Adobe® Photoshop® Deep Dive: Filters

Lesson 10 of 16

Retouching with Gaussian Blur

 

Adobe® Photoshop® Deep Dive: Filters

Lesson 10 of 16

Retouching with Gaussian Blur

 

Lesson Info

Retouching with Gaussian Blur

So now let's take a look at how to use the gaussian blur filter tio produce really beautiful soft skin so the two techniques actually the three techniques that I'm about to show you all have to do with retouching portrait and I think you're really going to love these techniques I think you're going to be able to use them daily if you retouch a lot of portrait photographers I think you're going to let these techniques because your clients or you're going to be able to produce really beautiful subtle looks for your clients I think they're really going to enjoy it's a great way to soften skin tone in a subtle way as well as do a little bit of a glamour glow which is what we have on screen right now so this is the second part of the effect that we're going to create so we're going to build to this look right here and because we're going to use smart filters the whole way will be able to control capacity and we'll have masks though we can only reveal the technique on the areas that we want ...

and so forth. So in the exercise files I've also given you the original so here's here's what we're going to start out with and I don't have anything against freckles I'm absolutely covered with him but sometimes they can make your skin look not quite so smooth so but there's so many variations and pigment there so let's first start out with a very subtle skin softening technique that is fabulous for smoothing now skin tones so if somebody if you're shooting teenagers and they have acne or anything like that, uh, this is also great for slightly softening wrinkles it's really great technique to have in your bag of tricks so let's go ahead and get started here first we're going tio activator layers and turn them into a smart object so we've just got one layer going in on in this document, but if you have many go ahead and act take them so filter smart filters filter go down to blur and let's choose gosse ambler in the world's smallest dialog box you can enter a radius value that's going to blur the heck out of the image and don't be afraid to go too far for this particular image I used a value of oh I think it was eight something like that yeah about you they so I'm blurring the image quite a bit, but we're going to back off of that using the filters blending options so let's, go ahead and say that that's fine and you will have to experiment with that radius value you'll use a higher number for higher resolution documents or larger pixel dimensions rather, you'll use a lower number for lower pixel dimension images let's go ahead and click ok now what we're going to do is we're going to hide the effect from the parts of the image that we don't want it to be visible on. So it's clique within the mask let's, grab the brush tool overhearing your tools panel by pressing b, and we're just using the regular all the brush tool as you click and hold down your mouse button on any of these tools that have that microscopic little triangle at the bottom right corner that lets you know that there's a slew of other tools in that set, so we're just using the regular old brush tool. Now we're going to trot down to the bottom of our tools panel and let's think about what color we want to paint with. Black conceals fight reveals let's press x to flip flopper color chips and now we can come over to the images or keyboard shortcuts to affect brush size the right bracket. Here they go up left bracket to go down and do make sure you've got a soft edge brush because you want the transition points to be soft here transition point meeting from where we're revealing the effect and where we're concealing the effect, so to check and make sure you got a soft edge brushed. Just peek in this brush preset picker at the top left of the options bar and if it's got a fuzzy edge around that brush that's a soft edge brush but you can also just click and make sure that you've got one of these fluffy guys active now let's just paint across the image and the areas that we want to hide the effects of the filter one of those being her eyes and of course her hair so when I'm doing this technique also I have two fingers on those bracket keys for changing brush size so that I can be pretty fast with this technique this is another technique where if you're goingto hide more of it then you're going to show he might start out with a selection before you run the blur filter after you make the smart object but before you run the blur filter and that way photo shot feels in this mass for you and when you are doing this do you make sure to hide the blurring from the nostrils because otherwise things get really weird you don't want that in your portrait it's ok, so now that we've pretty much gotten that all situated I'm gonna go ahead and reveal a little bit more down here on her chin now it's over blurred right so let's go ahead and back off of the opacity again we're not going to use this opacity saying that's layer rapacity we need to double click this little icon to the right of the filter name and we're going to open the filters blending options and we're going to lower the filters opacity so for this particular technique I typically go down in opacity toe something pretty low like fifty percent something like that so let's go ahead and click ok and now let's toggle the visibility often on of the filter itself in the layers dannel there's the before and there's the after it's subtle and we could even go down a little bit more if we wanted but you can see how that just smoothes out her skin just enough and it doesn't really look retouched are you arguably we could go down a little bit more and opacity prime make it look a little bit more realistic but you can be a subtle as you want on this technique so here's that before and there's the after so she still got her freckles and else got a full screen mode for a moment by pressing the f key a couple of times this is a great way to evaluate your work, so she still obviously has freckles but they're just softened ever so slightly so that when you see this portrait it doesn't scream trickles not that that's bad I have them but this is a great technique to have in your bag of tricks so that's step one tio getting to the glamour glow that we've got going on over here see the difference between those tea, so this is a bit of a glamour below, and this is quite natural in my opinion, so since we're going to run a whole nother filter that needs to be perhaps mask different in a different way where we want to preserve what we've done here, let's, go ahead and create a smart object out of this smart object, so I can't go up to the filter menu because hiltermann uses this is already a smart object. I can't make another smart object out of it, so we have to go over to the right hand portion of the layer that we're working with, and we're going to control or right click, and from that menu we're going to choose convert to smart object. Now we've messed it a smart object within a smart object. Yes, we can get back to any of those original layers simply by double clicking the layer thumbnail of those smart chicks. So here we are at our newest smart object and let's. Go ahead and make sure tio press our default keyboard shortcut for setting our color chips to the default of black and white because you do need black and white for this particular filtered work, so let's press d to set our color chips to the factory fresh black and white and then you're going to press x until black is on top so you want your color chips to look exactly like this black on top white on bottom now we're going to come out to the filter menu and we're gonna choose distort, diffuse glow and he's our keyboard shortcut of commander control minus to adjust the preview now this filter introduces buckets of grain and to your image and this is the affect your after could be a special effect. Great, but for this particular glamour glow technique that's not really what I want so let's, grab the grain in the slider over here on the right hand side of the field for gallery in drag it oh, all the way to the left! I think so we don't have quite as much grain now we're back into the soft glamour glue realm, so for the glow amount of this one, I'm going to set it to about five I don't want quite that much glow, so you can experiment with this you may like a little less glow you may like something like around two, but for my own personal taste and this is very subjective, I like a glow amount of about five we're gonna leave clear amount set to fifteen and we're gonna click ok now that's overdone but we're going to make a couple of changes that's going to make it look a little bit more natural we're gonna open the filters blending options by double clicking that little icon and you can scoot around in this baby box tea but while preview the check boxes turned on, you're seeing the effects of this right over here so you don't really need to use this preview in this particular situation of the dialog box so from the mod menu let's go all the way down to luminosity this will keep this technique from shifting the colors in your image so the the glowing part is only going to apply to the lightness values of your image and not the color values so you won't get a shift in color so let's, go ahead and change that toe luminosity and then we're going to drop the opacity setting quite a bit so if we point our cursor at the word opacity, we get that handy screaming cursor and weaken his click and drag to the left and for this one you want a pretty low opacity so maybe somewhere between thirty and fifty but again you're gonna have to experiment with that on your own images and also you'll need a different members for different sizes and images if you're dealing with a really honking big him is in pixel dimensions than these numbers will change a little bit so here's our before of the glamour glow and after now if we were to double click the smart object where would we be back at the first smart object we created where where we did thie skin blurring or the softening rather and if we double click this smart object where would we be back to the original layers that comprise the image make your changes choose file save close those temporary documents and they all update into each one of those nested smart objects interesting russian dolls yeah, yeah so let's take a look at that one more time some of the clothes, all of these images and we'll go back to the original that I've got for you here in your exercise files so here's our original so make it a smart object around the gaussian blur filter blur it quite a bit look okay used the included layer mass give it a click to hide the blur from areas that don't need blurring press x to flip flop your color chips so that you're painting with black and you're just gonna pain across the areas that you don't want a blur so that would be things like hair and if I were doing this for a client I would take a lot more time preparing the mask I probably zoom in and I'd make sure that I had I'm not revealing any of the blur on the eyelashes so I'd seem way, way, way in and I'd make sure that I hid the blur from the eyelashes if you get my drift here on the hourly rate so but for the purposes of this demo you guys can see what we're after here so I could be rather fast at it but you would want to make sure that you hide the blurring from any hair that you want to remain in focus eyebrows, eyelashes, teeth, obviously lips probably and the ever important no strahl is it's not really the italian word for it, but it sounded pretty good didn't it sounded believable as well it sounds totally off yeah, ok, so let's say this is good now let's drop the opacity of just the filter, which we can do by double clicking that icon to the right and we're gonna drop it way down to maybe something below forty percent again depending upon the pixel dimensions of your image and here's our before there's our after settle that effective now toe add the glamour low on top of that let's. Go ahead and controller right click on our smart object to convey convert it into a smart object so now we're nesting smart objects and when your friends ask you what you do today, I nested several smart objects without you okay, so now we're ready tio go ahead and make sure that our color chips or set to the default of black and white just press the and then press x until black hops on top so you want black and white as your color chips you have to do that before you go into the diffuse glow filter or things will get really funky such use filter distort diffuse glow use your keyboard shortcuts resuming in and out commander control minus drive the graininess slider all the way the lift experiment with the glow amount if you want less glow dragged that to the left you want more galo drag it to the right that gets a little ethereal so maybe not that far and then go ahead and leave the clear amount slider set to fifteen click ok and now we've only got a couple more things to do let's pop open the blending options for that filter and let's change the moto luminosity so we don't get any colored shifts in our image see how the original color the image came right back when we did that and now let's drop the opacity pretty far down somewhere on this particular image between thirty and fifty percent depending upon how strong you want this look to be so thirty percent is less of the glow fifty percent is more of a glow so it just depends on what you're after and what your client wants look ok and so there's our before and they're after any questions on the skin blurring and the glamour glowing that we just did? And then we'll move on to digital makeup. Looks like we have one here in our studio audience, if you have six, how, how much different would the process be? Absolutely the same, the same room where he can do this technique, and all the way back to see us, to think so. That was when we got smart objects, and we did have ah, question earlier from our online audience from photo maker, he was loving all the techniques are showing and loving the ability to mask out certain areas of some of the filters, he's asking if there's a difference between painting with a soft brush or painting with a hard brush, and then masking and feathering that hard brush edge. If you wanted a mask out, certain areas of these filters you're applying, yeah, that's a great question, so when you're painting within a mask with a hard edge brush, then you're getting a hard transition between the area in which the filter is being revealed in the area in which the filter is being concealed. So, depending upon what you're painting for skin, I wanted the transition area to be really soft, so I'm using a soft edged brush, but even if you did use a hard edge brush in a filter mask like this you could run a blur filter on the mask which is what we're going to do in the next technique so it just depends on how you wantto go about doing it but usually in masking soft and birches work better because they make that transition between the thing that you're showing anything that you're hiding softer catch kool and the internet was noticing that you're using a mouse which I'm also a mouse user do use a welcome at any tablets at home and absolutely tell me a little bit about that the kind you use and for different sorts of things that you do with the shop yeah when I'm thanks for the question when I'm at home I use ah welcome into us five with a stylists and that's very great for this kind of technique especially if you're doing a lot of brushing inside of the mask manually to hide her show uh what's going on on that layer so yeah I use a graphics tablet at home this is a real handy technique not only for your own images but for images of others so here's the effect we're going to create and if I option or all click the bottomless layer will see the original image we'll zoom in a little bit so we can appreciate that option are also click it again so here's the makeup we added and you can see it's all very soft and if we take a moment to peek into our layers panel here, what do we have going on? Well, looks like we've got lipstick on a layer we've got a layer called upper lid in each one of these layers has a little bit of paint on it, so this whole technique basically centers around, creating new empty layers onto what you're going to paint the digital makeup, turn those layer into a smart object individual ones, because you might need to change opacity of the different pieces of makeup at different levels. So we're going to end up with as you see here ah, layer for lipstick, a layer for the upper lid for the eye shadow as the upper lid right here. And then we've got another layer called lid edges that's for this little extra pop of color right here on the edges of her eyes is coming from and then also in the layers. Panel groups go down a little bit with this zoom tool here, there we go, also in the layers panel, you can see that we've got an adjustment layer here, and if I toggle the adjustment layer, we've got to imagine if I topple the visibility often on on this one, watch her lip color right here, so off. On what happened was that I changed my mind on the color of the eye shadow there, but I didn't have to repaint that layer because I simply used to hugh saturation adjustment layer to tweak the color of the layer underneath it. So we're going to do all that. This is a great technique to have in your bag of tricks for sure, ok, so let's, go ahead and toggle off all of these layers the important thing when you're adding digital makeup, if your photographer and you know that you're going to do this is you want your model toe have some kind of makeup on, even if it's really neutral colors because you want the texture, so if we zoom in, I can see that she's got the tiniest bit of eye shadow going on, but it's unusual color, so that gives me the texture and the luminosity that I'm going to need to make this digital makeup look riel so if you're shooting a model in your studio, have them put some makeup on, even even even if it's neutral colors and that will help this technique look a little bit more realistic, you know, even just a even like a chapstick on the lips will give you a little bit of ah. Gloss and a shine and a reflectiveness that's going to be helpful for you ok, so now let's, go ahead and start adding empty layers onto which we're going to add our makeup so let's, go ahead and click the new layer icon at the bottom of your layers panel it's double click the layer name for this particular technique it is handy till name all your layers because otherwise it gets confusing as to what the heck is going on. Where so let's go ahead and name this one lipstick now let's press beat activator brush tools so it's already active we know we've got a soft edged brush going on because we checked that in the brush piece that picture a moment ago. Now let's, click our foreground color chip at the bottom of our tools panel toe open the color picker and let's choose a color for our lips so we want something for this particular image in the magenta round, so I'm going to cruise up here with e a range of colors and I'm going to pick something pretty bright let's call that good going click ok now if we need to we consume into the image press our space bar to move around within the image while resumed in and let's use our bracket keys to change our brush size and we're going to go ahead and paint on the lipstick and you want to go down and brush sizes you're going around the edges of those lips the beauty of doing this on a separate layer is not only are you creating this digital makeup non destructively, but if you mess up you can simply switch to the eraser tool over here in your tools panel and then he could erase that part of the pain so the eraser toll is right over groups lives over here in your tools panel and you want the regular eraser tool came out the background racer but the regular racer tool also a great thing to do if you're going to use the eraser tool for something like this is to trot up in the to the options bar and change the erasers mode two brush and that makes it work like a brush so you get to use the soft edges of the eraser which is good so now you can come down here and just erase that part that we didn't mean paying anyway so and again you'd really take some time with this if you're doing it for real so now I can switch back to the brush tool and continue painting so that little green circle that you all are seeing you probably know it by now but it's just a highlight where my mouth is it has nothing to do with the brush cursor, so don't let that confuse you okay, now what we want to do is change the blend mode of that new lipstick layer to something that's going to be slightly see through that's going to blend with the colors in the original layer underneath it so let's go up to the blend mode when you at the top of the layers panel and she's overlay and already we've got some nice looking lipstick going on I'll be a little too strong so let's back off of the layer opacity of that, so we've not run a filter, so we're not using filter blending options is a straight layer opacity, so we're going to drop that down until it looks real to you it looks good to you and we can always change that later if we finish the rest of our makeup and we decide it's all a bit too strong, we can discontinue dropping capacity, but the big thing that I want to see here in reference to filters is that once you get the paint laid down, then what we can do here is turn this layer into a smart object by clicking to activate it charging up to the filter menu, converting for smart filters. Now let's blur that lipstick layer so it looks a little a bit more realistic it's a little too perfect so filter blur, gaussian blur and you on a really, really small amount here like perhaps one pixel on this particular image and this is a pretty good size image so it's a six megabyte image so in this case we're blurring the paint layer just to make it look a little bit more realistic and that's one of the keys to making your digital makeup look riel so here's our before and here's our after and we talked about the importance of the model having a little bit of neutral makeup on anyway just for texture and realism so all we did was we added a new layer painted the lipstick on it turned it into a smart object blurred the layer slightly so that we blur the lipstick a little bit to make it look a little bit more realistic so that's where we left off now what I want to do is while we're down here on the lips to show you how to change the color of the paint without actually having to start over because that would be a drag so let's, go ahead and trot down to the bottom of our layers panel and we're going to click the little half black half white circle and that's going to give us quick, easy access to our adjustment layers and we're going to choose hugh saturation so if you think about what we're doing, we're going to change the color of the lipstick so he was another word for pure color see can kind of use that to help you remember which adjustment layer to grab so ok, I'm going to change the color, okay? Which one do I want? Oh, you grab that one now by default, these adjustment layers chris's settings pop open in the property is pale, but by default they change the color of everything on that layer and everything underneath it. Okay, so what we want to do is just restricted to go one layer down. I don't want this adjustment layer to affect my original image I on ly wanted to affect the lipstick layer, so what I'm going to do is clip it to the lipstick layer by clicking this little icon right here so again, adjustment layers will affect all the layers underneath them, but if you click this button, you will clip the adjustment layer to one layer underneath it so it on ly effects that layer because we don't want it to affect our picture. We only wanted to affect the paint on the lipstick layer so let's give that button to click zoom back out and I'm actually going to move my properties panel over here so we can still see the layers panel there we go so now as you can see, my hugh saturation adjustment layer right here has this little arrow and it's also the thumbnail excluded a little bit to the right that are all all of those things where you're indicators that that layer is clipped to this layer and journey so it's on ly affecting one layer beneath it instead of all layers beneath it? So now? Well, just double click the icon of that adjustment layer to reopen the properties panel, and we're going to drag the huge slider this guy right here, we're going to click and drag it around and watch the lip did I do that? See how they're changing and color arguably green would not be a good choice for this particular image, so as you can see, I can easily find tune the color by not starting over with the paints because it's really hard to get the exact color that you want unless you've been given a hex number, rgb values that you can go in and dial in that color, but even when you change the blend mode of the lipstick layer to like it, blend in with the image layer, you're going to get a little bit of the color shift, so oftentimes this clipped hugh saturation layer is just the ticket to get the tones or the colors that you need in that lipstick, so I'm just dragging the huge slider around right now, but I could just as easily a scroll down within those settings of the properties panel and adjust the lightness of the lipstick see how it makes it really, really light now we're entering the realm of chapstick or lip gloss kind of not really lipstick. So do you realize all these controls? The three of them in the hugh saturation adjustment layer to find tune the lipstick to get the color you want? We could bump up the saturation, make it a little bit more vibrant of a color. Ok, so let's say the lips are now finney toe, so let's scroll up so the eyes was the first thing we're going to dio create a new layer onto which we're going to add our digital makeup so let's add a new layer by clicking the icon at the bottom of the layers panel let's name this upper lid, same thing we did before we can click to activate the foreground color chip opening the color picker, and this time we're going to get a little bit of a brighter pink maybe something in way over here, possibly that looks like it'll work, so you experiment with the colors that you want. We already have the brush tool active, we know we've got a soft edge brush, we've got our new layer active, and now we're going to adjust brush size with our keyboard shortcuts, and we're going to start out with a little bit of a smaller brush. And we're just going to paint in the shape that you want that make up now if you watch soo prices classes which I highly recommend she's on on the other channel right now and she is just fabulous you can learn a lot of makeup tips but one of those tips that I've learned for her from her rather is the shaping of eye shadow that's added to that top lid you kind of what you wanted to be wider towards the edge of the eye then in the the increase of the eye on this side you want to be thinner over here and wider over here and that gives the eye shadow the illusion of going up and it kind of lifts your eyes if we were to draw the eye shadow down to here we would get a droopy effect on the eyes and we don't want that so you want your eyeshadow to kind of go up on those outer edges a little bit to give a little bit of an eye lift so now we're going to change the blend mode of this layer to something in the overlay category overly works really well soft light works well as well soft light works well as well it works too so it just depends on the look that you want so one of those blend moves will work better than the other so overlay or soft light but let's go back to overlays fine and then we can drop the capacity to something that looks real to us now let's go ahead and turn this into a smart object so filter convert for smart filters and then we can run our gosse ambler which was the last filter that we ran and we're doing this just to blur the paint on the layer and never it looks a little bit more realistic so you can experiment with a radius value here now may he go ahead and drop the opacity that later a little bit more so it's not quite as strong and if we wanted to we could experiment with color so we could add another huge saturation adjustment layer by clicking the half black, half white circle at the bottom of the layers panel choosing hugh saturation and remember we're going to immediately click that little icon at the bottom left of the resulting properties panel so that we clip this adjustment layer to the layer directly underneath which is our new upper lid layer. So give that a click now easing back out and as you can see, we can experiment with the color of the shadow even after we've painted it saying you crazy with this you have all kinds of fun so let's say we like that hugh and we'll scroll down in the properties panel and we'll lighten it up a little bit there we go we'll call that good and now let's add one last layer because we're going to put just another dot of color on the outer edges of the upper lids there but we want to do all this on separate layers so go ahead and add a another new layer and we'll call it outer lid same kind of thing I mean she's a little bit of a darker color idiot darker paint for the outer part knowing that I can adjust it using that hugh saturation adjustment layer come over to this area and we're just going to add a little bit of extra color on the outside like that I need to go down and brush size over here because I don't have that much room to work with so you're just adding a little bit of color on the outer edges there again making sure that you're not painting all the way down here so that we're getting a droopy effect on the eyes so now we can change the blend mode toe either overlay or soft light which everyone looks good to you and we can come up here and drop the opacity a little bit so that it looks really and we can add a huge saturation adjustment layer clipped to the layer underneath and we can use that to adjust the color of that outer peace and I like to make that outer piece a little bit darker in color more vibrant than the first coat of eye shadow that we added to the other part of the lid and I might like that just a little bit and then you can drop opacity of any of these layers so the beauty was doing that I forgot to blur it so let's go ahead and go back to the outer outer lid layer and make a smart object out of it cover for smart filters and then blow or it so that it's just not quite so perfect that's probably get enough dropped the opacity until looks real to you so for this one I might drop thehe pass ity of the upper lid layer a little bit more so see the beauty of doing all of these pieces of makeup on their own individual layers because you're going to need to tweak them individually you're going in it's you're not going to know exactly the settings until you get it all done and you're sitting back and you're looking at it like that so now that I'm being it like that, I can tell that that our lid layer needs to come down in opacity a little bit because we don't want that much color on that outer part and I'd even dropped the upper lid opacity a little bit more to make it a little bit more realistic I may need tio run the blur filter a little bit more it feels like I dropped it too much on that so that's how you add visual makeup it's very easy, but it's it step by step with painting on a new anti layer, then dropping the opacity, changing the blend mode tio either overlay or soft light those work really well here you can sometimes work as well and then you're gonna convert that paint layer into a smart object and then you're going to run the gaussian blur filter on it, which just blurs your paint sharks a little bit more and then if you need to experiment with the color at a huge saturation adjustment layer and clip it to the layer underneath it so that it on ly effects that one layer now along the same lines but that's also how you would color isa great skill image, for example, if you scan in an old vintage photo and you want to colorize it, use this exact same technique probably wouldn't want to do as much blurring of the paint layers as you would with this one because you'd be trying to paint within lines and you wouldn't want to blur them outside of the lines but for makeup blurring that layer really makes it look realistic so again here's our before and there's our after okay so along those same lines I want to show you an eye brightening technique that also involves blurring a mask so here's the original image see how dark her eyes are and here's, the subtle I brightening that we're going to do this is a great technique for portrait as well. So let's, go ahead and toggle the visibility off in the layer that I created for you, this one. We don't need to convert anything into a smart object, because we're going to run the filter on the mask, but just so general brightening of the whole photo, we can get done using an empty adjustment layer so let's, go down to the half black, half white, circle the bottom of your layers panel and choose brightness contrast, and we're not going to use the settings and the properties panel at all. We're going to immediately close that up, but we're going to change the blend mode of that adjustment layer to screen and it's gonna wash out the whole image now with the mask active that tags along with that brightness and contrast adjustment layer, which is really the only reason we used it, we needed a layer that we it could change the blend motive that automatically had a mask. It's really all this technique is, but we want to hide the majority of that bright ning from the image so let's just flip flopped the mask by pressing elsie amounts, you can see my keyboard shortcut command I on a mac or control I on a pc, so see how that fill the layer mask with black and inverted the mask, so from quiet to black or from black to white now that layer is hidden completely, with the brush tool set to a soft edged brush and with white as your foreground color ship, so press d to reset your colored ships to the default of black and want to impress x until you see white hop on top, because black reveals and black conceals and wire neil's dead, give mitch okay, so now we're gonna mouse over to the image and use our bracket keys to go up and brush size, and we're just going to reveal that lightning in this area now, let's blur that mask to make it subtle. Filter blur, gosse, ambler, depending upon how the pixel dimensions of the image, you can get away with a relatively low radius value. But you really let's a skewed around here within this previous, so we can see how much we're blurring so you can see, uh, if you move around within that preview, there, how much you are blurring your your mask there, but that's, all we're doing is blurring the mask, so you want to blur it just enough where that subtle I brightening isn't quite so. Where the edges of it are soft or so it blends into the surrounding pixels, so click ok and then just drop the a pass ity of this to something like that looks really so for this particular image, I probably go down to around eighty percent, but here's our before and there's our after and that amazing so one more time with feeling open your image, we're going to create an empty adjustment layer. Click the half black, half white circle the bottom of your layers, panel cheese brightness and contrast simply because that's the first one in the list that doesn't make a change automatically to your image, then from the top of the layers panel to screen from the blend mode menu. Now we're going to fill that mass with black with a keyboard shortcut, which is command on a mac or control I on a pc for invert now, with the brush tool set to a soft brush with white is your foreground colored ship. You're gonna mouse over and paint to reveal that, brightening in the areas that need it and think about this. This technique is good for brightening anything. Does it have to be eyes now, let's, blur the mask, make sure the mask is active filter, gaussian blur experiment with e value there so the gaussian blur is one of those that if you previously ran it, you can run it again with the same values by pressing command for control if but I want to check the values here so I'm gonna actually open the dialogue so let's say that's pretty good, but you can't use the soles seem tools like we did earlier to move around within this pretty so you can see that part of the mass that you're actually affecting it's a click ok and then distraught the opacity until the the retouch looks rial and here's the before and there's the after pretty slick eh that's very helpful on porcher it's yes, we have a question could you have used the feathering option in the in the layer options? The feathering for the flask you could have? What would it have been a different effect on the gaza a little bit different because it wouldn't be blurring the whole thing and would just be looking at the edges of the white dots that we created in the mask it would be just looking at the edges and softening those edges so that running the blur filter is a lot stronger than that, so but that's another way that you could do that so even though the part that you're blurring is one hundred percent white, it's still effects it so it doesn't just affect the edges the gazans? Well, it's, just a stronger effect. So we get a lot more blurring everywhere than we do with just the feathering. So, yeah, I would use the blur filter for that. But you can try using the feather slider.

Class Description

In this deep dive, Lesa takes you deep into the wide world of filters to create a multitude of special yet practical effects. She'll take you well beyond blurring and sharpening, and you'll learn handy uses for nearly every single filter in the menu. You'll also learn how to use filters non-destructively, how to access filter blending options, and more!


Software Used: Adobe Photoshop CC 14.0

Reviews

Michelle B
 

I have purchased all of Lesas Deep dive classes and have learned so much. She makes it easy to understand and she gives you examples and goes through them more than once so you understand. This is the class that not only shows you how to but what you can do. She gives you ideas and she is a joy to watch and listen to. I can say enough good things about Lesas classes and I am so glad to have them in my tool box to refer back to anytime I am stumped on how to fix problem in Photoshop. Thank you Lesa!!