similar solution to what we used on a previous image is going to work and then this little bright highlight here is just a separate issue that will deal with separately so let's see if it works on this one I'll go to the channel's panel I'm going to click on red, green and blue blue looks to be the cleanest which one makes the problem stick out the most then is my next question green well, she is one of weakness dragged over the adjustment layer from the other image I mean that's kind of interesting so let's say I'm you know then go to my layers and I'm going to do a channel mixer adjustment layer I'm going to say go to black and white just another word for monochrome is another word for that and I didn't want any of the red to begin with or any of the green if I said the's all of zero we got nothing you know it's just no light but I want one hundred percent of the blue and then the red is what isolated the problem the most so let's see if adjusting the red now if you move this to the right you're adding light to the image that's going to brighton and so that's why I know I'm going to move it to the left to darken and let's see if way could do that we're gonna have to add contrast afterwards right? But the problem the that ge oldest stuff is still doing fine right now if you wantto double secret extra special tip I might be able to teo show you something really weird that nobody ever uses but could be useful here so I'm going to do that now if I do another channel mixer adjustment layer the problem is going to be that channel mixer adjustment layer is going to see this image is a starting point while looks dramatically different my screen just so you know I can't see the amount of shadow detail you see there but the channel mixture adjustment layer is going to look at whatever the image looks like at the moment you apply the channel mixer which will be this image here and you remember how I described how you make gray out of red, green and blue use balanced or you could say an equal amount of red, green and blue in each area so if I go to my channels here's the red channel here's the green channel and here's the blue channel he noticed they're identical that's how you make rain so if I do a channel mixer adjustment layer on top of this there is no nothing in the channels that is different than each other so there's nothing really to mix you know sure I could mix them but I'm mixing identical images eso that's kind of weird well I'm going to come in here and just do a channel mixer adjustment layer which these channels are all identical so it's not camille do much but now I'm going to do something special before I adjust the sliders in the channel mixer, the second one I have, I'll go to the bottom line layers panel click on the letters fx and there's a choice called blending options we've been in there before in other classes where we have these sliders where you can show in hide things based on brightness but there's a whole bunch other settings in here in one of them is something that you'll never see anybody use it's called knockout knock out we want to set this to knock out deep the heck this knockout deep do well it makes this layer knock through all the layers that are below it so it can on lee see what's on the background layer mean it's going to ignore all the layers there below it keep ignoring, ignoring, ignoring until it sees the background layer and that's the only information it's going to be able to work with kind of weird. So therefore the background layer is the original color scan of this image. The channels for that background layer look just like the ones we originally inspected where they were different, right? So choosing knockout deep means ignore all the layers below and tell you hit the background, so what the heck does knockout shallow mean we'll knock out shallow means, knock through or ignore all the layers that are in the same folder as this a folder is called a group in photo shop so if you had put a couple layers inside of one of the groups and photo shop it looks like a little folder and you had an adjustment layer in there as well setting knock out to shallow would mean ignore all the layers that are underneath this adjustment but on ly the ones that are in this folder once you get to the ones below that they're outside of this folder start paying attention again but choosing knockout deep is going to bring it so it goes all the way down to the background and it can see the original content of that bottom layer just make sure the bottom one is called background it's not called some other name so then I can do it's separate adjustment I type zero in this field through usually if your tab it'll bring you to the next field down in one hundred and I could find ten these to see if I want to get their faces or anything else it's not going to make a big difference here because there wasn't a difference in color in those areas they need to be but I thought it would be good to show you that you can do more than one of these adjustments and if you ever needed toe look at the original data you choose knockout deep that's the main thing I wanted a burning cross here I will then paint on this mask to say, hey, what part of this layer should I use? And I want to use it only where their faces are to keep them nice and bright, that kind of thing so I could take the mask and if I want to first get rid of this adjustment revealing the one that's underneath well that later is active I can just invert the mask inverts gonna make the mass black ok? And then I could paint it in by paint with white you know I could do that kind of thing or in this case instead of even having that layer at all, I could just do an overall adjustment which tried levels with levels do you see our problem similar we had before we have no white we could bring this over until it touches the history graham then we have some white if you want to see what part of the images white hold option ultimate does when you're dragging and just make sure not a large share of your picture turns white and I'm going to go to right? I'm gonna go to there that seems to be the spot where it was the old brightest part of the picture. That thing on the left is what needs to be retouched out the portion near the middle right side I think didn't have detail anyway because otherwise I'd be ableto isolated separately from the the surround that surround the image, it means it's the same brightness as the border around the picture oh also go over here to the black flyer, pull it in until at least I see something ah blob inside the image area not around the edge, not where the border wass so the highest I'd want to bring this is wherever you start seeing big areas of flat color like that above the person's head you can see some eyes there and stuff you know, one big blobs I would say about here is the highest I go and I just let go and now back off on it to say this is the highest I want to go does it look good here or at any lower stage? I like it down a little other things I can do to an image like this is just coming and brighten our faces do that kind of stuff I will often if I want to bring out detail in any kind of an area. If it's not the overly bright or overly bright or overly dark areas that you'd use was shattering highlight I would instead come in and use curves we didn't hold class on curves earlier creative live, so I'm not going to get too detailed but in general, if you do it curves adjustment layer and you click this little hand tool you can click on your picture and then you have the equal into a dimmer switch that controls everything in your picture that is the same brightness is what you click on what I'll usually do is first I'll look at the area I want to adjust, which might be her face. I would move my mouse into a dark area and I would click just the lock in the brightness of that area. Otherwise when I'm adjusting another part of the picture, the whole image will be getting brighter and darker in those dark areas can suddenly get brightened up and look kind of if I called hazy or just won't have the contrast, so usually I click on a dark area first, a lock in the brightness, then I click on the area I actually wanted to would just and I can drag straight up or down have right up or down then I can hide that adjustment later turned back on if there's any area that I don't like it in, maybe I don't like it in her outfit, then I can come in here and paint with black because every adjustment layer comes with a mask and I could paint it in wherever I don't want that adjustment to happen. And I can create multiple of those adjustment layers to work on various areas, so if I need to pull out detail in the paintings in the background, I just create a brand new curves adjustment layer I click on a dark part of the painting to lock in the brightness, clicking the bright part drag up or down to affect it and then paint on the mask so here we're just brighten things up a little bit yeah, we've got a question how did you do that where you were you locked in that dark spot on the lower part of the curve and then how did you move the cursor than did you? You didn't drag it how did you hit option or something to move? What I do is when you have when you're in curves there's a little hand icon and it comes right here and if you click on that it means that when I click on my picture out of dr my curve and if you've done that would say clicked here click then before letting go just drag up or down imagine you have a dimmer switch in your hand and track up or down you can change it so that's how his end up changing I moved my mouse on top of the image I just clicked and let go on the dark part of the image what that did is added a dot that didn't move because I didn't drag, but it locked in the brightness so it wouldn't accidentally change, and then I went to the area actually wanted to change the skin. I clicked on the image, which added another dot, and I just started dragging up like had a dimmer switch in my handwriting. It so you can make is many of those as you want. It all depends on how much time you want to spend on your image let's just say the paintings in the background were important, I think over here to curves again, just a new adjustment. I grab my little hand icon, click on a dark area, a lock in its brightness click on the bright area, drag up yeah, it can make those kind of come out if I don't like the look on the entire picture, I'll usually fill the mask with black just to say get it off of here. A quick way of filling the mask with black is to type command I control and windows it means invert or giving the opposite so if you watch the mask when I took command, I see it turns black. Then I could grab my paintbrush in paint with white wherever I want to change to happen, I can come in here. Paint, I'm cheating at the moment, the way cheat is with paint, brush to a click and hold shift if you shift, click when you're using this tool, it just connects the dots to create straight lines. If you want to see what I'm talking about, just watch this painting here I mean it click in the upper right corner and you'll probably see a circle where I painted. Let me deal with the hard brush, you can see it more prominently, but do you see that circle? I hold shift and I click over here and it's just gonna connect the dots, so if I'm painting around, squared off things like frames, shift clicking could be nice, because I can keep my lines nice and straight, but usually use a semi soft brush so you can't see exactly where I painted and I could fill those in. So if you look at this adjustment layer before and after you see the paintings coming out, then if I want to see detail in their outfit, I could do the exact same thing, or I could use the shadow highlight, but this one, I don't think there's that much detail in it, we'll find out good on curves, click on the hand tool, see if you can see the darkest area within their sleek, unlocking the brightness and then go for the lighter area tried straight up now if I pull this way up we're going to see the detail that's in their outfit you see what's in there doesn't mean it's going to be clean nice detail where if we bring it out it might be obvious that there's you know, not much fidelity in that area so it's a matter of how much do I think would be worthwhile to bring out so I'm ignoring everything in the picture visually other than the the jacket or whatever that person the left is wearing and saying how much of that would I like to be able to see? I don't think that much would look good to be distracting but I think possibly maybe about there so then if I don't like it on the rest of the picture that's when I invert the mass to get to be black that means command I control and windows and I grab my paintbrush paintbrush tool a semi soft brush because if you have a hard edge brush you can see exactly where you painted if you have a semi soft brush then it's harder to see where the edges were so you don't have to be quite a cz precise and when I'm done painting it's really hard to tell exactly where I've painted so remember you can hit the back slash key it's right above the returner enter key on most keyboards to see where you've painted to see is there any gaps gotta paint with white any gaps and you see the over a span to his chin? If I don't like that to switch the foreground and background colors because I switch off between them, I press the letter x to exchange them, so if I want to paint with black, I can get in there real quick get x again if I wantto paint with white when I'm done and I think that's isolated, I can just hit backslash again and now if I have showing hide that layer, do you see the outfits coming out just a little bit more now? Let's fix this big, bright chinese spot that might have been a problem due to scanning the image or taking a photo of it because whatever light sources with used, it could have been a glossy photo and it reflected off or it could have been some other issue but let's, see if we might be able to fix it. I'm going to first create a brand new empty later I mean there's a couple ways I could do this uh easiest thing but might not work is work on the very bottom layer select the area just outside of it wherever you think the problem ends at it phil content aware continent where does good when this stuff touches the edges like in this case, the edge of the photo itself where the white border starts and see if it can do it thank you that kept the nice little edge in the photo down a bad right and so it needed to work directly on the image though it doesn't like working on an empty layer, I wish it would like working on empty layer but that's direct if for some reason this is for a client, I would have worked on a duplicate of the bottom layer because if the client says why did you retouch that out and you know they come back, I have to be able to undo it? I wouldn't have worked directly on it we can do that in other areas as well here there's just all area that's a bit lighter from the rest if you're going to use that content ah, where phil feature where you go to the edit menu choose fill quite a bit the default setting was content where I do it using a keyboard shortcuts because if you use it a lot it's nice people do that here on the keyboard shortcuts that I use on a mac I do shift delete shift delete brings up this dialog box and it'll remember whatever settings you have last the's air the default ones, so as long as they haven't changed them, you could just hit the return or enter key too which is the equipment clicking okay, so I can do that, then I can go into any other areas, make a selection and then shift elite return, and if there's something else usually do the sun duplicate layer, though, so if I screw up and I don't realize it till later, I could get it back. I didn't happen to do that in this case. A little scratch down here shift late return the alternative tool to use is one known as thie spot healing brush the spot healing brush works fine on an empty layers so you can just create a brand new empty layer above as long as you have the sample, all layers checkbox turned on. The only reason I didn't use it in this area where we had that big problem is it does not work good when you end up bumping into the edge, where the retouching needs to stop abruptly on the edge of an object or the edge of a photo instead, the content where does a much better job, but I can use it here if I want to. Then question from photo maker. Yeah, besides the soft brush for painting on the mass, does it help to increase the feather setting on the mass to for softening where you're painting to bring back the outfit? E I think what he's referring to is that when you have a mask active, you can get this properties panel up here to have a choice called feather, which would soften what you already have in the mask. So if you ended up using a hard edged brush, uh, that it would no longer look hard edged, it would just soften it up. The only problem with doing that is that everything in the entire mass is going get softer. And so you will be unable to truly get a hard edge brush. And sometimes you need one like right where his chin ended in the outfit began. It might be a really crisp edge there, and I need it to be razor sharp. If you turn up this feather setting, absolutely everything in your mask will be softened. It will be soft and in a way, that's not permanent. You could always bring the feather setting back down and it would bring you back to what you originally had in your mask. But I find that I don't usually use that on an image like this particular one. There are some times when it's nice, but, um, I find it often gets in my way, but if they find it, be helpful, you know, go for it, yeah all right, so there's all sorts of other things that could be done to this image, especially because there's not much shadow detail within it. But if I look at the shadow detail just with my, I don't think there's a lot of potential lurking in it, we can find out if I just hide all these layers and work on that bottom thing. Let's, just try doing a shadow highlight on it and see what comes out. I could be amazed, though sometimes you're like, wow, look at the amazing fidelity that's in there, but I'm going to just do this. I'm going to tell the total with to be down a bit and just say, hey, what would I get if I messed with this stuff? And I just aren't saying I'm not saying much at all? Another way to see what's in it is to do a curves adjustment layer and just look at the bar chart that's there, when you have an image that has an awful lot of dark stuff, you're going to see a huge mountain in the history ram this near the left because the height of the history ram means how much space does this stuff take up? So if the dark parts of your picture taken a lot of space and enjoy the tall part, and all you're going to do is come in here and click on both ends of where that tall part is here and here and make it steeper in between the tip. So move this straight up and or move this straight down and you're going to see whatever's in there, you'll see the detail in when I look at the detail, it doesn't look compelling doesn't look like something to be helpful, so that's the only reason why I'm not going to go in here in tried to pull out too much of the rest of the photograph when I might actually do instead is to come in here with something like curves just do a new curves adjustment layer on top, I might actually dark in some of that stuff, like over here on the left, talking it up a little, and then I'll invite my mask to make it so it doesn't affect the whole image by typing command. I just paint that in wherever I want to de emphasize what's in the background because if there's too much in the background, somebody want you thinking, what is that detail? But if I hide it away from them, they're not going to be wondering what's there, and so I might come in here in just the areas around the outer part, I'd paint this in to give the eye a little less to look at so it doesn't wonder what detail is that it could they bring it out to do the same thing up in here you see how I'm just kind of pushing that that down so anyway that's ah what I'll do for this one save the end result and let's look at before and after before after you could always do more I know you guys want me to good of this one way let's see where it then I'm gonna throw throw out a question if that's okay go for um if you were to do this professionally yeah as you know, some people out there may say hey, I want this is what I want my job to be yeah any advice that you would give them or were to start pricing or an approach to take oh be careful with pricing you know if you just glance at a picture and guests how long it's going to take in bid based on that you could end up spending a lot more time than you expect and suddenly getting paid a lot less per hour of your work so uh I would be very careful about my estimates and I would keep very good records what I would do is write down how much time I I thought it was going to take and then I would start a timer when I'm working on it and actually count how much it did take and also try to keep in mind how many revisions the clients ask her afterwards so that as you bid more and more projects you get better and better at those bids but I don't know it's not something that I've done myself as faras doing it for hire if somebody wants to pay me for these images you know I thought I might spend as much time as you want but um is this a fun challenge to teo work with them but the main thing is I could so easily see you getting in a trap of putting a low bid and end up spending hours on something right? Yeah. Cool. Thank you so let's see, maybe this one it's a jpeg files first place I might start would be camera just uh I've mentioned going up here to the file menu and choosing opening kameron before just know it has a keyboard shortcut command are on a mac that would be control arm windows so that's easy to remember because our for raw so if I type command are it's going to bring me into camera? One thing that's also special about typing command are is that it opens it in camera within bridge, not within photo shop usually when you do things like opening double clicking on a raw file it opens it up within photoshopped the reason that could be special is what if you have photoshopped performing a task like re scale and scaling and re sizing a thousand images, and you're just sitting there waiting for it to stop. Well, usually, if you double click on a raw file, it tries to open it and photo shop, and it would say, photoshopped busy, you can't do that, so you gotta go have coffee or do something while you wait for it, but if you take command are within bridge, it does not use photo shop when it does the camera, it just uses the camera plug in through bridge, and so camera could be busy doing in different task, which can be nice. All right, so in here, when I'm seeing image like this overall, any old image, one of the first things that pops into my head is doesn't have the full brightness range, because most the time, when photos fade, they lose the full brightness range, and you can see it just about instantly by looking at the history. Graham, do you see the huge gap in the left side of the history? Ram? It means there's, nothing anywhere close to black, there is white in the image, but often times when you look at a history and from an old photo, it has a white border around it, and you might be seeing that you can find out if this a big spike on the right side, which would indicate how much white is in the image if it's just this gap up here at the top or if it's really in the picture that it's thinking about by going to the white slider and without moving leavitt a default, hold on option and click ok the parts that you see there are white, not the green and yellow and all that but the white parts that's where the on ly areas where you have solid white so that means that really tall spike that's white is just talking about that top of the part of the very top of the photo and a few little bitty parts of the very bottom of the photo, but there's really no white in the photo itself, so sometimes that's a little uh um it's a false indicator that you have white in the photo itself, so what I would often do with an image like this one is a just by blacks teo end up getting the darkest part of the image to actually become black. I'm going to do that by grabbing the black slaughter. I'm going to move it to the left and I'm just going to I'm not going to watch the image I'm gonna wash the history, graham and we're gonna bring the blacks down until the left side of the history ram bumps into the end for it could show up, but not so far that it turns into a tall spike. A tall spike would mean black is starting to take up an ok amount of space instead of just a few specs, so grab in wax not even looking at the picture. I'm looking at the history graham, and I'll bring it down now if you look at a history, graham, you'll notice that if I bring wax down further, the history graham right over here is going to develop a spike, but that spike is going to be either a color like that, or eventually it will turn white there's a difference just so you know, if it's a color, what it means is it doesn't have really black in the image there isn't black. Instead, what happens is your images man out of three colors behind the scene red, green and blue and member, we looked at those individual channels and photo shop that's actually, your pictures made out of what it means when it's a color is one or two of those have hit black, but not all three it's on lee won all three of the channel's hit black that you truly have black in your picture, so when you start seeing a colored spike, you are starting to lose a little bit of detail in your shadows but you haven't achieved blackness yet, it's only in one or two of the channels that make up your image. So if you don't like technical junk, you know that kind of stuff you, signore that thought and just think a bring this over told hits, but don't make a spike. Um then we can see where in the photograph that's happening because oftentimes it's over on the edge of some border that's on the picture that's not truly part of the image itself, so I'm gonna hold on the option key when I click on the black slider and I'll see where we're starting to lose detail. If what I see here is color, then it means we're losing detail in one or two of the three channels that make up our picture. We haven't lost it all yet, it's only when it goes to solid black that we lost it in all three and we truly have solid black. Now, if this was an image with normal fidelity, I'd be able to bring this down and get black before I got huge areas of color, but with images that are pretty far gone, sometimes I have to back off and just make sure that we don't have any huge areas. Because I don't want to lose too much, otherwise it could go into curves and we go into shadow highlight, we're going to get big flat areas on our picture there are going to look good when we try to bring out detail there, so I'm going to bring this down until maybe about there so let's see what that's done to the image I'll turn the preview checkbox off here's before here's after d c I was starting to add some density to the image I could do the same thing with whites. If I hold on the option key elton windows, I can see what's becoming white, the areas that are in color that's we're starting to lose a little detail in either red, green or blue, but not all three yet in on lee, where it's white his words brought it out. I'm going to bring this up until I see the first hand to something turning white within the image itself. I think I see it on somebody's caller in there and I'm thinking of that is the absolute highest had never want to go, but I think it's going to be too high because you see people's heads in there with big flatter is a color that means we're losing detail at least one or two of the channels and with an image that's pretty far gone you're kind of finicky when you start losing a little bit of that detail, but I'm just going to think about that is the highest that ever want to go, and then I look at the picture and I'll just slowly back off on it until I think it's looking good other things in here oftentimes stated photos don't have much shattered detail. We do have a slider in here called shadows, which is going to allow me to control how much of that shadow detail we want to bring out and ask him just do what I'm doing right now just kind of float back and forth to try to get an idea of what I think would look good, we could do the same thing we did before. As far as color goes, we could go over here and do some color correction if you think you can figure out what color it shifted towards and you could go over to calibration, but we've done that on images, right? So I don't want to do it again here, I'm just going to open the image now a couple things we can do here as far as opening the image, if I just had open image, we get a normal picture when we open it, but if you watch the open image button if I hold shift it's, his open object and what that's going to allow me to do is it's going to turn into a smart object so I'm holding shift down I'm going to click on open object we're going to get it open and photo shop if you look at my layers panel, you'll see a little extra icon and top of the thumb now there that means it's a smart object so what I could d'oh is let's say I want to adjust it using camera wrong and get as much out of the picture on the left side as I possibly can darken up the images much as I can get whatever to get something to show up well, I can have that in my layers panel where I have two different interpretations of the same picture one where I've tried to get all the shadow detail out of it the other way I tried to get the rest of the picture look good but you have to do something special in order to have a duplicate layer that has different settings on it you can't just type command jay or do any other kind of normal duplication because it always when you duplicated a smart object makes it so it's looking back to the same original if you change the original both layers would update and he would have identical settings if you want one layer that's independent of the other you need to go to the layer menu choose smart objects and there's a choice right here it's called new smart object via copy and that means make a new smart object that contains the same thing as this one. But it's going to be independence is the of the other one it's not even going to know the other one exists. So if I make a change to this one, don't change the other one. Don't update the other, but that's layer smart objects new smart object via copy after I do that, I can double click on the thumbnail within the layers panel for that layer it will send me right back to camera and now I can come in here do things like bring the exposure down and I'm ignoring the right half of the photo. I'm going to use that from our original interpretation of this image I can come in here and say let's, bring our highlights down, I can say what's three more or less contrast and I'm just going to find in this and see if I can get more out of that particular area if that area is mohr faded towards yellow, I could do I temperature intent to see if I can get it a little better hey, if it's a little too colorful, just see if there's anything I can do to bring more into that area. The reason I'm doing in camera is just you have so many sliders available to really find tune it, whereas in photo shop have to goto levels and curves and all sorts of things human saturation in order to be able to attempt to get the same effects, and I'm just randomly playing there's no. Well, I wouldn't quite say randomly plane, I'm moving things to the left that that could have the potential of darkening, you know, that kind of stuff. So anyway, I got this click ok, now we'll have two interpretations of the image if I turn off the eyeball on the top one there's what's underneath turn on the eyeball of what's on top, there is what we have on top if you want to use both in different areas with that top layer active, I had a mask and I come in here and paint with black wherever I don't want to use this version, I'll just use a really soft edge brush, and so I don't want to use it over here. If I hide the top player, you see how we're kind of trying to bring some of that in, but what we're going to do is after lunch, we could doom or to this image, uh, through adjustments and threw some color changes to bring in some fidelity.

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

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