Mastering Photoshop Curves


Mastering Photoshop Curves


Lesson Info

Mastering Photoshop Curves

Colin is has been teaching photo shopped for many, many years is sought after all over the world hey is also an amazing artist, a pioneer of h e r photography and one of the nice assist guys so everybody calling is going to be teaching us about mastering photoshopped curves let's give it up for colin smith thank you, thank you. So what we're gonna be doing is we're gonna be talking about curves, curves in photo shop they are the most powerful adjustment tool that you haven't finish up believe it or not, but also could be the most intimidating. I remember the first time I ever used curves I opened up photoshopped guard curves moved a couple of things around that was fun undo any went toe levels because unless you kind of understand how it works, it can be very daunting, so I'm going to do two things today. The first thing I'm going to do is I'm going to teach you the fundamentals of curves and how they work and how to move them around and then we're just going to move away from there an...

d jump into doing creative and fun and useful things and curves because I think the theory is good to build a foundation, but then after that let's see how we can use him in applying toe at work, we're going to learn how to match colors exactly maybe this problems we've been having in your image is before that you've never really been able to figure out this might be the class it's actually going to unlock some of those problems, like, how do you match skintight had you mention colors? Exactly? How do you adjust the tones in just a precise area in your image? That's what we can do with curves. So without further ado, let's get started and we'll jump in, and first we'll look and see what we can do, so I'm going to open up this little image here. This is a chess it? Yes, I do love playing test, by the way, so don't friends me on friends. It was a chest with friends because I'm terrible. I'll take me a week to make a move, but having said that, what I've done is I've got a little image here, and I just created a grey scale across the bottom of this image. There's, nothing fancy about this gray scale I actually infect just made a line and just put great bones in there. But the purpose of this here is I want to show you how curves work and what they do, so the several places curves are available by the way there in camera roar there available is adjustments, and they're also available is adjustment layers so the way to get curves as an adjustment, which is probably a good place to start just to look at the dialogue box, is to hit the command I am. And if you were on windows, that would be control him anthem mountains just think about that because it curves create these mountainous things and you can do mountainous shapes with them. So that's, the way I remember the m so here we go. What we've got is a couple of things going on here, we've got a history, graham, which is this little mount, anything. And then we've got a line that goes across the bottom. So how to curves work? Well, when we look at this little line, what I'll do is I'll just turn the options down, so we've got less things there to confuse you, and we're just gonna look at that curve here. What you see is the history graham to the left of this history. Graham in this area here is as shadows, just like on your camera, the one you see on the back and on the other side is that highlights or whites where you see this mountain? The higher the mountain is, the more pixels air inside that tone. So that means here we've got not a lot of blacks and you can see that in the image is not a lot of blacks not a lot of whites but there's a lot of stuff here in the mid tones and maybe pushing a little bit towards the dark of midterms you can kind of see that in the mountains so now that we can kind of see it see that little mountain and we get a little line that goes across here how does all this kind of come to get out what does this mean how can you use this curves interesting cause it like an interactive hissed a gram so what we're going to do is we're going to focus down here on this area I'm just going to zoom in a little bit so you can see what we have is this little scale here if you look you see black toe white but look at this little bar here this is a gray scale so this actually shows see this history graham here is actually telling us these are the actual poems that these pixels iran so if you see it like here there's a shade of gray there you can see that it's there so what I'm gonna do is I'm going to zoom out and if we actually hit the command key we can click on our photograph and that will put a point there on that curve so if you see that point there and you follow it down to this gray scale right here and you follow that line this is the shade of gray that we clicked on right there so you can actually sample a precise area so let me show you if I get down on this gray scale here, this will prove a better if I had the command key and I clicked notice that will add if you follow that down it's exactly the same shade of gray I clicked on let's go to a darker one and cia's I click on these different regions here what I'm doing is I'm sampling those shades of gray and that will match exactly whatever shade of grandma now remember when you're working in a photograph a photograph is essentially a black and white photo with a very, very thin film of colorado this is how digital photo works in fact, when you use your digital camera, you take photographs it's actually taking a photograph of one color and then we're on the sensitive actually got little tented pieces of plastic oh, you know, very, very small over the sense of which actually will convert it into color so here we're thinking about the structure want gives the integrity of an image when you look at an image you can recognize it shape not because of the color but because of the grayscale information underneath so when we're sampling this was sampling those particular tones of gray once again if I click here I'm gonna sample that area all right that's all good and proper but how can we adjust how can we change our focus what is ill this mean but before we do that I'm going to show you how to reset your curves dialogue but because obviously I've got a lot of points here so I'm gonna hit the control uh actually not the controlling and had the op some key and if you look and he and this works on every dialog box see the cancel had the option key or that would be the oak in windows becomes recent and you can click you can reset the other thing you could do to on curves at me add it is you can also just go up under here at the very top choose default and I will also reset your curve back to its default state the other thing we can do if we have a point on the curve on but this is before we start moving the points around you can remove this point in a couple of different ways one hit the control key and click on it and we'll go away or the other way which is kind of fun sometimes it's just just drag it out of the curve so that's how you kind of control with these points you have a question how did you get the bar to show up at the bottom of what the gray scale or bar shows up by default so that's part of the curves that will always appear in now might look a little differently because you're maybe used to using the adjustment layer because you have good practices and and it's a good thing to use the adjustment later let me show you the curves in the adjustment layer here they look pretty much the same and you can see there there and usually when I get that I'll drag this one out and as you drag, it will actually increase the size so you can see the curve works the same it has the little gray scale at the bottom here and and all the options on there now, typically when I'm using a curve, I'll use an adjustment layer because the adjustment layer is not destructive and you can do things with the mask and all those other good things, but right now I'm just going to demonstrate the curve using the dialogue books because it just is just is easier to see. I think right now when we're talking about the fundamentals okay, so now look at this how does this work? How do these curves actually do anything? Well, if, as we said that's, click on this point him going to the control key and click on that point there on the neck of this night on the chest piece and it's added that point to the curve there now if you follow this line from here straight down, you'll see there's the shade of gray if you followed across horizontally notice it's exactly the same shade of grace if you would adore line there and will there you'll see it's exactly the same, in fact, because this line is perfectly diagon or you can follow any tone and it will match exactly on this high vertical. So what we've got is basically, this is our input at the bottom the slider here with the gray scale is the input this is what you start with, this is the before value when you look at this thing that goes up in the y axis, this is the often value and right now we haven't changed anything, so right now everything into before matches everything in the after so here's the thing if we want to do something with this point, we've added, if we want to increase or decrease the brightness, we'll drag this point directly up to make a brighter and then if you look here now you'll see this is the before value is here followed across and notice now it goes to a brighter shade of gray than it was here because no, we've mapped that tone from this one to the other one. So why does it have this rubber band thing? Well, the reason it has this little rubber band because it kind of bands like a rubber band is because if you would have take just that one tone and bring it up, you'll get all kinds of post organization and issues like that where is it tries to create this nice, gentle curve, and by creating the gentle curve, it evens out all the tones in the image. So you're adjusting this tone, but you're also affecting other tones that's when we click just the one point the other thing we can do with the point let's pull it back is you can increase or decrease contrast, so if we want to take it and we drag it to the left, notice it's now decreasing the contrast if we go to the right it's increasing the contrast. So when you look on his band, the thing they say about the band is the steeper their band is in that region, the more contrast they out when it's flat this list contrast and let me demonstrate by adding a second point, which I can just click on a curve if I want and I'll pull this up notice what happens, it can get really weighed him, frankie, so another thing about curves treat them gently a little bit goes a long long way so it's it's a very very subtle adjustment as you can see there so not only do we have you know post organization going on here but we've also got the banning second at another point bring it down and see how now that's flat and notices almost no contrast there because it's flat but no if I take this point drag it away and and pulled this one way down here you're going to see like serious contrast now so the steeper it is the more contrast the flatter the less contrast so what I'm going to do is I'm just going to get rid of these points by come on clicking again and we're just going to go back to the default so that's basically kind of how they work but now what I'm going to do is I'm gonna show you a little bit more precisely I'm going to hit the command key now or the control cam windows and I'm going to sample all these different regions down here I should have done ten then it would be the zone system maybe I'll do that I'll change it after this thanks time it teaches I mean this is the zone system with curbs so notice now I've put these points on here now as you can see that particular point is selected because it's filled the other point I mean zuman seacon see it the selected point is filled the insulated points ah hollow so this is kind of useful the other thing is I'm using the minus key no and I'm actually going down see how moving down let me move my cursor out of the way so I can hit the plus and minus key and actually select or diesel eight the next point see that here's another a tip for you if you want to move this really really subtle, you can actually use the arrow keys down here and just tap and I'm just tapping with the up and down arrow key to get a very subtle adjustment that maybe if I was to click on here I might miss it up a little bit by being too heavy handed I'll give you one more tip if you want to be like super crazy if you hold the shift key down an arrow it's going to move much quicker and uh maybe you might want to do that for special effects or something. So there's just kind of little curved tips for you so let's actually go and have a look here and adjusting these and I'm going to take this one point and I'm going to drag this up and notice what happened see on my point there obviously don't worry about the photograph because you know, I like this if we're going for some, you know I just got photo shop and this is my first image adjustment that you love it. How many likes can I get on facebook? That would be may be acceptable for the image adjustment, but what I'm trying to show you is noticed at one point and that gray scale see how now there's much brighter because I targeted that exact home in curves if I pulled us down and go the opposite way, aiken dark and just at one point see that so that kind of demonstrates the power of curves. You can't do that and levels you can't do that in any other way and photoshopped except the curves it gives you this very, very precise adjustment inside your photograph. Now, obviously, you're gonna want to be more settled on that. I'm going to give you a little tip, going to show you my colon graphic equaliser anyone use music, any musicians or music fans were all music fans will love it, remember, you know, back in the days when you used have graphic equalizers on you on your stereos and you could control the different ranges so here's a little tip I mean it's. Actually, I find it quite useful if you want to adjust a region of tones together, what you can do is you can hold down the shift key and click and you can add more than one point, so now I've got these four points selected see that and now if I grab any one of these point I can actually move this region together so you know, you're not usually going to have this many points on a curve in fact, I would recommend against it you know, you really want to work with the minimum amount of points as you can, but see how one now we're moving this whole region together see that so we have brightened up their particular region because we're using it as a graphic equaliser, but we can also use a little arrow key tip and bring it down so but normally, you know you would move about that much, you know you wouldn't be but much more than that you want to be be gentle so that's another way of just kind of working with the curves so what I'm going to do is I'm just going to reset the curves now and I'm going to show you a couple of kind of curve standard curve shapes one of the curve ships that you may or may not have heard of is the s curve. This curve is very popular and this is a way to increase contrast in your photograph and there's two ways to do it one way is to add a center point and that'll kind of lock the center down a little bit and then we'll take the shadows here and we'll pull down the chateau region a little bit and I will increase the contrast and maybe bring it up a little bit there and so what we're doing is we're not necessarily we're not affecting the blacks and whites they're stains that could the same but we're adding contrast to the mid tones and the tones of the image and we can turn the preview on and off and you can see how we were able to give that some contrast and in fact I love curves but contrast because I can decide exactly where I want to add that contrast so you know camera roared does an amazing job of adjustments but you don't necessarily when you do shadows and highlights you don't mrs enlist use curves and camera or you're not targeting exactly the shadows or the highlights that you want so here we can target exactly the tone we want here so that I'll do this a lot. In fact, earlier on in my career I was I was a print designer work for a magazine and I did production work and I used a monopolization an art director and I had the most terrible photographs would come through a little side stories at that and that was kind of funny because I sent out a um everyone on the email but a letter and those that expect to all the photographers and said we would do no accept digital photos, please give us necks and slides because and that time the digital cameras was so bad is that funny like sitting out saying we won't accept digital photos because they were just so bad but anyway, so I used to do you know, a lot of production work where I would be adjusting, you know, one hundred photographs at once and so what I would do is I would create an action and it was two things I put in my action one was curves and the other thing was sharpening and finally the end I would convert to see him like a so what I would do is they just run all the photos through there, grab the curve, just boom, boom, boom make two adjustments head okay boom amount of gunshot mass bombing and we compute it seemed, why can't I work on the next photograph? And I could give very, very fussed where I would be spending number than three or four seconds on photo just getting it ready for publication s o you know curves are so powerful and then once you get the hang of the mid very, very quick toe work with great for production work, obviously, you know, we have light room presets and camera roar presets and also, you know, life life is much easier so let's talk about the other way to say there's two ways to create an s curve, so what I'm going to do is I'm just going to reset this one and the other way to create this curve it's just a skip, adding the middle point altogether, and just you could bring down the tones here and in the tones in the highlights, and you could do it that way, sometimes locking the santa works. But in this case, because it's, even the center is actually not changing. But if I was to do in a different areas, sometimes it can pull it off the centerline. So that's that's the two options, but creating the skirt it's curve is a very, very common curve you're going to use, you know, other things we can do of curves, which may or may not be useful. You can invert a photograph by taking this curve point here, dragged that to the very top and then pull the other one down and notice that actually inverts the photo. That's how much power you have with curves, you can flatten them off. I mean there's, a lot of things you can do, some of them useful, and some of them we'll just use the word creative like their notice because I flattened the tones actually took everything away so if you wanted to do that and just bringing out a little very low contrast, you could kind of do things like that. So these air, you know, just different things you could do with curves. Another thing that people use is what's known as a lock down curve. Let me talk about the lock down because when I just a particular region like, say, we click in this region here and I want a bright no darkness it's brightening and darkening the whole image as you can see there, so sometimes what you can do is we'll put that point back there it's actually create two points on either side of it give it a little distance if he gets too close, you going to get really, really bad banding, but then close to these at a second point here, and what that will do is a lock down the rest of the curve, and now you can adjust that tone independently, see that and now you can adjust that region without affecting the entire photograph. So that's another kind of little little tip. Another thing with curves is they can show clipping and let me do that really quick, and I'm just going to hit the reset one more time and if you turn on this show clipping, what this does is right now it's showing the darkest region in the photograph if I click the highlight one up on this end it's now going to show the brightest region would you can't see anything so if we bring this you know across you might start to see where the highlights is starting to show so by showing the clipping on and off it's actually showing me the brightest portion of the image so you may want to just use this to go here and just sit the base highlights first and say ok it's starting to clip there let's bring it back and notice it just we're just cutting everything off its sitting the white point just like in levels you know when you sit that why point so everything from here is going to be hidden enforced toe white so if attended clipping off you can see them before and I this is a nice way of just getting rid of the empty area you could do the same in the shadows is click on the there and we shoot the show clipping and we pull it across starting to show shadows turn it off and now we've compressed their image and we constructed to our adjustments there's another way to do that and it's just a little bit easier let me do the reset and it will get to your question so the other thing we can do is if we just click here and we hold down the option key that will actually bring up the clipping as well, so we can slide it across here and we can see ok there's a shadows awesome holding down the option key again. Sorry, go this way. So it's where it's clipping awesome! Let it go there and now we could just a little, you know, as curve and as another way of getting more contrast into a photo when I say contrast in a photo, you know, when you get those photos that look washed out, kind of like they were printed and hung on the wall for ten years in the sunshine that's how you get rid of it by sitting that clipping point and bringing that in there and then just cleaning up the mid times here. So you have a question, we collect the color balance? Yes, you can, and we're going to get to that in a little bit, so we're actually going to be doing some really cool things with color, so but I'm glad that you brought it up because that is definitely something there is makes cruz very powerful, but at this point I'm kind of going to be done with the basics of how curves works. I'm open to questions on that before we move on to more practical uses. Yeah, come on, we got we have a few so this first one I'd like to ask is I'll give you guys the name in a bit working with curves does not seem to a appear to affect the underlying hissed a gram is that right? Can you? Is it does that history can't change after you click ok? The history we're talking about this agreement the image of the great yes, yes, yeah, it doesn't really appear tio be changing bit if you really care about that had the highest a grand palate open at the same time. And you, khun see what's happening to your to occur because it's it is. I click ok on this curve is going to change the history, graham well, why don't we do that? And if I open up my history, I am here under the window hissed a gram you'll see now that the history graham is there's no gap there now because that curve has actually changed that I think we're good thank you. All right, excellent, actually, one other thing I was going to show on curves christian here. Yes, and just to clarify, when you're using that in when you in the photo is you've got it on the eyedropper in which particular one in the eyedropper of the choices is it that gives them bar at the bottom of color yeah let me show you two different ways than it's this bar of color the bottom here is I made that and just stuck that in there that you see on there yeah so actually that's funny I get people ask questions how do I get that great skill in about him that's actually part of the image so I actually just created them put it in there for the example there's no tool to bring up inside of herself a teaching teaching aid wondering where you know the first thing I should probably clarify for position only completely random right because he has chosen randomly I just grabbed the photograph and then I made a selection and face all I did is they just actually made a selection here and it's actually kind of interesting I just went like that and then I took a grade ian and I just grabbed the grady and tool black to white radiant dragged it across there and then what I did is I just took the little score years and then I took a selection if you really want I want do the whole thing that I just went in there and I did one story at a time and it went under the justin adjustments and and I just did the normalized each one until I just kind of average was actually an average blur I did on each one and then it just ten into gray scale so if you want to make your own grayscale that's how you can do it that's what this class is about how to make a great scale all right, one other thing I want to show you on curves is um oh yeah, absolutely they start rolling in after with massive questions from sf how closely do curves compare to the tone curve in light room? So this in photo shop that's a great question because they are exactly the same nice yes and in camera rule identical yes. And colin, would you mind mainly for me? I'm sorry, but you're reiterating why you put the double double dots on the curve line you put two dot you put one and then you put a second one? Absolutely. Thank you. So what I'll do is I'll actually do this because I've shown you how it works inside the curves adjustment. Now I'm going to do I'm going to use the cribs adjustment layer great to show you that we can do exactly the same thing and it and if we were in camera, roy would work exactly the same as well. In fact, camera, bro and library work a little bit more like it does in the adjustment land what you do if the adjustment layer instead of use an eyedropper, you grab this little finger thing it's called the on image adjustment and then you notice as I move over you see that little dot appears over whatever eternal range amman and then I will click to add their points and there's a grey scale there before and after so why do I do two points? The reason I did two points is because we're going to start here and I'm just going grab it this is the halfway point so now we're in the shadows I'm going to grab the three quarters point and I'm going to pull down so what I'm doing there is I'm just darkening the shadow area here in the mid tones in the shadows I'm adding contrast to them so then at the other side I'm going to go here and I'm going to do the opposite and I'm going to increase the shadows sorry the highlights on pushing up the contrast in the highlights so what that's doing is compressing the middle in creating a more punchy image so you can add more than two you could add units up there like fifteen or sixteen points if you want earlier you added a second dot a second mark right on the other side of that yes oh you mean the lock down? Yes the locked us thank you that's ok let me show you this because when I did just this notice that that band there is going away down and it's adjusting this region up here too so maybe I didn't want to touch this region because this region might be just absolutely perfect it might be I'm working on a model maybe in her skin tones of perfect but I want to brighten up the dress a little bit, but I don't want to affect the skin tones, so what I would do is I would reset this reset this first I'll put a point up here and a second point because otherwise what'll happen is my go here's he had with those behind it so I'm gonna put a second point just like that baby down and now see how I can adjust that and it won't move the burst of the curve very much so I could just a certain range of tone while protecting another set of range of times I think of this is like a guard that I'm putting up a it's a balance of basically this is the highlight club and you're not coming in to the highlight club, so I like the so called us the balance a curve cool, thanks. All right. So the other thing I've always given show, which is just kind of fun and curves is this a couple of different ways of adding points and by the way, inside the adjustment layer you do have this cool thing you can update the instagram by clicking here so inside the adjustment lady you can actually get it to update so if it's not updated all showed on there so doesn't always work of course live once I start adjusting it all right so the other thing we can do he has been get the pan and you can actually draw a curve if you want so if you wanted to draw the curve with the pencil you could actually do that and you can see how it's affecting the image there you could hide it by turning on and off the icon here and then if we go back to the point curve I notice little clean that up a little bit and give it to the little doggie shaky lines and will add points and that points to that point there this is not so precise a tool if you want to use that it's useful for this is a recipient by the way it's useful for you know just doing things quickly or for special effects so maybe I want to do something where I'm simulating I don't know heat vision we're on predator and we want to do a heat vision things total special effects going to look awful just to warn you but you know if you want to do something crazy you can have the pan and go like that and now we got the heat vision infrared vision on terminator so they kind of hard to do that with points no, I know that the n in it's not going to get filled with pictures like this up. All right, so that's, another thing you can do in perhaps so that's the basics of curves or why don't we actually look at doing something with them? Now we're gonna go in here, I'm going to start off by doing this is going to be a very practical thing we're going to start with and then we're going to go in and then we'll do some more fun and creative things. So let's be practical and why don't we use the adjustment layer? Because now actually doing real work flows and generally speaking, I don't usually use the curve as an adjustment I usually use the curve is an adjustment layer unless I'm working inside a channel or someone either if you watch my class yesterday from channels, you'll see that sometimes you won't apply adjustments and channels and you can't use an adjustment layer in that case. So what we're going to do here is we're going to create at curves adjustment and, um, you know, you can scale this is a cz I showed you before there's one of the few panels actually inside the adjustment, you know, inside the layers panel there that actually scales as you saw, when I pull it up and down, it will actually scale one of the few one so when you see it like that, drag it out and that will scale up and it will give you a larger curve to work with. So he is a photograph that I took, I use a till shift lands, and I shot this in times square in new york, and I'm trying to do tiny people tiny crazy people because they're running around like mad. But when you look at the photograph it's lacking contrast, you know, it's, the whites look milky there's no riel blacks, and this is looking a little faded, and maybe the white balance is slightly off, so we can fix all of these is inside of curves, and what we're gonna be doing is these little I drop it's, we're going to be using these eye drops right now, so what we want to do is two things to set the tone. We're going to grab the black point and we're gonna grab the white point, and what I want to do is I want to put the black point, I drop on a darkest point, the darkest portion of this image, and then that's going to sit everything toe black from that point is going to say, this is pure black, and then we're going to set the white point to the very, very, very brightest point on this image and that's going to say this now becomes pure white and so everything brighter than that will be clipped so hopefully there is nothing better than that and saying with the shadows hopefully there's nothing dark so we have to find exactly the lightest and darkest point in this photograph to make this work but before we do that a lot of people print people print and if you print guess what you get a little bit of gain like sometimes you're the ink spreads and the shadows come plug up a little bit or if you send her off to commit for commercial printing press even more so but even on your you know, your epsom printer or your canon printer you gotta watch out for that because as you're laying down that think you want to make sure that you've got a little bit of head room in there so your photographs look good you don't want to push it right up to the top so what we're going to do is we're going to sit out options before we do this and you only if I have to do this once we're gonna double click here on a color picker and if we look at our color picture here you can see I'm just going to talk about this for a second you can see that he is a huge situation and brightness so black right there is pure black sea that so we can see b is brightness and we talked about this yesterday so zero percent brightness is one hundred percent black ah hundred percent brightness is one hundred percent right? So if you want to get an exact tone and exact level of great you choose the hsb option and so if I want fifty percent gray I'll go under that b and hit fifty percent brightness so that's how you can get an exact brightness value now that we know that let me hit cancel and we're going to go into our tools and we're gonna do this of have told some described the black went double click it and it looks just like a color picker wow go figure that's because it is exactly the same but what we're doing this was sitting out target shadowed color I know this is a little ticky but you only have to do this once and trust me the difference will be worth it and if you can't catch a there's good reason to buy the course so we're going to hit the be here and I'm going to sit the b from zero to five very subtle but see the difference between you and current maybe I can see it on my screen maybe you can't but I mean shouldn't be too obvious I'm just sitting that five says giving me a little five percent overhead there and I'm going to click ok and I want to say this is it the fault? Oh yes I do we're going to do the same thing on the white we're going to go here turns one hundred ten, ninety five and see that is a little bit of gray there now little overhead so we're not pushing her into the extreme click ok? Yes and you notice when it said you want to say this? Is that the fault? Now that I've said there's a default I never ever have to do that again. I will always remember that now so you have to do the operation once every time you install photo shop ok, cool so let's set out points now we're gonna move on to just sitting out lightest and darkest portion inside the photograph so what I'm going to do is I'm just going to shrink this down a little bit let's pull it up there and shrink it down so we can see the photograph a little better and now I want to find the darkest portion on this photo actually open up just a speech, then we do this I probably should just run in let me just put it in the side panel, here we go, here we go and we'll expand this down a little bit says one of the nice things about the interface weaken do everything like that so what I want to do is I'm trying to find right now I want to locate the darkest portion on this photograph, so if you remember if we hit the option key, I don't think I could slide it in here, I don't need to drag it out onto our dust up trying to find my sliders this is fun, okay? I should have sliders there and for some reason then not showing so what I'm gonna do? No problem, we're just going to do with the curves I'm just going to delete the curve on we're just going to just apply for curve layer now you're should be showing those sliders for some reason one of disappeared my because I had that pen my there we go that's! Why don't have the pen on go back to the curve bad instructor when you change something, put it back there's there's a tip is a tip for instructors because I never have that thing on normally, okay, so this will still work with actually still sent the white in a black points that we set for the default is still set inside using the curve adjustment or here so you could do either way what's identical, so what we're going to do is find the darkest point hold down the option key remember I told you and then we can move up here until we see an area that starts to clip see that so there's a darkest portion is around here that's the areas, I'm going to grab that black, and I'm gonna hold down the option. Kate, this is kind of fun, and I'm going to click on it so he is a tip. I didn't get the darkest area because I'm still holding down the option key, and it showed me the clippings, I just keep clicking until I find my darkest portion. You could kind of do it this way if you wanted and, uh, kind of getting that's that's good, but let me do it there, man, she gonna reset this and we'll try it again because I didn't do a good job of that and have the option key and go in here and let's try and get it again there, right there, that point there, but all right, so now we've set the black point, so what we want to do is we want to set the white point, we want to do exactly the same thing, going to grab the white, I drop it, and I'm going to go over here and move until I see the brightest point now, when I said the broadest point, if you have a blowing out sky don't use that you want to use the brightest point with detail that should actually be white so this was the area here noticed that and she has I'm clicking over here I tap and now having goes away and you can see I actually really got that well because there's not a lot of stuff showing if there was other stuff showing a tap on until I got the brightest point. So what I've done is upset that so that's a white point and once again the black point we go here find the black point value, which is their tap their bum. So if we look at this before and after I've sit the white and the black point now this curve is now sitting to see that there's no gaps on either side of the history and so the next thing we're going to do is we're gonna grab the middle here and this is the same great point slider what are the eyedropper and this what I should do white balance so if you want a white balance, your photograph, what you do is you grab this middle one it's not a mid tone it's ah it's a great point so we're looking for an area on the photograph that should be mutual gray and in this case is going to be the roads we take this great and we kept there and notice it does all the white balance on the photograph see that so if we picked on the blue for example see how it's just going to go try and sit that is neutral or if we said the red they'll sit that bread is neutral so wherever you tap it sits that as the neutral gray and adjust everything else around the photographs so you always want to find a mutual great now when I do this in the studio what I always do if I'm doing it I shoot and I've got a particular lighting set up a lot of the time I get an eighteen percent great courage and I get the model to hold their great card and embalm take the photograph and then I have that great point well that's cool. So what do you do with that? Well, he's something you can do inside of curves that's kind of interesting is I could go up here and I can save a preset so if I have a sit a group of photographs that I'm working in the studio and I do this and I set this point you know I said that great point I hit the white point in the black point in fact, sometimes you just have them hold a great scare and you could just tap on the gray scale in the photograph sets everything you can choose safe preset and we call it thing I have a lot of things go well that's a slang way of spelling thing on then later on under the presets you can actually pull that pre set up, so if you're working any of the photographs from that shoot, you now have a pre city you can apply inside the curves and you never have to do this again if you change the lighting configuration, create another preset because the lighting will change that's just a little tip there. So if we look at this before and after that's going from there to there without really having to, you don't have to be creative, you don't have to really make decisions is quite simple or you're doing sitting the white point and the black point and the great point, very simple there's also auto adjustments inside of curves here, let me reset this one and the order adjustments can work sometimes quite well. You just click kowtow and site while that looks pretty cool now you might be somewhere. Why would you know use order? Why did you do emanuel? Well, manually looked a little bit different in this. I got to choose the highest point, you know? So if you're shooting, you get a blown out sky, the order is going to take that blown out sky and said that is the white point I'm not going to set that as the white point. I want to compress it more, and I'll pick. Another point is the white point. Also, I get to choose which is the great point where is photoshopped? Gets into it here. However there's, other options. If you had the control key and click on auto is the command key, I guess only words, the adjustment layer julian, show me the this morning says, care the adjustment layer and we'll do it in here. So we get to the curves adjustment layer and then there's the order option. You hit the control key here. They were gonna option key, and that will bring up the options here. You could click on options menu, but this is much faster. And one of the things that's cool about this is you can actually choose different ways of adjusting it. So choosing these different auto adjustments, you can go through these and see if you like any of those. If you don't want to do the curves yourself, if you want to know what they do, just roll over and then wait for the tip and the total will appear right there, and I will actually explain what each one of these auto correction algorithms do so for people that want to use those umm those air there personally I don't use the order corrections because the reason I'm going into curves is because I want to do a particular precise adjustment and I don't want you know, put us up to guess for me I want to do something specifically that's why I'm in curves so so we did your questions we just have a couple of questions here a lot of people asking about do you need to set a great point if you have the black and white points and then also what if you don't have a gray in there? Penders those yes, if you set the black and white point, you still need to set the great point sometimes well, it's let me preface that sometimes you do sometimes you don't if you like what you're seeing, then you don't but often times you can say you're white black points but that's not, you know that's not affecting any of the mid tones really? So those mid tones and under the curves is different colors under each of these, and we'll get to that soon. You want to make sure that that mid tone is neutral, so if it doesn't look good, then sit the the eyedropper for the for them you know, for the color, for the color balance, for the white balance if you're happy of what you got to go with and if you don't have an exact gray that's, why, if I don't have an exact gray that's, why I will have my model, I carry a great card inside my camera bag, and so if I'm shooting a person, which is when I usually really care about exact white balance, I'll have them hold it up for the first photograph and all photographed him with it, and then so I'm basically putting my own point in there, and if you're doing outdoor for targeting, you do the same thing just put a great card in the scene or, you know, if you've got a get a great camera based on whether they should make great camera bags that's good idea, eighteen percent camera bag, throw it, throw it in the scene, take a photo, you know, put your own great point, and if you don't have one now, they're gonna be making eighteen percent. If you do that, make sure you call with colin smith. Camera bank. I just recently got it's called from ben wilmore it's called why oh, why? But why thou? Why about and it's nothing that connects your key chain and it's a really just last forever bomb hey, one more question when you were setting the white point and the black point it created like three separate lines you're gonna go into that later or keys okay, thank you what's actually happening there one is doing that is it's actually creating the color channels that suggesting the colors and and we're going to get two colors I figure what we'll do is we'll talk about just basic curves first and then we'll jump into the color channels I don't confuse people with recognition overloaded beginning think thank you so very amazingly good questions I love creative life questions is so good all right, so let's have a look att doing something different here let's just do something just for a break from this like this's being heavy well, let's do something a little fun so what I'm gonna do? They're gonna open up the photograph here and so he is a photograph of lena actually, and the name is svitolina she's from bulgaria so I just called alina fant test the model by the way very, very good model on dh so what I'm going to do is I'm going to look it doing some adjustments here on this shoot. So this was a studio shoot just against a white seamless and she's modeling could be jewelry, but she's really muddling my guitar and what we're going to do this look, it may be what if we want to lighten up some of the areas, just maybe the hair because it's, a little dark and skin tone's not bad, we might want to touch it a little bit, so let's have a look at just doing some basic tonal adjustments here, and what I'm going to do is I'm going to go inside the curves and we're gonna use it his adjustment layer, and we're going to do this thing properly. So remember, I didn't see those sliders down here if you don't have the slightest click that option there see that's a point curve, this is the pencil and now options air in there. So what I'm going to do is I'm just going to go over here and I'm going to just sample, I want to sample that exact region noticed nothing is really showing, but if I turn on this little point till here now, I can move over and I can click it now, by the way, before I even do that is an easier way of applying curves on side of a photograph that you have to be very, very gentle with and that's, when you grab this little on adjustment, you can actually click and drag up or dragged down to brighton or darken those particular eternal regions, so right now, instead of adding a point moving in on a curve, I'm doing it on the image, so I'm brining up that part if I want to go here, I'm going to grab that region noticed ads, the point and I conduct in that region down, so if I want to go here and adjust that, see how it can do it independently by the thing, you got to be really careful of as you can get some bronzing and stuff like that very, very easily doing these onscreen adjustments because curves a very, very gentle and when you're dragging on the image sometimes it's very easy to get carried away, so be it, be wary when you do that. This is the adjustment till here, so what I'm going to do is I'm just going to do this, and I'm just going click and here, maybe around the hair regions, and I'm gonna add that, and now I'm just going to lighten up the hair a little bit, but notice is pulling everything up here, so once again, what are we going to do? We're gonna lock down this region that's exactly it well done, so, you know, like that down a little bit, and I'm just going to brighten up the hair. So now we can kind of open it up now sometimes that when you're doing this, we're able to open up, you don't necessarily like what's happening to the skin tone still so what if we were like, you know, I love the curve, but I don't like the skin tone I like the hair I want to put the skin temperature is one of the things that could happen very quickly. Here is this hand is starting to blow out, so if we look at this before and after because the hand was already really hot and I was starting to lose a lot of milk, leave the curve a lot of this point where, like cola awesome, we're gonna curve one of the great things about adjustment layers as they all come equipped with a built in lay a musk, so I'm gonna grab my brush tool hit the ddt to recent my foreground background color, that the ex key to sit black is the foreground, and now I'm just going to grab a brush. My soft edge brush would be good for this and maybe make a bigger by hitting the right wreck, a key like that brush a little bigger there, and what I'm going to do is I'm just going to paint on the curve now, and I can just paint back the old sitting there on the hand, maybe even on the whole skin tonight could give a c that. If I want to know that look kind of cool in the face, I'm going to do that so what if we, you know, want to bring that back? But what if we want to bang bring back just a little bit of the face, but not the whole things we want to just it separately you paid attention yesterday didn't way we're going to do the great we're going to set it for a great value. We're not going to grab a completely black bright brush because one of the things we talked yesterday because we did a class yesterday on mosques and channels and one of the things we learned when we're working a lay a musk is that percentage of gray scale is directly proportional to the amount of transparency that we're going to put on a lay a mosque, so if I want to do fifty percent, we're going to choose to be said it to fifty click ok, now we're gonna pay for fifty percent brush now I could go in the face and no, I'm just doing fifty percent of the adjustment on the face there and if I had the option key to see the mask, so I've applied if we go back here, let me taking away, I've applied half the curve here, I've applied none of the curve here and the whole curve everywhere else so remember you can work with the curves and the adjustment layers together they were friends and they love each other it looks like I have a question yeah so instead of using the brush that we just said yes could you create another layer and use another curve absolutely going to the same so basically yes that is that's a very good observation you can do that and you can also do that to to increase the adjustment by hitting command jay and you can actually duplicate that curve and this if you want to add mohr increase what you did and you want to make it more intense just keep adding curves and you can stack them on top of each other or the other thing you could do is you can go in here if you feel like the whole curve is too much adjust thehe pass it e and bring it back and make it a little bit more subtle so that's another thing I love about using adjustment later or rather than that the other thing you can do is you can create an entirely new curve as you we're mentioning and sometimes I'll do that when I'm working on images I'll create a new curve and I'll just use that curve just for one region like maybe I just want to work on the lips but this particular region so I'm just going to go here I'm going to select those lips and maybe you just want to open them up, just brighten up a little bit so that color doesn't clip and it doesn't clip when I paint painted. So what I would do is I grabbed the must hit command. I invert the mosque that hides that curves adjustment entirely and in what we do is grab a white brush and you know, we'd obviously we will zoom into our image here, let me just grab my, um my zoom told me grabbed zaeef zoom, and I'm just going to draw a marquee around there, zoom in on the lips space bar to move it across, grab a brush again. And no, I could just paint the adjustment just on the lips. He that now we can turn those lips down a little bit so you could actually do that and create a separate curve that each part of that image and a great thing about using it as adjustment layers rather than sticking curves on top of each other. As soon as we put that curve there and you hide, their region is not damaging. The image is not damaging the pixels, so yeah, absolutely. And in fact, that's that's, a really recommended workflow. Can in love, has a question. And we talked. And I know we talked about cannons to weigh talking a little bit about this yesterday, but I'm have you reiterate for today's class. Can you talk about lowering the opacity of the brush as opposed to picking choosing a gray? Yes, absolutely. When you grab a brush, let me just flip it around here we have a black brush right now. When I played paint with this black brush is going to be black. Obviously I could change the state of gray. Or you can go up onto the a pass ity slider here. And if you want a fifty percent gray brush, you can go down here and you can. You can do that. You can change the capacity with the brush. The limitation where that comes in with adjusting the capacity of the brush rather than the great color is if you you want to apply a grady it in there and you want to go from an exact value, tow another exact value. If you do that, then you would want to set the great point slider. Most of time. I said the gray because as you've noticed, when I was in curved, their my things were missing. When I change things I tend to forget I changed them so I'm used to keeping my brush it a hundred percent capacity, so if I take my brush and change their passing, I'm going to be painting away and forget that I changed it, but another thing that I do is aa lot of this I don't really sit these tones so hard because I'm using a walk on tablet so a lot of the time on my walk on tablet what I'll do is I'll go on to here and I will sit the dynamics you've got nothing up here called a pass ity and is another thing here for size and that means the pin pressure the harder you push the darker or paint the lighter you push the light of real pain up to two thousand forty eight levels of precious sensitivity and I use that all the time so one of the things is a passage he goes on and off here notices attended on you see transfer goes on tenet off it goes away under here the shape dynamics if I turned it on and I turned it off it does nothing the reason I'm showing you this is because this is a trap one of the traps if you're using a precious instead of tablet and you want to use these on screen adjustments, turn off everything now aiken, tuggle these on and off if these air turned on and the panel you can't turn them off up here and the reason for that is because when you set up brushes, the dynamics and the controls that you have for the brushes sometimes have a very very important to how those brushes work so you know, another thing you can do to is if you're doing this a lot and you just want to turn these off a lot of the time you're just going to go and he hit your brush shape and uh and just just just turn these off just be careful that you've done at the other thing you can do though see this little lock icon if you're going to be doing this a lot, you're going to be using these brushes, you know, say for example, transfer if I click there and I locked that transfer now when I select other brushes, that transfer is never going to come on because I've locked that transfer off so you can change brushes without the fear of that. So I'm just going to turn that lock icon off because otherwise I'm going to be doing a demo and something is not going to work and it's going to be way, so but so that's another thing that you do and speaking of the a pass ity so then when I use a capacity with the tablet and I know I can very my pressure what I do by dropping a pass city down fifty I'm sitting on master rapacity a threshold that means I compressed this thing until the a pin is coming out the bottom of this disk and it will not go dark and and fifty percent of pass it e but if you want to build it up, you can do fifty percent a passage e then do another stroke of fifty percent of passivity, and that will give you one hundred percent, so I know there's a little bit of a bunny trail, but I think that was a tip worth with mentioning because it's very, very useful, all right, so let's jump into doing something else right now that's because, you know, we've been talking about color heavyweight we really want to talk about color so let's go back into our curves and we're just gonna bring up this photograph gonna bring up another photo of lena here and I'm just gonna open I could do the curve by the way, the curve here inside of camera works exactly the same. You know? We can go in here and we can adjust the points and we can do that exactly the same there's, another curve adjustment in here, which I'll just talk about really briefly, which is curves on training wheels um if you choose parametric parametric works like a parametric equalized so that we get you don't need to know any more about that. I'm kidding. Most people have no idea what a parametric equalizers water is doing. Is this basically, instead of having all these points, you can adjust its dropping it down to four regions. And then you have your four regions, here's, your shadow region, which is between there and there you have your dark switches between there and there you have your lights, which these amid times basically dark and light, mid tones and in your highlights. And so you can adjust the's sliders here and then you're adjusting just those regions. See how it does the lock down curve. Kind of for you. This is nice, you know? So we could make our adjustments here. Say, hey, that's. Cool, that's. Cool. You know, it's dark in a prop that shadows a little bit. Maybe. You know, uh oh, that looks nice, you know? So you can do that now. What if these ranges that not what you want? Well, that's what's called a parametric because you set those regions yourself. So let me just double click each of these to reset them, and, uh, I could have, you know, done a quick away just by sitting in here too, but so so we want the shadows mohr like just really, really, really the dark shadows so I can take this slider and I can go to here and now when I move the shadows, see how it constrains that just there, so I'm issuing a darken up the shadows give us some solid black and I want to make my darks here I'm actually gonna I don't want mitt tons to be affected just this dark region and now I can adjust those independently, so opening up the hair a little bit and once again you can control these regions by sliding needs around so that's another way you can use curves, so I'm just gonna hit the recent, but once you get comfortable of curves, you probably won't want to be restricted by this because you can't click and drag on here you have to be in point have to do that, so when you use the point curves you you probably don't want to do so what I'm going to do is I'm just going to open this now is an image I'm just going to open this image inside of photo shop and I'm just going to close out some of these other ones just toe save up system resources really quick, so his is a shot that we do great smart clothes, my actual image working it's it's open it again and I'm just gonna hold the shift key toe open this as a image so there we go I'll make this full screen put on the screen that's one hundred percent is command one command zero is fits on the screen all right, so what we're going to do now is we're going to look at some different things with curves that's up on a parker of here and, um, you know, we could, you know, open up these lighted regions, these darker regions of the hair and stuff if we wanted bob already shown that's what I'm going to do is going to talk about using curves for color we're not going to necessarily per se to a color correction what we're going to do is we're gonna do a color effect, you know how sometimes you look at photographs like a lot of fashion stuff and the colors just so finally done? You're like, wow, that's looks really cool looks like it was professionally retouched, so I'm going to show you how to make something look professionally read test if you go under the channels here, we've got the channels under rgb right now when we're adjusting this curve, we're just in the composite curve, which is all the channels together and you see the channels here all of these adjust again I'm not going to get back into channels again that was yesterday um we're going to grab the bread and now you can see we're on here so now when I adjust this it works exactly the same as it did on the tones except now it's going to be just the red channel so if I want to work in shadows in the rid notice that I can increase the red and the shadows or I could increase the red and the highlights now this is a great way if you've got a little bit of a color cost that kind of sneaks in you can get rid of that very quickly and easily of course you saw using the great point is actually a great way of doing that a cz well so let me just show you something here when we select this as you know we can come on click to add a point you know if I was to come on click it will add a point on it let me undo this if I shift come on click on a point here you don't see the point there but what it's done is has put that point c that's the region there in each of the colors so remember that when shift command click will sample the color channels are one show nothing on a normal channel but on the color so that means that exact point that I just hit here I can increase the amount of red or I can reduce the amount of red right on that point there so I've reduced it a little bit and I'm going to go to the next one I'm gonna get the green and I'm going to take that point there which was the middle skin tone and now say I'm kind of giving it this nice kind of a feel there's a little bit of a color ten I'm going to get to the blue so hey don't want more of blue there yeah it's kind of cool and now all I've done is added a point moved it around a little bit and suddenly it's gone from a normal limits too like it looks like you know what you're doing so it's kind of really useful to give it a nice you know fashion anything now obviously you're going to use that for getting rich telecasts but you can also use it for this nice coloring so you want to give it a nice kind of high in color effect you khun do they're beheading those points once again you can add more points you can adjust you know different regions here so if I want to make more blue in the highlights than the rest of it you know I kind of like that that's kind of fun it looks nice the other thing is, you know, if you wanted to do something underneath, this is create a lady here for special effect on grabbing over let's just put it kind of like, a our own little vignette on here, so what I'm gonna do is I'm going to do an oval, and I want to make the oval tilted, anyone know how to make an oval selection on an angle? You know, the keyboard shocker for you got your good select transform selection. You are very good that I'm impressed, you win the price, so we're going to go here and we're gonna tilt this around, and we just get what we're doing is we're just basically just making a selection here, just just for fun and there's that there's a million different things we could do with it, but I'm just gonna command shift I for now and just fill it with black, okay? Um, you will know they keep a choker for filling with foreground color by now, right? Option backspace or options delete? All right, so we're just done this, and I'm just gonna blur. I'm just going to choose the filter blur, and I'm just going to do a little gassy ambler goes ian blair, gordon blur have you want to say it? There's probably a speak photoshopped dictionary somewhere that tells you how to pronounce all the tools on and now we're just going to drop the a pass ity down a little bit here and notice because I did it we've got that nice blue tent from that curve as actually coming into alvin yet so you might want tojust tender all the way down and just make it very, very subtle, you know? So that's kind of another cool thing about doing the curve here because it will adjust everything underneath so we looked at this before and after she had just gives it a little bit more polished little bit more professionalism. So those other things we can do in here if you want to get crazy for special effects let's talk about special effects for a second um and I'm just gonna just delete everything and we're going to talk about change the color of here now I would never change the color of your hair can she has beautiful black hair and a really suits her skin tone, so this is only for demonstration purposes. I'm going to show you how to change the color of here because people ask that a lot and one of the most difficult ones that change the color of his black because there's not too much natural, you know, kind of tones it'll work with except for him black so they could do is we're going to go in the year and we're going to grab the curves and once again this is one of those things that you really gonna use ah leh a must for so let's just create a mas quickly so I'm just going to create at lay a mosque right now and what I'm gonna do is I'm gonna paint on this musk because I want to just like that area here's a little tip there see I did this backslash key he's so that right you'll see what it does in a second I'm gonna grab my brush and I don't want one of those weird brushes just give me a regular bush regular old burst please I d like this cool makes the brushes that when I'm doing those kind of effect so what I'm doing is I'm painting and I'm not one of paint on the image I want to paint on the mosque make sure the mask is selected there we go actually it is going to hide it now that I think about it yeah that's ok, so we're gonna paint on the mask and that's fine and you know what? No it's not I should be doing it on the curve so here's a tip I don't create the curve here and I'm going to grab that mask, dump it and replace the most yes so you can do that you can actually take a must and replace the one in the curve so now we're put it inside the curve on and the reason I'm doing that because if we want to make an adjustment there it's affecting here that has protected so we're going to do is inverse it come on guy invert that mask and notice it's still a little soft I'm gonna hit command elf the levels to make that white a strong white ok I could have just as easily painted there but you know why I had the capacity to know fifty percent on the brush so I said that's why I don't to pass it down on the bush that's why musk was not a solid white when I painted it and it was simply showing through so now we'll go back two hundred if I paint there would do it so anyway the bottom line is now this curve because of applied this musk is only going to affect the hair see that you want me to do that again so you don't get lost because I know it was kind of more convoluted than it needed to be so let me do that again I'm going to create the curve here and with the curve selected I can decide to just paint in this area here so what I'm going to do is I'm just going to paint with black on here just so I can kind of fill that up. And this is the tip. The backslash key will actually show your mask while you're painting, so if you can't see anything, you want to see that mask you're gonna go in here now, but your old good and you're actually going to take the time to properly selected here. I'm not intending moscow off so what's happened is now we've selected that area conceits must on there like that. But right now what happens is black hides that layer white shows that so we want to invert the mask so we could just choose a little invert button now, it's going to do the exact opposite? The hair is now going to be adjusted and everything else is not because everything is black means it's gonna be hidden. So back to our curve here, you can see that just the hair suggested. So we're going to go into the colors here, and if you wanted to maybe make her hair a little redder, you could go up here and you could just give it a little bit of red and he go through each one of these color channels here because each one of fixing one purple go for it, you know, we can kind of go a little more brownish, we're going to blue here and say this is an easy way to really start to go in and change the hair color if you wanted to see that and that way you're protecting the detail while changing the color so that's quick and easy way to change hair color now I wouldn't be that essentially better with your natural here I think she does so I'm just going tio delete that and now we're going to do selling different I'm goingto go back in and show you some other things here that we can do for kind of retouching stuff using the curves so what we're gonna do, we're gonna look at eyes I'm going to zoom into her eyes here maybe that's a little far um and as you can see here, this is straight out of the camera so this is completely completely unretouched at this point, so you know this is the natural natural person and notice when I move if you don't like that scribe museum, just turn it off and you can just kind of manually do it by holding your option tea and it doesn't force that, but I'm just gonna try find little marquis here and zoom into that point you can't marquis select when describe you zoom is on try to draw on my key count ten describe you zoom off and you could make a selection and it will fill that selection so just a something thing all right, so we're gonna add our curves here, and what I'm going to do is I'm going to add the curves on what I want to do is brightened up the's eyes just a little bit it's just it's just it's something you can just really give a lot of life to a portrait is when we go in here, we're just gonna click and I'm just going tepp gently on her main eye color right there, and now we can just gently pull this up a little bit, just tow open up the eyes, no notice, everything else has changed as we know. So the other thing we could do now that we've opened up the eyes and we've got them sit like that grab, I must invoke damask by hitting the invert button or come out and die, and now we get a white brush and we can paint that adjustment executive way we want it. So now what we're doing because we're basically painting with curves so that's, another thing you can do, sit your curve and in paint what you wanted to go, so now I want to go in here and just paint around her eyes, I'm going to go in there, and now I can just paint that adjustment and you see that and just give them a little bit brighten them up a little bit gives him a little more life so we're just going from that to that and they're not and people like while you were really good at letting those eyes yeah yeah dude it was really clever you know I used a scream and uh yeah and the other thing is if it's too much you can just take the capacity you could drop that down and make that sitting a little bit most subtle if you want so the other thing you can do to us while we're at it let's have fun because everyone likes to have fun fun is fun spice called fun all right so if I want to change the color of her I can click and I can do some light stuff here and the channels you can start to change and if you wantto now obviously to change the color of the eye we need to do more than one channel so I'm just going to stuff the red let's do the rate I'm going to just the amount of red and that's how we're changing your eye color now I'm going to green you know we can go really crazy yeah and you don't want to do real crazy by the way but you could if you wanted on bree could go blue you know we could start adding these colors and changing these colors around and you know giving her a different eye color if we wanted as a little sloppy in my selection I obviously you can always go back and clean it up a little bit my white brush and just say I want to get this it is better and you can kind of do that usually I would just actually just create an oval tool and just must get out that way but that's not what I'm trying to show right now and you just go here and it's like well, she's got different colored eyes so that's that's an easy way to change eye color hair color things like that using the curves so I'm going to show you another thing on cruz because what do you want to get an exact color? This is where curves get like really cool because right now we're just having fun and just kind of throwing things around, but what if we want to be a little more precise? I'm going to open this up here he is a collage I did and this is lana I only shoot models whose names begin with l by the way I'm joking but all of these alana this is all the same person and this is her in different outfits and well composited into this little bridge thing so you know what? If I want to make see your pence they would get this really nice man bright blue underpants in the front. It looks a little faded, actually on there. Then it doesn't much gets a little brighter. But then we've got the dress here, which is a different color. And obviously it is a different color because, you know, it's, a different era and all that kind of stuff. What if we want to make that dress at the back executive? Same shade of blue. Is those leggings on the front he would get. This is the address here. It's a very pale pastel blue my screen. This is a bright kind of a blue it's kind of a royal blue. Maybe a little brighter then a royal blue little lighter just slightly. You can probably knows that shade of blue. What sort of blue would you call that? Well, what would I call that? Oh, that's going to be wrong, teo baby blue, baby blue. All right, so it looks a little bit the same on here, so you're not going to get the effect this has on my screen, but I think it home the pregnancy more what I've got on my screen. So, um so what we want to do is we want to match that. How would you do that and that's pretty tricky, huh? It's pretty tricky we want to mention exactly so this is one of the cool things about using using curves now we can get actually get a little bit more scientific with the curves is a thing called an eye dropper um and under the eye drop it there's a color sample tool now here's a thing to you know how those eye drops all over photo shop is this is another little tip while we're there you can change the sample size here and this will affect every I drop from photo shop surprise to fall is point sample that was really cool back in the old days when we used to work with you know images that was small but now when you do a point something what it does is it actually works well for graphic design stuff but the point sample is going to sample one individual pixel so if you've got things going on there you know, like maybe you've got some noises grain how do you know you a sampling the good color and not a pixel of grain you've got to be very careful. So sometimes I'll pull this up a little bit tio three by three or even a five by five and what this does is actually now have set five by five is actually gonna look at five pixels surrounding that point and it's going to take an average of those visits reading so for me, unless I'm zoomed in on one hundred percent and I'm trying to precisely get exactly one pixel, this is a little bit more forgiving, so we're going to go in here, we're gonna get out point till and we're gonna find out what's already there look at that um let's get rid of it option click to get rid of a point to see that it's gone so what we're going to do is we're going to sample and region of blue and I think around he is probably pretty good I like this kind of area it's very shiny so it's a little more difficult, but I'm going to click and at a point now here's a tip when you're selecting a color this three basically different color tones going on there there's your shadow value which is that color with the shadows because it's not getting direct lighting there's your highlight value which is where the light is hitting it. You might have some reflective things, things happening in environment from environment and in is this diffuse value you diffuse value is the true value of that color and as something should always sample that diffuse value and always look at that and then you can adjust the highlights and shadows later so if you want the true color, go for the diffuse value which is not in shadow and it's not in speculative highlight so we've selected we've added it that's a r g ve values of right there so now we want to go into our curves and now we want to sample this to make it the same so let's open up that curves right now we're going to go in here open up it curves curves open grabbed the little finger anything which is the on screen adjustment they call it and I'm gonna grab right there let's find a diffuse value here which is going to be about there I don't want to be in the shadows of the highlights click there and no oh, I have added appointment here, so now I want to make the blue one here exactly the same as the blue on there I'll show you how we do it I'm gonna grab my properties panel and we're just going to drag this out over here and what we want to do is we got the info panel open right now and that's under window info and you can see the values here these air your values for this color of blue the formula for this blue is one hundred five rid one hundred thirteen green and one hundred seventy blue that is the formula to get that exact color, so we want to change that we're going to go by channel rid and what we're going to do is we're going to change it was a sample you know what I forgot to do? I got to do one thing first I've got to do remember shift and what is it shift command click on their bomb and what does that do the ads there point to those color channels now see that so now we know at that region there what that should be so we're going to change this now so we get a match that so we got one twenty instead of one twenty five we're going to change this now to one o five and so we've changed that cell is going to the green channel what do we need to do? One thirteen so you don't even have to think one thirteen awesome and we get a blue channel we want one seventy in the blue one hundred forty one we don't want that we want one seventy so we hit one seventy bum and now the whole image looks kind of weird and it's because we want to just must get out now so what we're going to do is change these now oh, you know what bad bad me bad me output value? I felt it I felt it tim was like, you're doing the wrong thing can make sure you hit me I'll put value let's get back one thirteen and we'll go back to the red and now the rid is one of five yeah, we don't want to sit the input values input values that before value, the output is the after value. All right, so, um, some kind of calling myself that was good. So what we do now is we just want to hide the adjustment of this, and so we're just going to hit the command, delete and that's going to hide the adjustment off that curve. Now let me just make sure this is working, right? This should be showing like I've done something wrong great, I love it when I do something wrong, we're just going to do it again. No problem back in here, we're just going to grab this curve again, and we're just going to do this again. My apologies s o una command shift, and we'll make sure the little finger the thing is, we're active command shift, click we've said the value and we're just getting these values is still the same, so we're just gonna go back up again. It won't take long, so we're going to go here. We're going to say one of five and we're going to go under the green, we're going to sit under the green, we're gonna set one thirteen. And in under the blue we're going to hit one seventy this is looking like it's working now I know why it didn't work before I'll tell you the sick one seventy yes they work now you know why didn't work before because silly me when I clicked I added a point first on the curve before I head of the color points don't do that when you do that just add the color point because that influenced it so perfect now I'm going to come on I invert that and now I'm going to grab a brush and I'm going to paint with a white brush and make sure everything is turned up two hundred percent and look at this the blue on her address now perfectly matches the blue on her pants so no we're able to do this to get an exact tone inside of photo shop using critics look at that get exactly the same dress before and after let me hide this you could see now matches before and she is before after so I'm that also works really well for skin tones you know sometimes when someone sitting in the light and not in the light or they get like a color spill goes on the side people say how to get rid of that two executive something sample put a color sample on the good skin then go to curves created curve it just on the bad part of the skin and in just painted back and must get out and that's and that's one thing I love about curves you can do this and curves you can't really do that so precisely in any other toll inside of photo shop so let's jump in here you know I'm going to do something that's just going to be fun because you know, when we did this photoshopped this and everybody really really enjoyed the lighting effects you know, the day for night so I figured you know, why don't I use curves and I'll show you how to create a day for night effect for yourself because I got so many comments about that afterwards seemed to everybody enjoyed it so what we're going to do here is we've got the statue, the lincoln statue, lincoln monument I guess I shouldn't call it a statue it's a monument and what we're gonna do is we're gonna like this instead of being daytime I'm going to make it look like nighttime and we're going to do our own lighting and it's not very difficult we're just going to go up here and we're going to create a curve suggest mint and now we've got the curves adjustment later, what we're gonna do is they're just going to darken this down a little bit there's going dark in this whole thing down make it look a little bit more like nighttime how's that at this point, I'm not even going to worry about, you know, adding color or anything like that will come to that, so now we've got a mosque there and when we need to do his pain with the mask of the first thing we gotta do is gonna add a spotlight, so I'm going to grab the last so tall I'm gonna grab their poll ligon or less o'toole and I'm going to click and drag, so what I'm doing is I'm creating a spotlight effect I want the spotlight to be somewhere around there and to close this just at the enter key and I'll close it so we're gonna work on the mosque now, so I'm going to do just flip this around and I'm just I want to actually just go black is the foreground and grab my grady until and I'm going to go up to the grady in't options and I'm going to use full ground too transparent now with four grand too transparent what I'm going to do is click and drag down here and it's going to start to create a spotlight effect come on, d two d select and now to really give it its realism we're just going to hit felt a blur and we're gonna blurt this mosque and it's going to make this look quite realistic like a very realistic spotlight let's go here soften the edges a little bit and how's that looking it's looking pretty realistic, right? They're there and now we'll get a nice little spotlight that we've created. So now we have a light source, so the light source is the top left. So this is how I think about like, I'm going to do this really quick because I know we don't have a lot of time, but I do this when I'm doing retouching when I'm doing illustration when I'm photographing, whenever I'm working with a light, I think of light as water, so I take a surface and in wherever that light is coming down think of it as a host, and whatever surfaces would get hit by that water would be the areas that would be hit by the light where that water hits it so intensely that it bounces off would be where you would get speculate highlights where it would be protected from getting where maybe we just drip around there would be where shadows are, so if you can't really envision lightning currency like, think about taking water, just imagine you're seen what would happen or you took paint a bucket, a paint through that bucket of paint? How would that paint land on that object that's exactly how your light would work, so what I'm going to do is I'm gonna grab my brush here and with my brush, I'm going to grab the black brush. I'm going to turn on a passage, he let me go into my brush panel here and make sure that shape their names has turned off there, but it's turned on for a passing has grabbed this pressure like that one better, and now I can use precious sensitivity to paint, so what we want to do is actually think about this let's zoom in a little bit here in this room right in and think about way with this light hit so this light is coming down this angle here, so the water or the paint is coming down here. So what I want to do before I do that as I'm just gonna hide that layer I'm gonna get down here and make it quick selection much this this will save you having to be so precise, quick selection told just get warm across there really quick, let's, grab the head. We do not want to decapitate not a good thing for president s so we're going to select that there were going to hit the option, and we just couldn't find edged, and I'm just going to do that, all I'm doing is I'm just cleaning up that adding a little little radius there. And we cannot put this to this election selection selected okay, so I'm gonna invert it now we've got just the statute I didn't care about here because no lights really hitting there anyway oh it's not altering existing lights were going to select safe selection okay, so what we've done now is we've just saved their selection so we could if we wanted to come back, turn it on or off and what it's done is it's created a channel but you knew that if you work in the class yesterday so what I'm gonna do is I'm going to go back here with this selection active now I can paint without going over the lines, so I'm going to grab my brush tool and with all those cities that we talked about and let's that soon in a little bit said the come on one and now we know the light is hitting here, so I'm just gonna let that light hit here and I'm just kind of painting that in using my person sensitivity, I'm gonna push harder around the ages because I know around the edges that light's going a bit more intense so these edges of quite easy because you know, the lights just kind of spilling on these top pages, right? We're just going to kind of hit those and that would be good if this was a cardboard cut out but it's not so we want to think about insight ages ok, maybe the light's hitting over his knee here maybe it's sitting over here now understand I'm doing this very quick normally I would take a little bit more time with this and get a lot more precise of what I'm doing is I'm just painting him where I think the light would hit these forward ages and maybe would blend a little softer in here maybe blamed a little softer in there and it could come down maybe hit it and hear a little bit and as a rounded so wants to hit the edge of the round and edge there, so we just kind of painting it imagining where the light would go so let's, go back here, I'm gonna hit come on d and I'm going to turn this off so if we look at this before and after, see how was started to paint that light on it and what we're actually doing is relighting the scene. If I had the shift key and head on the moss, you can see a before and after. So the other cool thing we can do about this if we want to add color make the lights color, we're going to duplicate the curve, we're going to go and he had double click on a curve and we're going to reset the curve the fault and what that means is this curve now has no affect because remember that lines perfectly arizona we're not changing anything if it's perfectly dying and we're not pulling anything up or down said now we can go and once again use the color we're gonna grab that color channels this grab our red channel and now we can go in here like this we can add color to this light and now we actually have a colored light in the scene so we can add that you know the color if you want to make it cool I want to make a warm you khun just duel the different colors and weaken relight that scene now so it kind of matches that is without the color with him without and we got that before and after so there's basically how you would do a day for night kind of effect so how are we looking for time and questions? Absolutely so calling a few people were asking if you could go over again the reasoning the conceptually why you set the default five percent and ninety five percent could you yes yes the reason I'm sitting the ninety five percent and blacklist the five percent is headroom it's um I'll give you an example I love music I'm a musician a blood musical my life when you take a stereo and you turn it up to ninety percent that sounds really good and I have friends that were like, come on, man, turn it up two hundred percent when you turn it up to one hundred percent all you're doing is introducing distortion and making it sound worse it's not really that much louder so what I'm talking about that little bit of head room so, um if you sit everything to a pure white and you said everything to a pure black, then that means there's no room, so if it guard you know, when you printed it got a little bit darker, then you know your darkening areas that should be showing detail, so by adding that little five percent on either in what it's doing is it's giving you a little wiggle room to preserve all the tones in the image fantastic calling that segment flew by so fast, which things fly by when you are having fun and speaking of flying, we haven't mentioned the quad copter sitting on the death tell us quickly is this out that maybe this little babies being sitting here on the on my desk and you be wanting what is this thing doing on the desk looking up some images second show you as well while we're doing this, what I'm doing with this is I like toe, you know, fly this in the air and I take photographs, so this is basically, um my tripod in the sky, I'm so I'm just going to open this up and then instead of slideshow of here, so you can actually see thes images that have shot with that, what I'm talking about it. So here's, san francisco here. And so, basically, what I do is, I take this eye flight in the air, and I use the camera on here, and this could go to a different height, and then I get a different view so I could go around. I can take photographs, and, you know, for example, here, griffin observatory. I've took in four photos here, and I stitch those together into panorama here's, another one, the hollywood based on, you know, hollywood sign and everything there. You know, that area in laguna beach. I love to go to the beaches and do stuff with this. This is in hawaii, so I'm doing aerial panorama is newport beach.

Class Description

Curves are the most powerful tool in Photoshop for adjusting your images. They give you a level of precision that is unmatched by any other tool. Curves can also be one of the scariest and most difficult tools to master. In this essential class, Colin will teach you how Curves work and show you how to use them to add a level of quality to your images that would be impossible to achieve any other way.

Software Used: Adobe Photoshop CC 14.2