Refined Texture Adjustments
Refined Texture Adjustments
16. Refined Texture Adjustments
Class Introduction03:50 2
Tonal Rescue & Noise Reduction in Adobe Camera Raw14:04 3
Retouch a Hazy Image in Adobe Camera Raw07:33 4
Recover the Brightness Range with Levels in Adobe Photoshop11:34 5
Use Curves to Restore Details on Vintage Images48:12 6
Color Rescue & White Balance in Adobe Camera Raw10:12 7
Selective Color with the Adjustment Brush in Adobe Camera Raw06:29 8
Correcting Color in Faded Images with White Balance13:02
Correcting Color in Faded Images with Levels & Curves26:02 10
Additional Examples of Color Correction14:26 11
Retouching Images with the Spot Healing Brush14:27 12
Fundamentals of Retouching Vintage Images30:29 13
Overview of Retouching Tools46:51 14
Refined Adjustment Techniques21:29 15
Refined Channel Adjustments05:31 16
Refined Texture Adjustments07:16 17
Refined Compression Adjustments06:57 18
Adding Color to Vintage Images12:32 19
Adjusting the Background of an Image13:48 20
Audience Questions & Final Tips15:44
Refined Texture Adjustments
Let's, look at when we were talking about texture in images because a lot of vintage photographs have this kind of texture stuff going on. They seem to have so many different varieties, so let's, look at what are some of the things we could do about it so far, what we know about the texture is one approach is duplicate the layer and move it by about one pixel instead. It to darken mode sometimes that'll work, but I find that mainly works when the texture seems to be made out of little horizontal or vertical lines. In the one image I happen to be worked on when I was showing you that had little horizontal dashes of brightness, we can try it on this image, command j to duplicate, move the layer by one pixel and then set it to darken. But it's not helping that much here, it's barely changing the image. So what are some of the other things we could use? Let's? Take a look if I go to the filter menu and then I go to the choice called noise. There are choices like add noise for increasing th...
e amount of noise that's there, but some of the choices in here for getting rid of noise could be useful first there's, a choice called de speckle. If you find your texture of your paper is made out of very small specks de speckle can be useful sometimes you have to apply it more than once the very top filter is usual last when you used so if you just want apply twice go there to the very top in this image though that's not enough so let's try some others other choices that can help there's one called median is sometimes a meeting is setting of one or two not very often that go above three can help get rid of some of it can you see up in here we're starting the lessons seven if I turned the preview ofthe there's before term preview back on theirs after that seems to really help in the skin area and ah lot of the other parts I could always do that and if I did it to a duplicate layer and there's any party didn't like I could add a mask and say don't affect these little areas but that was under filter noise median there's also other one and that is if you have really smooth looking skin but you have some texture within it filter blur and then surface blur I think we might have mentioned that briefly well this is an image where I think it would be very useful won't help us much in the dark areas here but in this area here it can and that is whenever I use it, I bring threshold all the way up to begin with that pretty much turns threshold off it means act is if we don't have this feature and then I can adjust radius radius means how much blurring of my putting in until I figure out what is necessary to get rid of the texture looks like either too we're three and then I bring threshold all the way down which kind of turns it on and I try to find what is the lowest setting that smooths out that skin there were starting to get more smooth skin you see before and after smoothing out it's not enough for the eyes though and have to use a different technique for eyes and let's see if we have one of these others this one I noticed that there is all sorts of texture the most distracting part of it to my eye are the little bright highlights because they really draw my eye and I noticed that those really bright highlights have a somewhat vertical orientation, so they're almost like c shaped but mainly vertical orientation and I think that if I duplicate the layer and I move it one pixel left or right instead it too dark and mode at least the bright highlights will most likely uh be reduced or eliminated so before after in the bright highlights or what was really calling my eye to the texture then after that a might merge these two together and this is a case when surface blur might be an appropriate choice skin's not looking too bad there I don't mind the texture of the senate and so now I'm going to bring threshold all the way down and find out what's the lowest setting that still gives me that we still have some texture, but if you compare it to the original, which was that to me they're the texture was so distracting that it wasn't so much a usable photo where is after its semi usable and I might be able to get away with that to give you some idea of some choices for texture, I wish I had like the universal cure that completely eliminated but so often it is so ingrained in the picture that it isn't as easy to deal with before I move on to other things that are there any questions about the texture? Yes, well, because it is an old picture wouldn't a little bit of texture still it would be appropriate the the atmosphere of the picture yes, it can keep the feeling of the picture just like I don't always remove the cp atoned kind of look and make it a straight black and white if I make it a straight black and white, then it feels like you're trying to make it a modern photo, whereas if I keep a little bit of the cbo look and I keep it a little bit of the texture, it gives me that feeling of this is old. So yeah. So you got the skin it's generally, right? But you but he said, you want to fix the eyes, the thing I would add a layer mask and I would paint with black where the eyes are to say, don't apply this particular effect to the eyes, and then I might need to go in and do some manual retouching, too. The eyes like just where the bright highlights were, from the texture I come in and do some really careful cloning to cover up those things where I'm being critical of the detail. It's there one question that came in from online tell those clarification on how you were you moving the duplicate layer, one picks a lot of time. I was using the arrow keys on my keyboard, so if I end up, you need to first off being the move tool and secondly, use the arrow keys in your keyboard and that nudges it, uh, in one one direction, whatever direction you end up moving that great, thanks.
Ratings and Reviews
a Creativelive Student
Wow! That is pretty much what I thought about the course. It was my first live studio experience and it was fantastic! Ben is a great instructor because he presents the information in a straight forward manner that is understandable, detailed, and concise all at the same time. I have a couple of his other classes and the handbooks his wife creates are exemplary and make going back and reviewing the rebroadcast so much easier. Also, I want to give a shout off to the Creative Live team...Kudos! They are an excellent host...they are professional and fun at the same time! The content they produce has helped me tremendously to expand my knowledge and skills and mostly importantly they are affordable!
Super class! Ben is the best at explaining Photoshop and how to make full use of it. This class included techniques I've never seen or heard explained in other photo restoration classes I've taken. And the accompanying book, while I've only glimpsed through it so far, is expansive, well laid out, attractive, and looks to cover everything Ben went over in the class - it's a valuable resource as well (thank you, Karen Willmore, for all the effort you put in to produce a worthy complement to what Ben teaches.)
Ben is one of my favorite instructors on CreativeLive. (That's saying a LOT because they are all so good!). Besides being very thorough and understandable, Ben sets himself apart with two things. 1. He thoroughly demonstrates a process, then does a recap of all the steps he just took. That makes it much easier to remember. 2. His wife takes notes during the broadcast and creates a handbook which is available to download when you purchase the course. Some people find it easier to learn by reading than by re-watching the video. I like it because I can find information by using a word search. I feel so fortunate that I was able to sit in the audience for this class. It was great to be able to talk directly to the instructor and interact with the other students.