General Retouching Part 2
I know there was one image that people seem to kind of, you know go man, what about that one kind of thing figure might wantto open it up, take a look all right now just so you know, these are pictures that I mean, I looked at this over lunch for how many minutes how many minutes I look at this I mean, it was like three minutes, three minutes that kind of thing I just glanced at it so I've never really worked this and so I really have no idea if we're going to be able to get anywhere close teo this I'm sure I will just fall on my face and do terrible and one of these at least but how would I think about it though? How would I start to approach? It is one thing that you might want to think about so I'm looking at this image and the main thing that comes to mind to begin with is the problem is one particular color it's green, right? You know, any time problem was one particular color one place my brain things to go and look is the channel's panel and so I'm going to look in the channels ...
and just see if there's anything in there that might help us, I'll start off here on the obvious green channel well, there's not a lot of green light in there so of course it's rather bright in the green channel let's look at the blue channel well the blue channel isn't all that bad I don't see the big bar so much in there it's a little bit different where that green bar was but it's not that terrible and then I go up here to the red one the red one wasn't don't look that either so to me read in blue is not showing that much of a problem it's primarily green so that tells me that I'm going to do something that's going to push stuff into the green channel the thing that pushes stuff into a channel is the channel mixer we can mix the content that was in the other channels into this one, but I don't know if I want to replace the entirety of the channel I might want to do it just for that bar is I don't know so let's isolate the green bar and so that our change only happens there and then we'll see if we can push stuff into it. So before I end up isolating the green, I'm just going again inspect the other channels and say which one is closest to what should be in that little area you know? So in other words which one is closest to matching the rest of the green channel so red is quite bright says not compared to the green blue is relatively similar it's a little bit of a difference I think this is one reason why I don't want to do it to the entire green channel look att thie girl that's right over in here with her skirt on do you see the dark portions of the skirt and when I get to the blue channel you see has radically different there so I think that I'm gonna want to isolate that green area first and then I'm going to be pushing what is currently in the blue channel into the green channel in the hopes that it will be a good starting point and then after that we'll deviate and see what else we have to do but does the approach make any sense? And the reason my brain went ding ding ning look at the channels was the problem was dominantly one color and that usually means one of the channels will be considerably different than the others that's usually how it works so I'll go back to the full color image I did that by just clicking on the top most channel that always gets you back to them the main image and I could select this in many different ways it looks so consistent I could darn near use thie the marquis tool and just feather the edge but let's try something else just to be fancy you're not gonna learn if I'm gonna use the the marquis so I go to the select menu, I'm going to choose color range it's like a range of colors in here, I'm gonna turn on a check boxes called localized colored clusters because it sounds cool and then moved my mouse onto the green area and just click and now photo shop is thinking about that particular color that I clicked on, and what I need to do is tell it to think about a wider variety of greens, and I do that by either clicking on the eyedropper over here that has a plus sign on it. The one on the left was there by default. I didn't even have to click on it, but that one I could use or I can hold down the shift key, which gives me the same functionality, is that I just does it temporarily as I hold down the shift key, so I'm just gonna hold shift. But if you hate keyboard shortcuts, if you never remember them, just go grab that. I dropped out of the plus sign you'd be doing the same thing, so I'm just going to click on another green area and fact, I can click and drag across these green areas to try to get them selected. And right now it has a preview where it's turning the image black wherever it's thinking of selecting it the on ly reason why it's doing that is I have a setting at the bottom here turned on it's simply remembered the last time I used this command that I had this set to black mat. If it was set to none which is the default the only preview you would have is this little gray scale thing which is showing me any area in here. In fact, there's one other thing that's changed this invert check boxes not usually on this is what I would usually look if I had default settings. This is what it would usually look like. And as I clicked on mohr areas, more and more regions of this would turn white. White indicates an area it's selected areas that are black or not selected, and so that's what it would look like if you first came in here I come in and hold the shift key and his clique on maury areas try to get mohr selected. I'll see what happens when I click on a shirt. I hope it doesn't start selecting the blues and other parts of the image. I hope it's green enough in here that it seems that it's different. Looks like it is because I'm not seeing anything other than this vertical swatch of where we're working so I'm just gonna drag all the way up all the way down in there and now do you notice how we're getting a little bit out here? I'm out here that we don't want well there's a fuzziness slider fuzziness means how much can we deviate from the colors that you've clipped on if you bring it up you can get things that are a bit brighter, darker or slightly off of color and so I might want to bring that down to see but if I bring it down too far I see some areas turning black within the area and trying to select to see that so I'll get up there see what I can get but this is where localized colored clusters comes in localized calder clusters means allow me to physically limit limit where it selects things based on the location that I clicked on the physical location of where I clipped each time there is a slider here called range when it's at one hundred percent it could look across the whole document as I bring range down it means on ly select things closer and closer to where I actually clicked so it can't go across the entire document anymore and so I'm going to bring my range down and see if I can get it to eliminate those outer white things see it starting to the only thing is, I noticed on the very right edge. Do you see how it's kind of getting a little fade out? Well, there might be a fade out on the green there, but if there's not, I'll just hold on shift and click on some other places in there because I might never have clicked there near those areas could remember it could only slack things now near where I clicked, so make sure it thinks about those. So anyway, that's one way I can do this, I'm going to just click ok, and we might use that as a starting point in the modify it. I do notice a few areas that are selected that shouldn't be I can find out where those are by getting a preview of where this election is, like an overland, you could do that by typing letter q q stands for quick mask mode, and when I do that, when a selection is active, I get a red overlay on the areas that are not selected and sometimes that's helpful to see. Is there any area out there that's that we don't need and just see what the edge quality is of there, but I think we're going to do ok here I do notice one spot, can you see it right there? Right here selected probably shouldn't be you grab any selection tool and with any selection tool if you hold down uh the option key ultimate does it means take away don't take hit me that also there's areas in here that aren't selected but need to be you could hold on shift to add when I could say at this stuff, but in the end I think I'm going to be softening that edge and when I saw from the edge these tiny little specks in here, we'll get kind of averaged in and I don't think it's going to matter that much. So anyway, let's see if we can make some sort of change to this image when we're done making the change, then we'll try to refine the shape of this election to get the edge to look better, we're probably going to soften it, so here goes just to review the green channel had the problem in it, right? And the blue channel looked like the most likely replacement information said look the most similar, so I'm gonna create a channel mixer adjustment layer and if I don't turn on monochrome because that's what we've done in the past where turns too much black and white, then instead I can tell it what channel to mess with that's the output channel and I wanted to mess with the green channel right and then using these sliders, it's telling me at the moment that we usually default using one hundred percent of what was originally in the green channel and none of what's in the other two. Well, what I could do is say, I want to use none of what was in the green channel by setting this to zero in say instead, I want to use one hundred percent of what was in the blue meaning just completely replace. Now, let's, look at the picture and see what's going on here. Remember I told you we were gonna have to, um, further fixed the edge because my selection isn't perfect. But it's not terrible, considering how bad the problem was, right? His shirts the wrong color. But I can change the color of some sure that's not a big deal. The big deal is more of the background, his hair of the skin surroundings. But is that starting a look? Okay, now I'll find tunics. I just typed in one hundred percent blue. It might look better with a slightly different setting. So bring this up and down and see what setting gives me the closest match to the surroundings. Probably around around in there, I can also see what happens if I put some bread in. Now if I move read to the right is going to add lights going to brighten the image for moving to the left it'll take away light darken so any adjustment I make with the red slider I'll probably have to compensate for it by moving the blue slider in the opposite direction just imagine these air dimmer switches move one up you're going to write in the image you have to move the other one down to compensate but I'm not sure if it would help I'm just looking at things like the color of his shirt and seeing if it gets better and I don't think it really is getting better by putting any red in that makes it okay so I'm thinking the chocks looking pretty good the backdrops looking pretty good I'm his skin actually looks surprisingly pretty good saying with his hair it's primarily his shirt makes sense so I'm going to say we're done with that adjustment for now and what we need to do is make a better selection our selection has acrylic addictively crisp edge on it if you want to see this election it's in our layers panel because it's attached to the adjustment layer we just made when you have a selection active at the time you make an adjustment layer it automatically converts it into this mask if you want to see the contents of the mask just move your mouse on top of that thumb now and what you want to do is option click on all clicking in windows, that's the contents, and you can see how it's kind of grainy on the the edge and here and just not very soft. What I might do here is grab my paintbrush tool first and just clean this up a little bit. I'm going to come in and just paint where I know it was outside of the problem region, and I see some stuff because that's like the white chalk drawing and and that kind of stuff on the outer area, we don't need to change that stuff, okay, then all we're going to be doing to this is blowing it because right now, if you look close at it, you see it's really crisp edge, but I'm going to do that when I'm looking at the image itself, not this thing, I might just do a little bit more clean up in here, switching paint with white, and I see some little areas in here where I know it was part of that green bar that are not being affected, so we'll just touch a few of those up so the air that's white and here is the area, we're going to be changing the area's black is being protected, and I got to this view by going in my my layers panel I had that little mask attached to my adjustment and I option clicked on it all clicking and windows I'll do the exact same thing to get out of this view, so now with that mask active, I'm going to go up to the filter menu I'm gonna choose blur and I'm going to choose ghazi ambler and that should soften the edge in a system that are figuring out what setting might give us a better looking edge. I see the edge getting softer, but after a while it just seems to do weird stuff it's not make more sense to do that or how would refine ege uh, refine edge? I don't sure if it's going to be able to figure this out or not, because it's not going to necessarily see the original picture that's underneath, I could load this a selection and then choose refine edge well, let's look at the main image, I don't know I'd have to experiment, but for now what I'm going to do is just get this to be soft so it's not all grainy and then what I'm going to do is it looks to me like we're not affecting a large enough area we need to like make it wider and there is a filter and father shop that could do that for us it's under filter other maximum what's looking what filter other maximum does well first look at the mass to see well look at this stuff I'll select a small area just so you can see that area change compared to the rest and I'll choose filter other maximum now watch that area in the picture when I bring this up do you see it pushing it the the opposite of this filter is something called minimum minimum would end up pushing in the opposite direction so I think by using that I might be able to get the edge to just go out a little bit now the naming on these oftentimes people think it's like the opposite of what should be because maximum you'd think it would take the black stuff and maximize it make it bigger the main thing is minimum and maximum is thinking about white so if you maximize the amount of space white takes up wouldn't get bigger when you bring this up you know and the opposite to maximum is minimum and it's going to take quite in minimize the amount of space it takes up you see it pushing in the other way minimum and maximum yeah ben do you have to adjust the box they're self for both sides I'm going to just the entire mask I only had the little selection there just so you could see what was happening if you saw it happen to the whole thing sometimes it's hard to see so I just want to show you what it would look like we'll be back looking at the image like this and I'm just going to go over here and choose maximum okay let's look in relatively good now with any of this stuff you can spend more time you know I'm going to go buy a little bit faster because we're trying to learn here not fixed this image and be done with it but I could do that and there's a small chance I would need tio blur it even more you know if it if I I found that when you could try see that helps to blur not that farm I don't know if it's helping I'm not noticing it helps so I'll leave it like that so let's see what we have so far I'll turn off my adjustment layer here's our original here's aaron results so far he sure looks pretty weird though doesn't it? The next thing I'm going to do is try to fix his shirt if I want to do blatant color manipulation meaning make a red car look like a blue car on instead of doing simple color correction color correction is more like the entire picture looks to blue or two yellow or two orange instead of an isolated area what I'm going to do is an adjustment that is called human saturation and with human saturation what aiken dio is there's a little hand tool in here if I click on that, that means when I click on my picture figure out what color I'm clicking on and try to isolate that color now it's not going to isis related to a small physical area it's going to look across the entire document so if there were three kids in here with the same color shirt it get all three of them but with an adjustment layer we have a mask and we can paint further on that to further isolate so I'm just going to click here quick then I have three sliders to use to manipulate this and I would simply look at the image thinking about a shirt and say what's the biggest difference about the part of the shirt I need to change and the party need to match is it a difference of hugh which is basic color? How colorful which is saturation or how bright and I say what's the biggest difference between the two and I would say it's either hue or lightness it's hard to really say s oh those were the two slaughters I would end up going to first I know the shirts going to need to be a little darker in order to look like the color that's something those side right so I could bring it down and then he was basic color and what I'm going to do is I look at the color that the shirt is currently at and I look at the color I want to go for and I try to find those two within this bar so the shirt isn't it currently is a greenish kind of greenish bluish somewhere in this area and I need to head over here so that means in this bar it's somewhere in this region and it needs to go over to this sum accents that tells me I need to move this slaughter to the right it's not that this slider needs to be moved and pointed at blue I need to just tell it what is the distance between the color I'm starting with and the color I want to end up with it always just starts right in the middle so if I had a red object and it needed to be a green object I'd say hey from gone from red to green is this far of a change that's how far I'd need to move the slider but you don't have to think about that we just move the slider around and see what you get but I think I'm gonna have to move it to the right I'm just moving it and looking at a shirt seeing cannot get it toe look similar in color maybe think her out there okay then we have our lightness we could find tune in I could make it brighter darker and I'm just trying to match what's on the other side and then we have one slider left miles will play with it because he's more color or last that's all it is maybe it is like I played with them all there's one left why not get in there? Ok um let's see before and after I'll turn off the eyeball before after seems to help the guy's pants at the top of the photo to you know it looks like it had the same issue all right, I do notice that it's changing an area on the ground next to him that I might not want it to change and I'm just looking is there any other areas that I don't want to change? I see the growth her skirt there and I see a few specs and it's actually helping their cause orson green specks and they're going into blew in planning for their skirt can see that um what else? I think it's helping most places where it's applying other than no, I think it's up in most places in that all right? So let's see what we've done turn these off here was before we have getting where the the green bar then we have getting the shirt uh closer and it's just a matter of how far you want to go do you want to try to do the other side of his face? You know, to get it to even out? We can to do his face, I might say what we already have a selection that's already isolating the vertical area where the green bar wass it's in my layers panel, I can see it right there, right? There is a way to load that is a selection. If you move your mouse on top of that mask, you can hold on the command key that's controlling windows and just click on it right on the little thumbnail image. It'll give you a selection of whatever area that's isolating, so I could use that selection to start with, because that should give me that little transition that's across his face. And as far as changing that, I just got to decide what kind of adjustment so I need to I need curves to any human saturation. What do I need? There's? Not necessarily a straightforward answer there because it says subtle change it needs, but I'm going to use human saturation see what happens now. I don't really need to change this whole area where the of selection is at the moment, so what I might do is when you have a selection active, you can change it, just grab any selection tool and you can add to or take away from we did that before didn't wait. Remember how you can hold down shift to add to a selection and you can hold down option to take away? Not sure if you're aware of this or not, but you can hold down both of those keys. If you will down both of those keys, then you're going to crop the selection you currently have see on ly get the part that you draw around, meaning give me only the part where the selection I draw right now overlaps the selection we already have. So let me make a selection to crop this selection so shift and option at the same time, and I'm just going to trace around his chin relatively close his ear and I'm cropping the other selection I'm saying on ly, give me this part of that selection. Once you get over here, I don't care what looks like see how it just cropped it into that so shift adds to this election option takes away that's all the windows hold them both down and you're saying, give me just the intersection between the two so that's all right, now, let's, try human saturation, I'll go down here, do my human saturation adjustment layer, and I again have these three sliders I don't even need to necessarily isolated color, but I can try I can click on the little hand to one click on my picture just so hopefully it works on that color and maybe it won't get into his white ish hair, you know, kind of stuff and I just going to say what's, the biggest difference between the right side of his face and left and here's my three choices, I think at least right on the border right there it's a little darker so I could try bringing this up, but the other edge of his face might not need that refusal wants to see what it would do. I think the color though it might be a little bit more red, it needs to be a little bit more yellow, red, not certain and if that's the case, I look at this top bar and I see where red is, and if I want more yellow, red or orange ish, that means I need to move I just look at where is the reddish? Where is the yellow? A shred it's towards the right of where you're starting and it's about that far? Well, that's about how far I'm going to move this slaughter, you see his face, get a little open to the read out don't go too far, though contrives saturation it might be too colorful or not enough here's more color, there's less it's somewhere in between what I like to do is move it too far one way move it too far the other way because then I forget where I started and now it's easier for me to pick what would look appropriate I'm staring at the picture because I find if I just start right where I did and moving a little well one way move it back with the other way back I keep remembering what the original look like if I go away far one way way far the other my brain for god with the original look like I'm just staring at the image and now it's easier for me to figure out what looks best so let's see what this is doing not sure that it's helping too much but it's taken a little bit of the read out of the one side of his face you see that now I can paint on the mask if I go over here and grab a brush and paint with black if there's any area I don't like I just turn off the eyeball to see where is it? And I notice boy, I don't know is I actually thought I was going to paint on his hair but it seemed to have brightened up his hair a little bit and actually kind of like it, but if I didn't like it I would have painted on the mask I can also do smaller adjustments like there's one little bitty dark part right here. I could go into maybe curves just pump it up the tiniest bit in pain on the mask to say on lee right here, but looking at this image as a whole, I think we've done a little bit of an improvement, and if you think about the amount of time that was spent doing so, it won that big. Now there are a lot of little green blotches in the upper right, and that I could just create a new layer would actually create this new letter just above the background, because if I put any layers on the very, very top up here, and I decide to make changes later toe one of these, any adjustments, any retouching it's put on the very top might not match the contents that's underneath if I make changes to it later. But if I do my retouching directly above the background layer, then these adjustments are played afterward. That and I can still make changes to him if I need to. So the only thing I need to be concerned with is that my new empty later we're gonna add right now is directly above that background, and I can come in here and see if we get rid of some of those you do have to be careful with tools that have a setting called sample all layers aa lot of the tools will have, instead of this, the pop up menu, and you can choose current and below and that's a better setting, because then it looks at the current layer and copies only from that and what's under it, and it just ignores all those adjustment layers above, whereas if it sets a sample, all heirs, sometimes these other layers up above get mixed in, and it can give you a weird results, but the spot healing brush usually does pretty good. You'd end up noticing if it didn't match, but coming here do some of these little changes. I'm just using a spot healing and just matter how many of you want to get rid of and there's also a way to cheat with those, but we're gonna use that on a different picture. There is a way I could just tell you a photo shop, find all those things and give it to him, but we need to do stuff on other pictures, but while we're doing this, let me know if you're coming up with any questions. You know what? Then we do have questions, okay, all right, the first question that I would like to ask this from clare of r a and she asked this much earlier but she said you said when the problem is one color you think of the channel's panel does that still work if the problem color isn't red green or blue yeah, it just means that if it's not red, green or blue, it'll probably be more than one channel that's messed up it's just as long as I mean it doesn't mean the channels are going to be the fix all the time issues it might be my first place to look, but it just might mean that not only would I need to touch up the green channel in this case, but I might also need to make some sort of change to one of the others you know, um and so yeah, I would still look at if it's dominantly one color that is what I would do thanks been sure any other question by chance, yeah john b s how is maximum better than grow it's actually identical to grow if you're talking about selections, whatever you work with selections, you're really working with something called channels issues that we came up with a concept that we're going to make this thing look friendly by calling its selection and they gave that they said the edges air called marching hands because that sounds like friendly, but in reality you're using something called a channel behind the scenes photo shop is using it it's something called channel so if you have a selection active on your screen we got little marching answer to finally area then you can go to select menu there's a choice called modify and you have expand and contract and they are exactly the same is saving that selection into a channel we're putting into a mask and using the expand and contract are not expanding direct minimum and maximum filters you get the same results so what I would say is if what you're trying to work on looks like marching, dance it's a selection then use expand and contract from the select menu if instead it looks like black and white pixels it's a channel to mask it's one of those used the minimum or maximum as a replacement one more question ron robertson roberts and asked why would he use a gaussian blur instead of feathering the mask? God okay uh remember what I just mentioned as far as minimum and maximum are exactly the same is expanding contract well the ghazi ambler is exactly the same as feather it's just if it looks like marshy ants use feathering if it looks like a mask or it's black or white use ghazi ambler they are the same thing s o it's just a matter of what you have if it's marching answer it looks like a mask mine looked like a mask so that's why I ended up using that but I thought that was interesting question because it was exactly that. Yeah. Uh all right. So I'm going to save this image for now and one of the thing we could deal with in here if we wanted tio is, um this image has got a lot of noise now when it comes to noise had I not already done very touching, my retouching has noise in it and stuff I would just do the noise reduction on the bottom layer uh, I need to also do it on this layer as well, so I could possibly just take both of those layers. I was held shift and clicked on the other one and turn it into a smart object because that means that it's going to act as if they're merged together and then there's a bunch of different ways you could do this I would possibly go into the camera filter, but that's only available in the newest version of photo shop cc the creative cloud we have to subscribe to the monthly thing and not everybody has that, but instead I could go here to noise and there's a choice called produce noise now it's looking at the original image without our adjustments because it's working on that bottom piece that should be fine and over here you can see when I click on this preview there's before let go there's after what we're end up doing. We have a strength slider because the last time we used this patil particular filter, we use it a simplified picture. We actually use this the other day, during the creative expirations we return to picture into something. It looked like a drawing use it simplified detail. So strength is how aggressive does it need to be to get rid of that noise? So I'm going to bring that up and see how much I need now, just so you know, if you're ever doing a filter like this and it just seems like it's not operative it's not working. Keep it eye on two areas of the dialog box. One is the percentage that you see right here. The other is the preview check box right there. Okay, watch what happens below both of them. Although it might not happen below the percentage when I change this setting mainly stare at the preview checkbox do you see a little underline that was there for a second? You see that that underline will sit there and flash if it hasn't had a chance to finish calculating and it's still trying to update your screen. So if you have a slow computer, you know, are you working on a huge picture? That thing can sit there and flash for like, ten seconds sometimes and what that means is the preview checkbox means your main screen not this little preview here but over there where your main document window is if that's ever sitting there and flashing it means you never saw the result of that slider because you never paused long enough to get the preview to stop calculating if you ever see it down here where you see that percentage view that's right above the little preview little it can flash a little underlying there it means that hasn't had a chance to update that so I mentioned that because I find a lot of people especially in teaching hands on stuff they said their star complained about the filters just not doing it because they never get a chance to let go of the mouse and let it actually finish its work. So anyway I'll bring this up and see how high do I need to get it to get rid of the noise so down here I could see the noise up here once I get up to maybe about seven I'm seeing more detail if you want to go for it after just click within this preview before d c noise let go after a little bit less but that's going to get rid of too much detail in a lot of faces and things so there's a slider here called preserve details and once I'm done I would slide it all the way up it'll bring back a lot of the detail, and I'm trying to find the highest setting that still gets rid of the majority of the noise, and I'm just glancing down there to make sure there's, not a little underlying flashing like crazy depends on the images for us, how low you'll be able to bring that, but the higher you can keep it, think about it, there are still getting my noise reduction the higher you can keep it, the better the rest of the image will look, if you notice that what you have in here looks like what I call christmas tree lights, which means just a bunch of specks of different colors, then you would need to adjust, reduce color noise and that's going to soften off any little specks of color. This has a default that would get rid of most of it. And then when you're done, there's a a slider here for sharpening details, that means let's exaggerate, what's leftover eso that it's not going to look quite a soft it's, not always essential to bring that up. If you find your images just looking way too soft when you're done a little boost to that might help now this particular image, I think, might have originally been a j peg I'm not certain, but if it wass oftentimes they get j peg images sent to me and in order, make it fast upload, they take the compression and they jam it down so that it's we end up with a really compressed image. There is a check box here for removed j peg artifacts, and you can do that even if you don't need to really reduce noise. Just turned down the strength slider and turn down the color noise slider so that you're not really do anything with noise. And you could turn that on. And sometimes it's going to end up improving what you have. It really depends if it's ever been saved with j peg. So anyway, I'm just gonna say this one is active. Makes sense. As far as what? The approach. Brilliant. Uh, well, actually, there's something else. I noticed that on his legs and stuff, right where's legs connect to his clothing. There's a little hint of green or some other color. One other thing that could be overly helpful in some instances, and it might help here. I also see a little hint of yellowish green. Up here is you can create a brand new empty layer on the top of your layer stack and grab your paintbrush tool, and with your paintbrush tool, you can sample a color directly from your picture. Grab a color from your image and the way you do that if you hold down the option key all time windows and just click on your picture when you hold on the option key, you get an eye dropper and so I'll do that and I'm just going to click over here between this guy's legs to grab the color that's there and then I'm going to use it to paint over here just to the left of his legs. Now this is just solid paint, so it's going to cover up all detail that's ok, you'll see how this works in a second, then I'm going to grab the color from his leg by option clicking and I'm going to paint it in right up against that right where the edge is like would be so if you want to see what's there, I'll show you just the top layer see those little pieces of pain, then I can change the blending mode menu the menu at the top of my layers panel from normal to a choice that's called color and it means used the brightness from what's underneath but use the color but I just put in here so therefore I can get that in there and let's see if that improves the image or not, I'll turn off the eyeball for it before you see the greenish junk in there after it's just a matter of I need to be a little bit more careful with my painting so I go over here again sample from his jeans by option clicking painted up real close I could sample from his other foot to get over in here I'm not going to do this overly precise because we're learning we're not fixing and sending pictures back to people I know some of you wish I would but that's not what this is about so I could do some color repairing that way let's say I would rather this I think that's a hand uh rather that hand have this color in it so just option click on that part of the leg and then come up here and paint on the hand and I could do the same thing down here where I think I just see an odd color right around the edge where his leg touches his shorts as long as I can find a normal area of his leg where we don't have that on scrap from up here I can put it in his longest I'm painting on the layer that set to color now that's a little too colorful so I need to choose a color that's just not so saturated made from the other one and I could touch that up but it means take the color from the later I'm working on and apply it to the brightness that's underneath you also have another choice those called hue and humans just the basic color and not how colorful it is. Leave the picture just as colorful as it used to be, but use this basic color so you see what I did on the hand looked a little gray and was spot, so I grab some color from the other portion of his arm and so you can do that all sorts of different places of this picture if you find other little weird oddities in the color. Now, before I end up saving this, I would usually name my layers just gonna that the ones that are set to color mode. Where do that? I always calm color fixes if I'm consistent with the name, then whenever I open a file in the future, I'm like, oh, I know what that layers doing if I ever do retouching, I call those layers weeds be gone because I think it was pulling weeds in a garden, so, uh, and then and here I'll just name these I'll say fix green bar on don't know what this one was doing with that it's, not his face, that was what is that one shirt? Ok, in that way, if I open this up in the future, I'm not going to have tea start pealing through things again. One quick question before we close this, do you think if you had done color correction on the rest of the photo, ignoring the green bar, that maybe the chalk would match better? Because there's a huge difference between the kind of pinky chalk in the white? It was yellow in here and that's more pinky, I could've done color correction first or right now I could just come back and load the same selection that we had previously, um so I can load that area and I could go in here and do something like a if there's color in there, I could do human saturation and just try to click in the line of the chalk it should find out what color it is, bring my saturation down or shift the color if it needs to be pinkish. Um, you see it shifting could try to shift around, but it wouldn't have been a bad thing to do color correction, in fact, that's often times what I need to do when, um when I have ah bad image that needs some sort of retouching or touch up because it would give you a little better color fidelity before you do that. All right, so that one was a challenge, but it was it was happy without turned out, because it could have been that one where I just fall on my face and just not be able to fix it because some pictures are just too far gone. Now, at the moment, I'm thinking about one aspect of this image, and we might come back and deal with other aspects later if we have time, but for now, I can see one aspect that I think could be helpful to you teachers something, and that is the parts that need to be retouched of those I don't know what caused it looks like somebody took their keys and start scraping away the emotion or something. I want to try to deal with us. What I really want to do is make a selection of those areas now is a bunch of different ways of making selections you could do is something this simple is grabbing the magic wand tool in trying to click within an area that isolated that pretty well. Magic want you'll remember was selection tools you can hold on the shift key toe ad so I could hold shift and click down over here who but that didn't do so well, and if you saw the tiny area gave me no that's now doing okay, I could try to select these areas with something like the magic wand, but you're going to make the magic wand and other tools work so much better if you first exaggerate the colors. Why not come in here and do something like human saturation? And actually I don't want to do that yet because I had a selection active if I have a selection active, when I do human saturation, it only affects an area before I did it, I'd go in here and I just bump up the saturation like that. You might also do something like that curves or levels adjustment layer and just add contrast to the picture as you do that kind of a change, you're making it easier for these tools to see how this area is different than its surroundings, because everything doesn't look the same, everything starting to look a bit different, so I'll end up doing that, and then I can end up trying to select these areas like I say, we could use the magic wand, the problem with the magic wand because you got a click and all these little bitty areas well, let's, look at a few things that might help us related to the magic wand if I click on one area first off on you, if I have more than one layer in my document with the magic wand, you gotta have it look at those other layers, otherwise this isn't going to do to get, but I can come in here and try to select areas, and they're ok did our job you do have a choice under the select menu called grow grow means make my selection larger, but on ly make it larger to include colors that are similar to what I already have selected. But when you do grow, it can't suddenly turn one selection into three it's going to still keep the same number of selections you had in your screen. So she's going to take the blob that is your selection and expanded out if there's anything very similar branches grow. And do you see what a dead archie's undo? Do you see how it took that bottom one where it only had a small portion of that little thing and expanded it across most of that area? Took the top one and got it into all little parts that I had missed there's a different command? I'll choose undo that is similar to grow, but it can look across the entire picture for those colors that you currently have selected in it is called similar if I use select similar is gonna look across the entire document to see if there's anything else very similar to what I currently have selected, and it'll selected now in this particular image that did not do an amazing job, but on some images it will do you remember the image with a green bar? You remember how there were little bitty green specks elsewhere within the picture if I could get one of those selected and they go up to the select menu into similar not that much more and the picture was green so it would end up searching out the rest of the picture and fine and all all the other green specks so in this particular image it may have failed as faras give me what I want but in a lot of images it would be a helpful command let's look at other things we might do to try to select that area I could instead of using the magic wand tool because that's really old school magic wand tools bin and finish out for ages I could instead go to the select menu and she's color range remember with color range it's nice if you turn on a check box called localized color clusters because when you have localized color clusters turned on you ableto isolated down two on lee the areas near where you clicked you don't have to isolate it though the range slider if it's turned all the way up then you will um be looking across the entire document but you need to have that turned on before you start clicking on your picture otherwise it doesn't remember physically where you've been clicking that pretty much means keep track of where I've clicked and then the range allows you tio ltd so I'm going to click on that area was thinking about one of those scratches. I'll grab the eyedropper over the plus sign on it and dragged through here a bet with a better idea of what was really in there. Also with images like this. If there's any color fidelity at all meaning, if they can see that there's blues and yellows and oranges to color correction on the image, he will make this much more successful as well. Ok, let's, see if you bring your fuzziness down, you can see what is missing, where you might need to click. See? Look, it's missing some stuff here, I think that's this part try to give it a general variety and then bring up fuzziness to see can I get most of what I want? It's? Okay, if a little bit of something else shows up, but just see if you can get the majority of what you want. And then if it's helpful, bring your range down to say on lee, do it near where I clicked and you see the rest of that stuff started to go away if I do that not going perfectly isolated for me in this case, though, but I'm going to click ok, because we can modify our selection, we just have a selection a little bit places we don't need it. I don't know if you remember before there was quick mask mode and quick, massimo, give us a read over life showing us where selection is I'm gonna type cue to get into quick mask mode just to see what we got selected and what's not, and I can see those little spots it looks like we got a lot of those selected now there's a few areas that are aren't, but we might be able tio deal with those so indifferently right now, this red overlay is making it difficult for me to see, because I know in here there are some areas that were selected, I could see the little marching nance moving around them, but it's hard for me to see it here. Well, I can simply paint well, I'm in this view if I'd like to, and I can see, oh yeah, there is something there it was just hard to see or if you go to your channels panel when you were in quick mask mode, you'll see what you really have is a temporary channel. Adobe tries to add so many features that tried it act as if you're not using channels, when in reality you're blatantly using them behind the scenes, but they give him friendly names like quick mask mode, but I could come in here in turn off the top eyeball to say, show me just that that quick mass is that channel, and all I'm doing is modifying this to get rid of anything that's not what I wanted, like where the guy's face is, because if I can get the areas that are affected, selected that something a little rhyme there, affected, selected, uh then there's going to be a relatively quick way to fix them, I hope just going to get it where her face is, wherever there's important detail that we got it out of there, like that's going to be good enough, you could spend more time fixing that if you wanted to. Now, since I turned off the main image when I was in quick mass, murder should probably turn it back on, and all you do is channels panel turn on the top eyeball. Now you're the equipment to being back and quick mass mode if I type a letter q, I'll be out of quick mask mode and I'll have my selection. All right? So I think I have most of the affected areas selected, and I could make further changes to my selection if I noticed that their stuff I don't need, like maybe around his shirt here, whatever, but here's the fix that's, the important part I need to make this election a little bit bigger so that the edge of the selection is not touching the stuff that I want to get rid of. Instead, the edge of it is touching what I want to keep, because wherever the edge of the selection is it's gonna look all the way around the edge and say, hey, I want to try to match whatever the edges touching right now, the edges touching the stuff, I want to get rid off, so I'm just going to go to the select menu, choose, modify and she's expand what's, they make this selection little bigger and I'll type in either one or two if it's a really crude image to if it's a really high resolution fine image, might people get rid of a good way with one, and when I click ok, all it's going to do is make the selections larger is if they're little balloons and you put extra air in just got bigger, keep the same shape there, and at this point I'm going to throw away my adjustment layers. They were there only to make the selection tools that I used to be able to see with the area in selecting and make it more differentiated from its surroundings, so I don't need those anymore in all I'm going to dio is edit phil content aware because content aware, you select an area and it figures out what to put in there, all I need to do is make sure the area that needs to be fixed, this selected and it's the tiniest bit bigger, that selection overlaps its surroundings and let's, see if this could do anything good for us now. Before I do, I should do it on a duplicate layer, because if it screws up anywhere, I want to be able to hit the eraser tool and see the original so but anyway, I let's just try it content where boom cross my fingers, that always helps. I think it puts some eyes above his hat, those eyes, but let me just one two and see the difference, and you see how our little areas that were all scratched up in such are now blending into the photograph much better than they did before, because content aware says, what should this area look like if whatever's there currently was not based on the surroundings, the only area where it messed up totally was right about his hat it thought eyes should go up there and around the edge of the photograph on the left side it's a little messed up, but actually, I don't mind the way it looks looks kind of cool with the brown coming out there, but that would be an issue so all we need to do to fix those and make a new selection and just give it a second chance in that area remember there was a short cut for getting into the filled dialog box that was shift the league and just hit return all right did a better job the second try and any other little areas I might have to we do to fix him up now in this image I neglected to work on a duplicate layer and it would have been nice if I had because had I if I didn't like what it did over here on the left side I would have been able to paint uh with either the racer tool or at a mask and paint with black to hide it and reveal the original right. So what can I do if I ever forget toe work on a duplicate and I looked down at my layers panel and I see that there's only one layer there and that's it well you can cheat to cheat, create a brand new empty layer with that empty layer active, go to the edit menu and choose phil and when you phil phil not leader foreground color or your background color or any color filled with history with default settings history means whatever your image looked like when you first opened it because when you grabbed the history brush and you paint with it. That's, what you get whatever your image looked like when you first opened it. And this is like using the history brush across the entire document, but only on this layer. So that's where the information's going to show up. So if I fail from history, it just filled this layer in with the original picture. So if I forgot to duplicate the layer and I was like, dang, I wish I could get that back going to the edit menu and filling from history is going to give me that original and then I could put it underneath now the background layer those stuck at the bottom so I'll have to change the name of the background before I could drag it underneath. Quick question, ben the history does it go back to the last saver? How far back does it go? Thie history, when you fill from history, is going to phil from whatever your image looked like when you first opened it not your last save first open, you can have it go back. A different history is different lengths. All you do is go over to the history panel in the history of panel will list the last twenty things you've done to your image. But the very top thing will always be what it looked like when you first opened it and what I mean by first open it is, I mean, first opened it in this session in photo shop since you've closed it, you know, saved, enclosed, the next time you open it, whatever it looked like, the moment you open, it will be up there and then there's this little icon to the left of it, you see that thing? That means if you use the history brush, which one of these steps should have paint with, and the default is the top thing, which is what your image looked like when you first opened, if I wanted to paint with what it looked like after I did all these things, I would just klick next to one of those, and now if they used the history brush, or if I go to the edit menu and say, phil from history, it's going to feel from whatever looked like back at that stage with default settings, you get twenty history steps. That means it will remember the last twenty things he did. If you seem to do a lot more than twenty, and so it doesn't remember enough, you're welcome to go into your preferences, and I think it might be under performance and your preferences there's a setting called history states this tells you how many history states you'll have how many steps can it remember? You can bring it up to a thousand if you want I don't suggest you do that that'll make your hard drive philip but I find twenties a little low and forty five fifty somewhere around there seems to be a bit more coming in and that is also your list of undue so if you ever want to go back and your history, you can do it. I actually almost never have this panel open though if I ever want to undo something and undo multiple steps there's a keyboard shortcut for it it's the exact same thing is clicking back one step at a time in history and what it is is you use the standard keyboard shortcut for undue which is commands thee and you just add the option key if you're on a mac if you're on windows, the standard keyboard struck hard for undue is controls the and the key you add is ault. So if you have those when you type that you go back one step at a time in your history no need to have the panel open just a few tips then can ask a side no question this is from darrell s who asked if you're retouch included hair or hair strands with the similar option help in selecting hair similar is based on color in brightness it's not based on texture so if the hair was different than its surroundings you have a redhead let's say and there's no other thing that's orange ish in the picture because redheads are really orange heads I shouldn't say that here a creative lives though because there's a fuel but so it depends on the color if somebody's blond and there's yellowish stuff elsewhere in the scene it'll probably go out and select that yellow stuff too you might want to instead use the quick selection tool because the quick selection tools a little bit better at figuring out where the region of texture ends when you paint across things s so now we have original picture here and we have a retouched one on top because usually I would have worked with a duplicate because I wouldn't want to harm the original I just showed you how to cheat in case you forgot to do that s o you remember when I did this if I turn off that top layer you see what's happening in the very far left of the picture which I actually really like that brown going over because I'm used to more painterly affects likely did in previous days but if that bugged me I would simply work on the top player at a mask and I would paint with black in the mask because black would hide the letter I'm working on and I'm just going to click right about here I'm gonna hold shift and I'm gonna click right about here and whenever you shift click it means connect the dots from wherever I clicked last where I am right now and so it made a nice clean uh line there, so now I can do this again. The bottom of the photo you see some of the information, I think it looks cool, you know, going down, but it used to be clean if you want it clean again, I'm working on the mask click about here hold shift about their clean that up a little bit might be the tiniest bit of the top is well, so that ends up getting rid of those big squiggly thingamajigs. And oftentimes I have this all over an image on some retouch ings is long as they're different in brightness from the rest of the image, then you should be able to select them with something like color range or even the magic wand tool with the magic wand. Once you get a selection, you might want to try similar from the select menu to get the rest of them in the image. Then you take that selection, you expand it by one or two pixels, depending on the image, and after you've expanded it, I went to the edit menu and I had chose, phil told, telling it to fill a content aware and then you want to simply not do that near where you have really important detail like his eyes in his face and stuff those are areas we want to manually retouched to make sure it's done right although you can try to come in and use something like your content where sometimes it does amazing stuff but that's where it's usually gonna mess up a little bit more so I might copy from one eye to put in the other that type of stuff but I think we can do that on a different picture because this one here I think we've done what are our lesson would be we might come back to it though if we feel like pulling out some detail on her or getting the colors to look different but that would be a different life lesson yeah does that picture have texture in it? I was tryingto look at the background yeah does have from texas so how would you deal how would you handle that trying to remove the texture removing textures from photos or not something I have like a general technique for anything haven't just haven't worked with enough of them to think about it but I could try coming up here and using something like either uh dustin scratches or median try to smooth it out. The only problem with those filters is they tend to think of eyeballs and ears and things as being as being the problem and so you have to work on a duplicate layer and when you're done, you might have to paint on the mask to say where's the important detail that I need to do manually myself s o we can try it on this one quick just duplicate the layer can I ask a question while you're doing that? Certainly so if you've got a really strong texture in your background and you've got scratches and stuff that you're trying to take out if you're using the clone brush or something because they're not real big tio to do the color to do the color like you just did if you're doing some of that it's going to distort the background. So how do you what's a workaround around that? Well, as far as doing retouching with with the texture is going to come or difficult and you might have to some of it manually uh in because you don't need the texture to match. And so it's unfortunately it's going to be more on a photo by photo basis because sometimes the texture eyes not quite as regular, where it's not going to matter as much and other times it is extremely fine and regular and you'd notice it and if it's extremely final regular, I'm gonna have to be very careful with where I copy from and I'm going to have to, um you know, just be overly selective with where I'm moving things. If we have one of those images in one of my upcoming ones, we might be able to try it out, but I know that's not a straight answer, but it depends on the image. So this site, which I'm not liking it so much when they used us to trash it, just looks like a blur in it. This is the one where I might demo, um, I think this is actually really cool because this could be an extremely important photo on that they wanted their whole life, but I'm going to I mean it's really? Because this amazing photo you can see that that well, to me, the lesson for this particular one is how do I get rid of all that those blobs of color they've gotten in there again, we might be open it again to doom or two, but that's, the lesson I want to get across here and what this one is is the problem is one color right? That might mean the channels, but the problem in this case is the area that's one color I don't think contains in a detail meaning when I look into the area of one color, it wasn't like the one that had the green bar on where you still see the kid in there I can still see the background it's just way off color in here it looks like those blobs are obstructing your view of what would otherwise be there so we could look at the channels and I'm sure one of them will have the blobs more pronounced then the other, but I don't necessarily when I looked through my knew it wasn't gonna be this way I don't see really one that looks overly normal, so instead I used a different approach. What I'm going to do is try to select try to isolate those purplish blobs, so what I'll end up doing is going up to the select menu and choosing color range and I'm going to click on this now it might help to color correct the picture first, get rid of all the yellow I know now I find out I'll just go in and I'll go to do a quick curves adjustment levels or curves either one the middle eyedropper if you click on something that should be a shade of gray and if this is a great scale picture, everything should be a shade of gray I can just see try a few different areas and I just seen is a purple stuff come out mohr with that make it separate mohr or not it's hard to say there I don't know that it's cutting drives for us one being better than the other might be a little better there though all I'm looking at it's not how good is the picture look but how easily can I see the difference between the purple stuff and the rest of the picture that makes sense? Other thing I could do to help things is I could make an adjustment something like human saturation and grab that little hand tool and just take everything it's yellow in the picture and make it less colorful does that make the purple stick out a little more? Maybe I could also with that hand still tool still active click on the purple stuff and make it more colorful ok, that might make it a lot easier to select right there because now it's so easy to see the purple stuff right? I'm not trying to fix the picture right now I'm trying to make it easy to isolate purple so I got the purple to be rather prominent now want to select it so I'm gonna go to color range now going to be careful of color range I think it doesn't like it when I have a mask active because then color range looks at the contents of the mask see how the four corners of the mask if I click over here so the mask is not active I think it will do better got to select his color range coming here and click on one of our purple blotches hold the shift key or you can grab that eyedropper that's got the plus sign on it and click on additional purple blotches just trying to give it an idea of how much do they vary so I get the lighter ones that are almost kind of magenta ish and all that right now my range has turned down because the last time we used that we had that I'm gonna turn the range all the way up meaning search across the whole image and I'll bring my fuzziness up I'll find the highest setting that makes it look only like blobs okay there I see the rest of the picture but right about now I don't think I see much of the picture we can find out there's a preview down the bottom selection preview right now we're seeing is this but if I go over here I can choose white mac white matte black mat all that kind of stuff or quick mask would it also helped a turnoff localized color clusters or do you still believe that on win the range sliders turned up to one hundred? They're not being effect they're not being used it's on lee if the range sliders turned down that you're using localized color clusters so if I turn it off it means I would not have the potential of turning down range but as long as it's at one hundred that doesn't matter now so I was just experimenting with ease to see if there was any kind of preview that would make this easier to see, but the problem with the previews is I can't see the rest of the picture most the time or it's hard to really see so sometimes what you dio is you end up setting this to something like black mat, which I thought it made it easy to see where the blobs were, but I can't see the rest of the picture well, there's a little check box on the right side called invert, and if it puts the black on the opposite areas, then the blacks just going to show up on the areas that were trying to isolate and I think it's a little easier see so I'm just gonna come in here, hold shift and get a few more of these until it seems like it's putting the black stuff on all the stuff I'm concerned about, you see kind of a purplish down here, anything that I can see color in that is not covered with black yet and it's not they have to click on every little one and just I need to tell it what color is it not gotten yet? I'm holding shift is idea this think I could see a little color there there, but I'm getting the black on top of most of the blobs about now I think it's is it quiet on the internet to your rooms? I can again if I want to see more of where it might be useful to click bring fuzziness down and you'll see more of what hasn't gotten yet you know? So it just says a click on this stuff while you're holding shift so you give it a much better idea for what you're going to get click on a whole bunch of those because it's very is quite a bit from purples to kind of magenta is tio all sorts of things then I'll bring my fuzziness up and try to get the most of those and none of the rest of the picture there I'm looking at the preview on the right because I can see when stuff starts showing up you see that stuff find the highest setting maybe around there do you think all right hopefully that's going to be good enough now what I have in vert turned on I think it's going to mean invert my selection so that instead of giving me the purple stuff is going to select everything else I only turned that on to get this preview I might want to turn off now I also might want to set my preview back to none so the next time I get into this thing I don't end up with some weird black cover on my picture and not be able to figure out why it's there and I'll click ok, so I got a bunch of these blobs selected I'm going to do the same thing we did on the other image, the guy with the hat where I'm going to take this election and just enlarge each selection and then do a, um, content where phil select modify, expand now, this time, if I actually look at the selections, I could just glance at them, and I can tell that there's some purple that goes outside of those selections on it, if you could see it or not, but up here you see there's purple outside of their there's purple outside of their there's quite a bit. So when I expanded in this case because I can tell it looks kind of crude, I'm going to push in more than usual bring up to four just to try to overcompensate, but you see what it just did if I zoom up on any area, we went from having this, too, that this that see all those spots, and now I'm gonna end up doing content aware, phil, now we only have these adjustment layers in here to make it easier to select purpose stuff we don't need him anymore so I can grab these two and just drag him to the trash I wish I would have duplicated my layer first. Uh, I can't duplicate right now just drag it down to that new layer icon I don't want to type command j because we have a selection active, it only duplicates the selected area and we'd have all these little spots. Um but I could do that and now I'm gonna do content where phil and cross my fingers so shift delete is what brings it up the last time we used it, we've filled with history. We gotta make sure it's set to content where and I'm going toe look ok and hope that it works all right let's hide the edges command age and um let's see if it ended up solving anything you ready before after before after it's not that is perfect, but is it a heck of a lot better than what we had before? There are some areas that will need some manual change look upon her forehead, there's one spot that it decided to put in a lighter and more, uh, brownish area but that big areas that had the main issue I think a lot of more tackled so I could work on this later and just continue not going maybe using my spot healing brush or I can select areas and jews phil aghani the one depending on what you prefer and just have it redo a few of those spots and if there's any other ones that are still prominent feel free to paint on them uh drive a selection active on on that at a selection active still so it was hidden but you can come in here now and do a little bit more or you could do another pass of color range to try to select more brownish stuff or something like that if you have enough fidelity in the image to be able tio further isolated like that now this is another one of those where if we have time in the last session we might be able to come in and work it more but the main thing was we had a bunch of purple junk and the lesson was how did isolate it how do we get rid of all that purple stuff? So david g from san diego had asked what about what about saving this election instead of making a duplicate later I think that was from way earlier might have been from earlier I'm not sure but it would be useful in some instances to save selections like when I had this election in this previous image with all those purples just in case they needed again it's not like it's gonna hurt you much make the files are a little bit bigger but not by much you could go to the select menu to save selection but if you happen to have already used the selection of as part of a mask like I did when we worked on the image of the green bar, there's no need to have it, both in the as a safe selection and sitting there in a mask. Because I showed you, you can always hold on the command key and click on the little thumbnail for a mask. And you'll get a selection right out of it. But, yeah, saving selections wouldn't be a bad thing.