Photoshop Mastery: Image Ambulance

Lesson 4/4 - General Retouching Part 3


Photoshop Mastery: Image Ambulance


Lesson Info

General Retouching Part 3

I looked through some of the rest of the images and just tried to get a sense for what we might be able to work with I've picked out five more I don't know if we'll get through all five or not, but I thought we would gives over my trying this one I thought was looking pretty bad so I thought I'd dive in there and the main thing I want to show you on this one is that I noticed it was in a frame of some sort and the outer portion has been faded in a different way than the inner portion and usually that has to do with having some sort of a frame around it and so we're gonna have to somehow hopefully get those two areas to somewhat match I do notice it's a black and white photo in general there's no color in it so I might decide to ignore the color just because otherwise when I brighten and dark and things the colors will shift in such a way they might not match I can always add this tinted look back in afterwards so I might come in here in first just I don't look at the color information ...

I'll do a black and white adjustment layer and I'm not even going to touch the settings because there is no color in there there's not like blues and yellows and stuff where I could work on it independently then the other thing I'm going to do is make a selection of the inner area of the photograph so that we're just working on this dark portion I'm going to do that by going to my marquee tool and if I click and hold on it there's an elliptical marquis where I can make ovals circles and with it worst kind of weird wherever you're first click on the start to drag that place where you first click like if I click on this guy's nose and drag, it becomes like the corner of this shape even though there's no corner really and where my mouse ends up is the opposite corner, so an already use this I think about this in her shape is if it's contained within rectangular box and I say, where would the upper left corner of that rectangular box be? Would it not be a bright about here for the dark inner part that's where I want to click, then I'll drag and I'll dragged where with the lower right corner of the box if you put this into a rectangular box b and that's where I'll need to be to get the other side but sometimes I'm off a bit like I am right now I'm too far over to the right I think if that's the case before you release the mouse button to commit to the selection well, you still have it held down press the space bar and you can move it I wish it wouldn't move picture down them I thought it was doomed out enough to see the whole picture anyway, I'll get the top edge to line up now and I'll get the left edge tow line up because that's the part I was committing to when I first clicked but now if I hit the space bar before he released the mass button get the top of the left a line up, then I let go of the space bar my mouth is still held down and now aiken readjust that right side and the bottom get it close I can't write like that now I'm going to do an adjustment of just the middle so I'll go down to my adjustment layers papa and I'm going to go to either levels or curves I'm just more comfortable in curves not everybody else's you feel free to go toe levels uh there is about in here called otto I can try it, but it doesn't always do a lot to begin with. We'll just say no there is a way to set up the auto button and I think it's on the side menu if I go to the side menu by going to the upper right of the panel there's a choice called auto options then it means how should this act and I can tell it to enhance monochromatic color are contrast, aiken per channel personal is not going to matter because on a great scale image what's in the channels, they're exactly the same aren't there. But if you have an image that is really bad, as faras color goes like it's really faded bad for color enchants enhancing per channel contrast might get the colors to pop back in. Surprised I didn't try that on some of our earlier images that had color issues I confined dark and light colors and so on I'm just going to cycle through those in see which one might give me the best look the top three are looking to do about the same checkbox is not going to matter on a black my picture on a color one though site, cycle that on and then cycle it back off to see if it helps uh all right, so I'm gonna click ok remember the way I got to that is the one to the side menu and there was a choice called auto options because the auto button will use whatever that dialog boxes set up to do, and with default settings, it might be thinking more about color photographs that black and white ones so I'll turn off the eyeball here and see what that's done here's before here's after so we get a little difference then what I'm going to do next is going to work in the outer part of the image and to do that a couple things I'm going to do first, I'm going to get a selection out of this mask remember we've done that before where you can load the mask is this election you hold on the command key, you move your mouth onto the mask and you click on it, you get your selection, I don't want to work in the middle, I want to work on the outer edge, so I'm going to go to the select menu and choose inverse that just gave me the opposite, so I have everything except for the center selected. I don't need those corners, though that don't have any information, so I'll grab the magic wand tool, go old school and I'm going to hold down the key that takes away remember shift ads option takes away that's all time windows hold them both down and it says only give me where two selections overlap, so I'll get rid of those corners. Now the only thing about the a command that I used in the center part what it does is it looks at how bright is the brightest part of the picture and how dark is the darkest part of the picture and it make sure you have the full brightness range in there if you happen to have anything that's not part of the picture itself in there then it can cause issues because if it sees that little piece of white background out here it doesn't know it's not part of the picture and so it might end up saying, hey, we don't need to adjust the bright part it's already really bright and so that's why I kind of got rid of those corners and things so I need to just make sure if there's any weirdness that's not really part of that photo I might need to get rid of it so do you see apart right here that little angled piece right there? I think that's where some of the emotion might have pulled away or something and I think it's really part of the picture so I could also hold option and try to click on that to get rid of it or I just grab my lasso tool and do it hold on options they get out of there just so it's not influencing my adjustment I'm sure there are other areas that are also not part of it and if I wanted to spend enough time I could get a better adjustment by just getting it out of my selection I'm not going to worry about it too much though but just know it will affect the end result we could cheat a little bit though I kind of like cheating I'm going to go to the select menu and just save the selection so get back later in fact I'm going to choose undo a few times to get rid of those little changes I made around those edges where I did it manually and I'll save it then just so that the auto adjustment on lee looks at a small area I'll go to the select minion I'll choose modify and I'll choose contract and I'm just going to say make this selection smaller and I'm going to say do it maybe eight pixels now it might not be enough I'm trying to get it to pull in far enough where doesn't have that junk in it anymore that stuff on the edges that I was working with all contracted even further I didn't realize this was that high resolution of a photograph let's type in maybe a dozen or even fifteen pixels so by pulling that innit should no longer include a lot of those little imperfections in there and that'll be good enough now I'm going to go over here into another curves adjustment and in that curves adjustment I'll go to the side menu once again and I'll choose auto options so I can see how it's going to analyze that area to change it and I'll go over hearing cycle through them to see which one but I think the top ones going to the same as the others for a black white photo if it's not enough, I can adjust this further, but one of the reasons why it might not have adjusted it enough was again I still had a few of those little pieces in there I can make further changes, but before I do I'm going to replace the contents of my mask remember how I ended up constricting it just so that the auto adjustment wouldn't see that stuff on the edge? Well, I can come back here and just load my selection back in the one I had urged earlier that was more precise and I can use it over here on the mask if I click on the mask option, click just you can see it here's what's in my mask you see how it's like constrained in and I'm just going to fill this area with white to get insurance expanded all the way out to where the original selection bounds were. So what that means is the auto adjustment was calculated from the smaller selection so it would ignore a lot of that little fringing on the edge and things but it actually adjusted all the way out to there because I changed my mask now I don't think that's quite good enough so I'm going to do another adjust want to try to get the blacks to be even blacker in there to get it to look a little bit more like the center portion off this a couple different ways I can do that I can either modify the adjustment we already have or I can add a new one if I want to add a new one, I'll just credit new curves, adjustment layer and there's a way to make this layer on lee effect where the layer below it is affecting things because that layer below has a mask on its limiting where it affects things. What I can do is go to the later menu and there's a choice that we used during the creative expirations class that's called create clipping mask and when you do that, watching the layers panel the layer that's currently active, you'll find that after I choose it it's going to have a down pointing arrow and that means this is only going to effect where that thing does so it's going toe in essence use the same mask least I hope it does I'm going to grab a little hand tool I'll click on a dark portion in here and is dragged down trying to darken it to make it look more like the center um image to get somewhat close to matching, then I'm going to click on a brighter part. You see the little brighter detail over here and I'm gonna drag up to see if I could get it to be close to matching is trying to get it to have approximately similar contrast, I don't know if I get it exact, but I'm getting closer, and then one of the main problems that I end up having here is twofold. First, I'm getting some black, and here you see some areas going towards black and that's, because if you look at this particular curve that I have, you noticed that part of the curve is going almost all the way to the bottom. We're almost bottoms out. Well, that curve is talking about how much light is being used in your image. If it ever bottoms out, it's like turning the lights off, it makes something black. So if that ever happens where pretty much bottoms out, all at another dot in that area, where is close to bottoming out? I'll add it really close to one of the other dots that's there, and I'll just kind of correct course there, make it so doesn't bottom out so abruptly. Instead it comes in for what I call soft landing. Um all right, but now do you see how crisp the edge is on that oval that's making it so it's, way too abrupt between these two? So I'm going to click on the mask for the very first curves adjustment that we applied. And all I'm going to do to soften the edge. A lot of people think about feathering a selection well, doing the exact same thing when it's, in the form of a mask, is to apply a filter that's caused called ghazi ambler does the same thing, his father in this election, and I'm just going to bring this up and see if I can figure out how far it needs to go to get a relatively soft edge in there, maybe somewhere around twelve, and I'm going to apply the exact same amount to the other one. Just click on the other mask if you type command, if it means, apply the exact same filter, same settings, if you look in the filter menu, it's, the very first one command f it just means, like, redo it so that soften it let's, see what it looked like before and after softening so here's, the crisper edge here's after two blurs, do you see how we're starting to get that edge to not looks about now? The other thing I would do here is create a layer above, and I'd retouch out some of that transition most of the time to retouch out the transition, I should be able to use something like the healing brush, or to use content to where phil uh, and clone across it in this case it's doing terrible woman a moment my undue command whenever I'm painting for some reason I'm not certain why is being great out makes no sense to me s o I might three premature room on stopping working in this image because there's certain things that only done do with but the main takeaway on this image so far we still have a lot to do with adjustment because we don't have enough dark information in this image is that if you have two areas that have been faded a different lengths, different amounts isolate those two areas with separate selections and if you do an auto levels on them it's going to try to make sure that the brightest and darkest areas are rather similar when you're done and so those areas will be a little bit more closely close to matching here I might have to manually put in a little bit of the detail to make sure these little lines remain consistent, but when I was done with this, what I would end up doing is coming in and using curves again and making sure we have a lot of dark information in the picture because right now we know I don't really have much so I can bring this down dark in one area click on another, brighten it up and then just like we've done on other pictures I could isolate an area like the shape of his body going to curves and make it steeper to remember what we've added dot on the dark part and drag up the bright part to bring things out so the main thing is we started with this do you see how uneven the outer and inner areas are whereas afterwards do you see how they're starting to become more equalized and I did just need to spend a lot more time creating the transition between the two areas in fine tuning adjust in areas but that's the main that take away is how to get to uneven areas to become more similar save that image and let's actually get into this one that doesn't look like too much fun because I don't think content aware he's going to be smart enough tio quite deal with this one hey but you never know you might want to try uh magic wand it into these areas and the thing is even if content aware is not smart enough to fix it it might give you a starting point and then you just have to touch upward screwed up so it's select those and as before I could expand in this case I'll expand to pixels the higher the resolution the picture is sometimes the further you need to put it if that has a soft edge around it mainly have to get through any kind of a soft blurry edge hopefully that's enough I'll do shift delete telling photoshopped to use content aware and I would be amazed if suddenly we saw a face I really doubted smart enough might be smart enough on the left side though and maybe in parts of her shirt quick question that you were you doing before um hillary imagery asked when you have an old picture like this and frame is it worth taking it out of the frame to restore it when there's a chance of it sticking to the glass where we met you try and scan it you might want to scan it before you take it out of the frame just in case because you never know if the glass is going toe lift some of it or if any of the other things but I am not an expert at that mean I don't touch the images you know the physical ah thing but I do remember back in college when I use a stat camera that I had a hand airbrushed I was a guy in a saxophone in the hand airbrushed and nuclear explosion coming out of it and I was supposed to take an image of it I shot it and then when I lifted the glass on the stat camera it pulled up the airbrushing and as ago that's an original and I would have a similar feeling we're working on older images so I might shoot it once when it's in the frame and see how good the quality is of that and then see as it was trying to pull it out of there but I don't know I don't have the experience other than my airbrushed explosion coming to part of me so anyway let's see what I did here? I'll hide the edges and oh good enough now um it did ok in the left side where we had little junk on a sure it's not too bad it's not terrible on her shirt in fact, it's almost tried to recreate that shape remember this I have the opinion of give it three chances so I might go in there and re select the smaller areas that still have issues and do a phil again on those various areas but obviously where the faces I don't think it's going to be good enough to have, uh that for second eyes and things and so remember, I would have usually done this on a duplicate of the background first let me duplicate that background I'll do like content where once again I think I still have that selection it's just hidden and then I'm gonna work on fixing the areas where it screwed up so in this image he noticed were missing the left eye on on two different people the right of the photograph but we have a pretty clear view of their opposite I and they're looking relatively close into the camera it's not like we're getting a side view and we got a bonus I up there love it um so what I'm going to end up doing here is I'm gonna be cloning one eye and putting on the other side but that's not always easiest thing, but if they're looking into the cameras a little bit easier than if they're a dramatic angle but let's see what we can do, I'm going to first do the one down here the bottom um to accomplish this I'm going to make a selection and I'm looking over at the other side seeing how much space might need a might need an entire, you know, eyebrow eyelash kind of area, so I'm going to make a select and quite large way out here just in case I need it come in and maybe get about half the nose or even a little bit more it's not like you can overshoot that much you can always mask it out, I'll select that and I'm going to copy it to its own layer so command jay should do that control jam windows, then I'm going to take it and go to the edit menu transform and I'm gonna flip horizontal, I'll use my move tool and with that I can move it over this direction and I'm going to get the nose to kind of line up a bit it's kind of the center of the nose and the nostrils where I'm thinking to begin with is getting a little bit right there her head looks a little too wide and little angled, but what I can do now is I can transform this now if I'm gonna scale and rotate and I want to be able to easily change it later on, it could turn into a smart object because then the scaling the rotating is just a setting attached to the layer that I could always turn off later on or make changes at any time it is optional, though sometimes with retouching like this, I don't bother with it, but just so you know where you could do that, I'm going to do it here because it's going to make it so I can just find ten things later if I need to, I'll go to the edit menu, I'll choose free transform and when I dio get little transformation controls on this, and if I move my mouth outside of this rectangle, I can click and if I dragged you see how we can rotate, but when you rotate, it pivots and around the center and I would rather have it at the moment pivot around the tip of her nose because that's the part that I kind of lined up in the photo so I can actually click on this little cross hair that's in the center that's what determines where it pivots from, and I'm just going to move that to the tip of her nose like that, so that now if I'm moving mouths outside of this transformation rectangle, I click and I dragged, you see, it's, piven ate it from her nose, and so I'm just going to see if I can visualize and if you have trouble seeing this with little transformation controls on it, just type command h to hide them type command ages second time, and they'll come back, but you just need to remember that you're outside of the shape so that you're going to be rotating. Sometimes one side of the photograph will be a little further away from the camera than the other, or sometimes somebody one eye is a little smaller than the other, that type of thing, so I might also need to scale this a little bit. I'm looking at her cheek here and seen the edge of her cheek over here from the original photograph is not going out as far is what we have here, so I think I might make us a little bit smaller I'm not sure I'll move my monster where I think the corner handles would because I have hidden. And I just watched my mouse for feedback you see here I think I'm on outside handle said just go left, right right about there I think I'm on a corner handle ah, click and ah, hold shift to make sure I don't distort this bringing down this a little bit maybe about like that you can move this around also if use the arrow keys on your keyboard, you should be a little nudge it up down left or right and I think I'm going to bring mine in a little bit so that her cheek and her nose, I think, ends up looking somewhat appropriate someone getting somewhat close when you're done you compress returner enter, which I just did, and now I'm going to end up masking this so that the main thing is I'm trying to get a good transition from what I've put into its surroundings and so add a layer mask, but the bottom of my layers panel and I'll grab my brush and I'll paint with black well, the very soft brush because I don't want you to easily tell where I've painted some getting it soft and I'm just gonna paint right here a blend that in and I don't remember underneath what's missing or what's wrong side, I'm a little bit blind when it comes to where I need to paint I'll somewhat ge estimate that and then I don't know what's under it right there, but I'll find out maybe about like that. All right, so now let's, zoom out and see what we're getting. I'll turn off the eyeball before after, I think is an improvement on it. If you want to see the original, I'll hide all the way down the bottom layer before, after a week of getting somewhat there. Now there are some color issues in this image I could color corrected as a whole, but the color issues seem to be a little bit odd in the image in that her forehead is purple, but her cheeks or not. So it doesn't seem like it's universe like throughout the picture, so it's a little bit more like where you're going to have to paint on masks to control where things happen and there's a bunch of different ways, I can try things I could do what we did on one of the previous images where I create a new layer, and I set the mode of that layer to either hue or color, and then I grab my paintbrush tool. And if you hold on the option key, when you, when you click, you can sample of color from the image and I can pick a color here where skin looks more normal. And then come up here and painted in to say, hey, use this color when you have the layer and color mode, it means use the color from this layer used to brightness from what's underneath, and so by sampling from an area that looks normal and then painted it over the area that looks purplish, I may be able to fix that up. It's, too much like right here, just felt a little bit too strong, then either choose from a different area of the photo where you're copying from, see if that works. It is still still too strong just lower the opacity, your brush, they say, instead of using one hundred percent of that let's use seventy or eighty percent when we put it in, and so I'm going to do the same thing over here where the rest of her cheek is, see if I get those colors to be more unified, I'll grab him down here is well, but he's starting to get it a little bit more rebuilt, at least on that one portion. If you look at before and now the colors are getting a little bit more even now, rise a little bit more now, I might still need two rotator I the teeniest bit clockwise, that kind of thing I can do that click on the layer that contains this and type command t it will remember the original transformation that I've applied because this is a smart object in with a smart object. If you transform the image more than once, it always thinks you're just going back and you never finished. Your first transformation comes back to exactly where the transformation handles were salt type command t, which is for transform and see if I might need to rotate that just a little bit more, and it might need to move it to the right just a little bit more, sir knows has the proper thickness? I don't know if you consider that an improvement or not, little hey, but all right, um, I don't know how much more we have in this mask. I mean in this this layer, I can find out by disabling the mask. If I hold down the shift key and click on the mask, it will show everything that's in this layer so nothing is masked and I could see do we have any more information out here that we could use so option? Click on the I'm not not option click shift click on the mask that we didn't copy enough from the other side tio be able to use more there, but we did get it to blend in and rela. Really well so for the other part of her face we can grab mohr from the other side but it's just going to be a repetitive thing of what we just done it's going to be selected area flipping horizontal rotate and scale it into place paint on the mass together to blend in and then if the color doesn't match paint on that color layer bizarre make sense and we could do that with multiple images the other part that's up above will be the same thing the one up above will be a bit more if you look at it because if you look at the original there's not much in it we can get her other eye to be in there we don't have the tip of the nose anywhere to copy from we don't have the rest of a mouth so that particular part is a matter of what could we steal from I don't think it would look right to have two miles that look to similar on game we stretch it out but this particular area up here would be the most difficult get rid of that little piece thiss piece here I can just copy part of the jaw line from down below onto its own layer move it up and rotated to fill it in I can duplicate some of the hair and fill it in a little bit over here I could probably fill in a bad up this high and I could get the other eye over there. But the main problem here is even if I copied from this cheek and put it over here, we don't have any material to grab for a mouth. And so that's the thing that kind of makes that a ah thing where you ask, do you have another picture of the same person taken on a similar, you know, aged photo or something that you might able to get a mouth out of? Because the other mouse in the shot I think it will be blatantly obvious if you copy from those. So that makes sense that, but if you watch her, I you get the general idea there. Okay, this one, um, well, looks like something was either spilled across it. Or maybe that had some sort of lamination on. I think that killed up or something like that, but we have this very uneven, uh, area, I'm just gonna look in there and see how can we get those two semi match? Well, if I try to use the quick selection tool with a quick selection tool sometimes it's good it isolated in area based on brightness and color, and I just want to see is this a small enough difference where the quick selection tool will think it's the edge of an object or not, so I'm not certain a click there and it seems to think it's the edge so that's great and I'm just going to come across here and try to select what I want hopefully will continue to think that if it doesn't have started doing this a lot where it's like the majority, the picture what I'd end up doing is diesel act and I'm just going to emphasize everything in the picture remember before, when we wanted to select purple specks and things we just tried to make the purple specks stick out so I might go over here and do a human saturation adjustment and see if bringing up the saturation is going to help possibly grab the little hand tool and see if this could be isolated more than this I'm not sure was that the same color this is red's this is unfortunately is thinking of the same color so if it would have worked on different colors the name appear if it would have changed to yellow when I clicked on this and read to that, I would have made one more saturated one less, but in this case I'm just making the whole thing more saturated the other thing that I'm going to dio is a curves adjustment layer in and curves I'm going to grab the little hand tool and they click on the dark stuff that's here could have dragged down to darken I'm going to click on the brighter stuff that's right here and drag up what I'm trying to do is get more contrast between those two edges, so I clicked on the dark part went down, which means less light clicked on light part went up and I'm not certain or not if that's going to help a lot because in other areas like where his face is, it might have given us less contrast, I don't know, but I'm going to see now if the quick selection two will do it, if the quick selection to a won't then I'm going to see is something like color range with color range might be able to see the difference in those colors, and if that can't, I might look in my channels to see hair the channel's different and it's one of those gonna help me the main thing is you just think a one thing first and you give it a try if it doesn't work, switch to your next idea, and if that doesn't work, then darn it do it manually. Yeah, I just like it when it works and get cheap now even this, if this selects too much his long as it doesn't wholesale, select the the rest of the image you can always come in and, uh, hold on the option key to take away and paint over the areas that it should not have selected, and oftentimes it will go back and fix it. So right now, hold on the option key, and I'll click on this guy's out threat, you see how it took it away, so don't think that just because it messed up in a couple areas to begin with that they can't be fixed, it just needs to know a little bit more about your picture, and I can do the adjustment just based on what I have selected right now because we can always paint on the mask or make selections and phillip black or white to modify the mask and expand where it's working, so why don't we just start making an adjustment and see if we can attn least get the two areas look more similar? And then after that, if we have time, we might decide to work more on the selection, so I'm going to get rid of the two adjustment layers we have because they're only there to try to make the selection tools work better, so I'll select both adjustment layers and I'll drag him to the trash. This is another one of those instances when we have, in essence, a black and white picture, so I might in the end. End up making it all black and white if I wanted to have a tented feeling I can add the taking back in but for now let's just see if we can do the brightness change I'm going to go to curves and in curves I grab this little hand icon and what I want to do is I'm going to click on the dark area of this kid's arm like right here works in a shadow click and at the bottom of curves do you see some numbers kind of small but they say see if I can zoom in without moving do you see the number one thirteen that's a numeric readout of how much light is in this area? The numbers go from zero which means no light whatsoever to two hundred fifty five which is bright as you can get which would be white and that's just saying hey with numbers that's how bright this area is well, I want the brightness of this area that my mouse is in right now to really end up matching the brightness that's right up here don't so why not just move my mouse over there for a moment in looking curves? Do you see the number changed? The numbers should be lower because it's darker and I'm just going to remember the number it brings up which is eighty one and it come over here and we have input and output input means what are we starting with? I'll put means where we're gonna end up with so input was already calculated the moment I clicked on my picture in the dark portion of his arm that's what added a little point to my curve? And then I moved to the dark portion of the area I wanted to match, but I didn't click on it. I was just hovering over it just so I could glance over it curves and see what it's setting wass the setting was, I think eighty one was not, so I'm just going to type in eighty one for output in that should make it so the dark area that this year is the same brightness is the dark area and the other because their numbers match now the color is not the same, the brightness should be the same, so I'm going to do that for a dark area, and I'll usually also do it for a bright area for the bright area. I'm going to go over to where his faces this guy and I'm going to click the mouse button right here on his cheek click and then I'm just going to hover, not click over here when I'm outside of that, that weird zone, and I'm just looking at the number to see number two, twelve and curves that's the number I'm going to type in for output and that's pretty much telling it the area I clicked on making the same brightness is over there, so to twelve now sometimes you will need to find tune this, and in this case, that doesn't look to be bright enough at all. In fact, it looks toe have brought it down too far. There's a small chance I just either typed in the wrong number had my mouth the wrong spot, but you can manually adjust this and I'm just using the up and down arrow keys, and I'm looking at this face trying to get it to the brightest part of his face, and within that stained region gets closer to what the other area looks like. Somewhere in there, I'm getting close. I could do the same thing for the other dot that we created earlier. If I want to, I can click on it within curves, trying not to move it, and then used the up and down arrow keys. It's like a dimmer switch up, would be in brighton down means darken. And so if I just glanced now here in glance up there, actually, I think they're relatively close and brightness, um, the main difference is the color. So now what I'm gonna do is actually turn off this adjustment turn it back on you could see the contrast change that have made and let's put the color out because I was distracted by the difference in color I'll just turn on down here and go to a black and white adjustment that should pull all our color out and then I'll turn our curves adjusting back on and see if it's a little easier to see what's going on that looks like it's getting a little closer so I'm trying to see if we need to make any additional change to that curve I think it's looking pretty good where the guysfaces it's looking relatively good where the guy's suit is this middle shade and here might feel to go the tiniest bit darker so I could go back to my curve when you have an adjustment layer this is the mask in this represents the adjustment sometimes you'll see different icons here but if you have an image that's relatively horizontal in orientation you might get this generic adjustment icon that's just because there's not enough vertical space for it to fit the normal icon if you want to see what the normal icon would look like I'll just make these icons bigger if you go to the empty area down here you can right click and change the size of your thumbnail you see how it now they look like curves and that's a black and white if it doesn't have enough space it just puts a generic circle with half black and half white anyway if I want to get back to my adjustment just double click on the little icon that represents the adjustment but doubleclick it'll automatically pop open the window showing my my adjustment I could go back into my little hand here and I'm going to click on this area which I think the interview the littlest bit darker clicked added a dot and I can either drag straight up or down within my image or just use the up and down arrow keys and then so I'm just gonna look at that bring that down a little bit I think right about there is good so I'll turn this off and back on again and see how we're starting to get that to more closely match. One of the main things we need to do is make our selection over a wider portion of the image and then deal with that transition a little to deal with the transition what I would do is possibly feather the selection the little isp it when it's in a masked equipment to feathering it is god's gambler they do the exact same thing feathers for a selection gazi and blurs for a mask usually just in this case something like this one or even last to see if it's going to help I'll turn preview often on I actually don't know that it's helping lunacy, it doesn't help let's see if there's another way that we can cheat for now, I'm ignoring the rest of the picture and just trying to give you a tip about this transition right here, all right? I'm going to try to select just the transition, so that imagine you had a little bit of selection right across it now I could do that with my selection tool, all I would do is cover here in trace one side just a little less bit outside like that, and then I would trace the opposite side just trying to get a tight little selection, but I'm going to be off in mohr areas than you might imagine, so let me see if I can figure out and more automated way where photo shop will help me do it. We have a mask right here, which is controlling where our adjustment applies. If I turn off the mask, that really does have that area isolated, and so I'm gonna command. Click on the mask to say, give me a selection of the area we isolated then to get a selection on lee of where that selection border is let's go to the select menu, choose, modify, and there's a choice called border border is going to give me just a little border, I hope right around the edge of my selection I'm going guesstimating how wide it needs to be that looks like about one todo about six pixels up and maybe four back so I'm going to say maybe about eight or ten let's do nine when I click ok, you see how it just selected a little with around that and I'm just seeing if that is far enough on each side, it might be even too far I can choose undo come back to the select menu, choose border then maybe I'll go for seven yeah that's pretty good then remember earlier you learned that you can crop a selection using another selection and still tipped frankly, like and what it is is you could go to any selection tool and usually hold shift add to an option to take away for a few of them both down. You could say only give me this part, but what I already have selected there, you see how I just got that little thing, so I thought that would be a useful tip for some people. If you need to end up retention some little part, you can load things this election's use border to expand and then say, I don't need the entire border all the way around, I only need this part and I did that by holding shift in option on a mac that shifted alton windows. Now, if I want to retouch that out, I'm either going to use the the what you would call it spot healing brush I could try to do it right like this just paint across here. The only thing is right now I'm working on a layer that contains an adjustment not something that contain can contain pixels so I might need toe put a new layer in their first I could try to do this so it limits my adjustment and then hide the edges let's see what that did you see? How it's lesson in that not quite perfect but it's not terrible? It could be that my selection that I have needs to go up just the tiniest bit and be a little bit wider. I can always take my selection and expand it when you say expand one or two pixels and tried again in this case, it's doing a little bit too much of a generalization if I need to use content where phil because it might do a better job, then what I might need to do is somehow create emerged version all this because it needs to work directly in the layer that contains the image in order work well, there wasn't keyboard shortcut you could use, which was one that emerges a copy of your layers into a single one some people call it the claw shift option command e that shift ault control e er in windows, it still has a selection active there, so it's still going to work and now I can go up to the edit menu, content aware phil and see if that does a better job of it didn't. My assumption was going to be that one of those two was a job. I apologize that it didn't, didn't I mention that one of these images it's probably not going to work out, so we might have to manually go across that I could come in here and if I'm going to manually do it it's not a bad skill to have with the clone stamp tool I can come in here and I need tio fix it anywhere where this line bumps into an edge wherever it bumps in, like here, here, here and so on, I would use thie the rubber stamp tool and just fix that little bitty part where it bumps in copy from maybe his armpit here, working up a little bit, and I'm only going to fix it where it has that fine detail, where it bumps into something for the other areas I can rely on the spot healing brush just where it has this fine detail. Is where I'm gonna have to do some of the manual retouching. Once I'm done with that, I can go over to my spot healing brush it should be able to handle if I cross my fingers that failed me on this earlier, the rest of that kind of a transition to get rid of it. So let's see if that worked to see how we're starting to get rid of that transition, I thought I was going to be able to give you a good tip of getting that little selection in there, doing little content where but no, it failed me, so the rest of this would mainly be about making a selection of the rest of that shape, and you can do it as I did there, where I used the quick selection tool, you can try magic wand tools, you khun tri color range all sorts of those options, it's just a matter of trying out, see which one of them might give you the best selection, but the tip in this particular one is curves to try to get him to match. Where if you click on one area, you need to match another, just look at the numbers and type in the number from the other area in the output field in order to be able tio deal with that. So here was a little bit of the before for this section since we didn't do the whole image, we just did one section and here is more of the after I only did the retouching across this little area, but you get a sense for how that could be done and originally it had more of a color differentiation between them. If I still want some of that color in my image afterwards I would put a black and white adjustment layer on top, turn on the little tent check box and then choose the color that I think would be appropriate wasn't a reddish tone I thought it was brown town yeah or it's brown it's more of an orangey tone then somewhere in there so before after looks like I got a little more green tone right now, but you get the sense and you could pick a different tone for you who opened this one well for this one there's a couple of tips I want to give you um the first one that comes to mind is if I create a brand new layer if you look at the problem, the first problem, the most obvious problem to my eyes, all the scratches and so that's what I'm trying to deal with here there's a lot of other things you could do, but if you don't get rid of the scratches, then it's just not telling, but look at all the scratches and notice that I believe every single one of those scratches is bright mean, the image that would otherwise be there is that seem to be the case from our own scratches seem to be taking out some of the darkest in the picture, so what I'm going to do here is change the blending mode on this particular layer I created a brand new layer on top I'm going to change it to a choice that's called darkened so that whatever I put on this layer will on ly show up if it's darker than what's underneath. If it's ever brighter than what's underneath, it won't show up because when you set a layer to darken mode that's all it can do to the underlying images darken it it's not making sense that it's going to limit from doing because what happens is let's say I didn't do that I had said to normal and I go and grab something like the clone source or the con stamp tool and I come in here and first off where can I copy from that does not already have a scratch sure there are a couple tying areas, but I don't have the patience for that so let's say I want a copy from I'm just going to pick an area that has a blatant scratching right there I'm gonna copy from there and now if I apply it somewhere else, I'm usually going to replace one scratch with another one you see that that happened, but if I have this layer set darkened mode where all it can do is dark in my picture, then it should I hope be able to when I put it in, not brightened the image, so I put it in there and you noticed I was still copying from a blatant scratch over here I was still copy from the same area you can see the scratch in the preview for my brush can you see it in there? But when I click and drag, it puts it in there and afterwards my layer says, hey, all I'm able to do is darken. If I set this back to normal mode, you'd see the scratch, but by having a job right, empty layers set darkened mode now we're not going to be able to transplant any scratches in general, so I'm going to be able to come in here and grab from another area and just paint over that scratch grab for another and I don't have to care if it scratches in my brush because the only place we're going to still have scratches when I do this kind of a repair is where I'm copying a scratch from one area and it's perfectly aligning with the scratch that I'm trying to remove because then there's never any information darker than the scratch on trying to get rid of that's being able to be put in because the place I'm copying from doesn't have that, but by doing this, I can come in here and copy from a lot of areas that have scratches and not really worry about it because I can use them to help get rid of the scratches that makes sense. Now I could go the really cheaper out, which would be to simply duplicate the entire picture command j said it to darken mode and then move it like one pixel if I used the move tool it's not going to look good on eyes and other things, but for big a flat areas of the picture might look fine. I'm just going to move this one picks or so to the right, maybe a little more you see that it's kind of filling in those scratches could do with the other direction of who want or I can move it up a little spit so there's all sorts of things you can do there, I'm not going to be doing next. I don't want to quite as much of a generic solution, but its losses in darkened mode I'm just saying, hey, copy the stuff that's right next to this just move it over a pixel or two and help it fill in so I could if I didn't mind spending some time with my cloning copy from generic areas of rooftop applying and others tio cover up a lot of these and it's only when we have really nice detail that have to be careful where I'm copying from, because it's not able to brighten the picture and it's going toe limit what I'm getting quite a bit, if I show and hide the slayer, do you see the scratches that I've that with thus far? Another thing you could try, but well sometimes leave you with a little bit more of a soft photo is all we'll work on duplicate, just so that if I do end up with some areas that I don't want to campaign on the mask and revealed the original usually ends up being around faces that I do everything manually, get rid of every scratch cause I don't want to mess up any eyelashes, eyebrows, that kind of stuff, but I could choose filter noise and there's a few of these commands. You can try if what you have is not scratches, but instead they're specs like over here on the left side, you see little baby white specks, if that is what you have throughout your image, I've seen a lot of those it almost looks like somebody took a pin. Started poking the imagery everywhere. Well, if that's the kind of damage you have, you might want to come in here and try something under noise that is just called median not that high. If you do median and uses setting of one or two, it will usually get rid of any kind of specs here I'll bring it up to three it's not going to do is good with scratches, scratches or are too thin for this, but look at the specs, you see all the specs kind of going away, and then I could also set this to darken mode so it's not able to do anything with the with lighter stuff. I'm not sure on this image if that will help or not, but now in this image, it didn't because it gave me a little speckled look, but if you do that on areas like of sky in areas of generic background, it could be a quick way of getting rid of specs. Let's, try something else from the noise menu. We also have the dustin scratches if we've seen before and make sure that that layers not set to darkened good it's set to normal okay with this, usually if you telling these all the way down you're getting the lowest setting you can bring up radius a little bit at a time. And see if you can figure out what setting you need before the scratches start to disappear and then on lee after you've figured out the proper radio setting should you bring up threshold bring up threshold all the way you'll see your original image and just slowly bring it down and see if you can figure out what setting is the highest setting that eliminate those scratches and unfortunate on this particular image looks like it's going to be a relatively low setting which is unfortunate yeah we're getting rid of too much detail with this but on some images if you have more fidelity and the image this can sometimes get in there and try to eliminate your scratches trying to think if we have any other filters that might help us osteo speed us up here but we have learned that in general are retouching though we could do it's just going to take time with retouch that's the part I like to avoid its the time yes can you use like a radiant filter to you know if you do like grady and layer to try and get rid of some of those scratches I don't know if the I can't think of how grady in't is going to help because the grady is going to make one area uh bright and then grady eight down to something darker and I'm just not sure how that would help what this what could be useful in this one, as far as a radiant goes is, if you look at the photograph, the bottom portion of the photograph to me looks to be lighter than the top portion and what I could do and here is do it curves, adjustment layer and my curves adjustment later, I could click on the hand tool, and if you look at the dark portions of the picture down here, they're nowhere near as dark as the dark portions up here so I could click on this and dragged down to say, darken, and I'm going to try to drag down until it looks approximately how dark the upper area is, but when I do it, the whole photo is going to get darker, so I just have to remember how bright it was with that I might end up coming in here in adding another dot just a work on the bright part of the image and make sure I don't get it too dark. I will turn this off and on, so look at the bottom portion the photo, see how much darker it's getting butt up at the place where the houses it's also getting darker and doesn't need it there, so if I haven't adjusted like that. Then, instead of painting on the mask with a paintbrush tool, I go to the grady in't tool there, and wherever I first click, I'm going to get what's shown in the left side of this preview. Wherever I let go, I'll get what's in the right side in a mask black means don't affect something, and white means do so I'm going to click right about maybe here where I think the rest of the photo was fine earlier, and I'm going to drag down to where I think I wanted to start affecting at full strength, something like maybe this now would see what that adjustment is doing. You see, I was taking the bottom part of the photograph and doing it and what's in my mask by option, click on it. Is this where it means apply down here at full strength? Don't apply it all up here and then create a smooth transition so slowly fades out so that's the kind of thing where grady it would help in this particular image to get that bottom part of the photo to have similar contrast to the top, but I'm not sure how doing the grady it's going to help me get rid of scratches. So we know I could work on this layer and darkened mode, and I'm able to be able to copy from a lot of scratches areas and use it to retouch out, but I'm still mentally searching for a method where I could be lazy because that's what I really like in photo shop is usually the ability to avoid the manual work, and right now our current solutions would end up making this be manual work so let's see if I can think of anything else taking just a moment, then we try surface blur for a second I'm gonna turn off these layers just act like we haven't done anything yet. I'm going to duplicate this with command, jay, and I'm going to set it too darkened mode, just like we had before we're actually it's do without dark and mud first and we'll come back and said it after I'm going to go to the filter menu, I'm going to choose blur and there's a choice in here called surface blur what surface blur is going to deal is try to kind of simplify things by any area that has really fine detail it's going to blur that stuff it's going to try to leave the areas that have this big differences and brightens alone so you see how it kind of flattened out the syrian here, but it left that edge that's there and her face is still have some detail this is with a really high radius of twenty five I'm going to bring that down so we can slowly bring it up here. Also, the threshold control that's here controls how much of the image it can effect and usually I would start with threshold turned all the way up. What that means with this particular filter is when thresholds turned all the way up it means allowed to work on everything so I can do that while I figure out the proper radius setting, I'd bring up radius until scratches go away if I call that a way yet or not, but somewhere around eight's getting close then I would take threshold once I found the right radius setting trip all the way down and now you're going to see original picture I'll just slowly bring this up and see if I can find a setting that will get rid of the majority of the scratches without trashing too much detail on the rest of the picture. We're starting to lose the detail in the rest though I mean it could be that I use one application for the tiny scratches though, because this seems to be getting rid of the really really small ones let's see if we can click ok and then let's see if it'll work in darkened mode not quite I don't think it's as helpful but if I could use this in some areas of it's way too noisy in some spots, I could do that, and then I could add a mask in paint back any areas that had important detail because those areas I want to use other features with so I could bring back some of these faces. Although some of these faces don't really have that much detail in them, it might be okay and some of the bush kind of areas, that kind of thing, but I don't know that it's my favorite solution yet so let's see what else what I might think of usually when it comes to noise did see they're going to be under blur or noise for most things, d speckle is another good one for tiny, tiny, tiny little specks in your image, but I don't think those others are going to help so this particular one, it might be one of those where I have to do the manual work. Unfortunately, I like it instead when I find solutions that are like woo it's done but this particular one, those scratches seemed to be a little bit more, um resistant to most, uh, techniques that would make it fast. Well, this one the problem is one color first off it's ah, silvery ish, purplish kind of thing also it's, one of those issues where it's really a black and white photo, but it has a color issue so it's nice that was scanned his color so we could use some of that. I'm going to look at our channels just to see if one of them sometimes just one channel looks clean and you simply use that channel throwing away the others. Other times you have to more work let's see compared to that, this this and this I don't like that one at all. The green one is not too terrible, but over here is missing some contrast that's not all that bad right there compared to the original, I might end up starting with that image right there. I don't know if I'm going to incorporate the other two because this one I think this looks more just odd to me, a little posterized almost, and in this one it looks even more on around it. So sometimes I just look for the cleanest channel and then if I just click on the green channel and drag it to the trash can and then click on in this case, it just turned into the yellow channel drag it to the trash can, so I'm just saying, get rid of the other ones, I only want this. I just need to make sure my picture ends up once you drag him to the trash, it ends up bringing this a special mode called multi channel you don't want to stay in there, so then I'll convert to grayscale, then on this particular image, when all most likely due to fix the outer edge. It will simply come in here with curves, and I'm going to be dark ing and that, in contrast to the outer edge, to make it look more like the center, since I know I'm going to be wanting tio isolate the outer edge, it might as well isolated first, so then I can get a better visual of what I'm adjusting it, so one way of selecting that would be to grab my paintbrush, get a big brush for the soft edge on it, and if you typed the letter q, that takes you to quick mask mode, and when you're in quick mass mode, you can paint in essence, you're painting a selection with the area that ends up with this red overlay ends up either being selected or not being selected, depending on the settings that air attached a quick mask. I'm going to make a selection about like that, and I'll just type a letter q to turn off quick mask that's what gave me my selection? So the area where I painted in that case read indicated not selected because I can see that the outer edge got selected out here so it means this stuff out here selected I'm going to then go in here and do a curves adjustment layer and in curves will grab the little hand tool I'm going to click out here maybe on a dark area and pull down it shouldn't affect the middle of the photo because remember have a selection that turned into a mask he's going to bring that down a bit? I might later on decide paint on that mass amore to smooth it's an result, something like that I can click on a different area of the picture of it helps what you can do is if you've clicked on one area to adjust it with curves and then you want to know can I click on another area and adjusted independently just looking curves and when you move your mouse around to the area want to adjust if were you looking curves? The little circle that shows up is in an open area the curve there's not already a little dot then you can click there and adjusted separately and if you click and drag up or down and fine tune it in this case once I'm done what I might end up doing in fact I think I need more contrast in there well better highlights what I might end up doing is a couple different curves adjustment layers and painted on the mask a little bit more to try this out so I'm going to paint with white to bring the adjustment in a little closer to him on each side and I think I'm going to do another adjustment just for this outer area right out here so again, if I want my selection first aiken type a letter q and then grab my paint brush and paint with black over the area I don't want selected so this is the area I don't want to adjust thank you again to turn it off and now go back in the curves and grab a little hand tool I'll click here dragged down that let's see what we've gotten so far from the original to this I'll simply choose revert because it was in a whole different mode and she's undue we get in there you could spend more and more time on this if want to even this out just another curves adjustment layer just go in and come up here do curves grabbed the hand, click pulled down and then invert the mass with command I apps it didn't invert command I in paint with white in there to say just up here maybe up there so we can all choose revert before command z for undue after and you welcome to finesse the masks where to a few other adjustments. In addition, so sometimes an image that has a color issue will be one of those where you just salvage the best channel. Because if you just scan, it is black and white. It would still have that issue in it. And if you instead look at the cleanest channel it's going to be a much better starting point.

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