Targeted Adjustments in Adobe® Photoshop®

 

Targeted Adjustments in Adobe® Photoshop®

 

Lesson Info

Dodging and Burning

So let's take a little detour here, a little twist let's take a look at an example of adjusting brightness values in the photo dodging and burning there's actually dodge and burned tools built in the photo shop and I never use them because I like a technique that involves the brush tool it it allows me to work on a separate layer just has a little bit more flexibility and it's just the technique that I prefer I'm going to share that with you it involves making a new layer, but I need a new layer with special properties. I'm going to hold the all turkey on windows option killing macintosh while I'm clicking on the create new layer button that's that blank sheet of paper icon at the bottom of the layers panel because I'm holding the altar option key when I click that new layer button instead of just getting a blank layer. As we saw earlier, I will get a dialogue that asked me, what do I want to do with this letter? What do I want the properties for this layer to be so we'll give it a nam...

e dodge and burn very original, very creative named for the dodging and burning effect you're going to apply most importantly, I'm going to change the blend mode I want to use one of the contrast blend modes I use overlay soft light works as well it's just a little more subtle effect. I'm not big on subtlety, so I go with the overlay blend mode and then I also want to turn on the check box to fill this layer with the overlay neutral color and the overlay neutral color happens to be fifty percent gray, and so I'll go ahead and click ok and now, sure enough, you can see that I have a new layer it's, a pixel based layer it's called dodging burn. It has the blend mode you can see the pop up here toward the top of the layers panel that blend mode is set to overlay, and the layer is filled with fifty percent gray, and yet I see no effect at all in the image. I have all these great pixels that are apparently accomplishing absolutely nothing and that's because of that little check box, remember that it said the neutral color, which means the do nothing color. So in the context of the overlay blend mode, this middle great value that fifty percent great value has no impact on the photo. If this were the normal blend mode, then yes, we would have pixels covering up the photo, not the effect we were going for in this case, obviously, so I'll change that blend mode back to overlay. So if middle grade fifty percent grade does absolutely nothing, you can probably already anticipate where we're going with our painting toe, lighten and dark and specific areas of the photo fifty percent graves are neutral value, anything lighter will lighten up that area of the photo. Anything darker will darken up that area of the photo. So once again I'm using my brush tool once again, I'll make sure that I'm using a soft edged brush all adjust the size on the fly as needed. The blend mode upon the options bar normal, the blend mode for the layer is set to overlay that's, where the magic is happening the brush I want to behave in a very normal way in the usual way I'm just painting with pixels, so normal blend mode for the brush itself, but I want to reduce the opacity, generally speaking, about ten, maybe fifteen percent when I'm using the overlay bland mode, very subtle effect aiken buildup, that effect with multiple brush strokes over the same area and in this case all used twenty percent that's a little bit strong, but it'll make it easier for you to actually see the adjustment while I'm working. But another handy keyboard shortcut for the opacity once I've chosen the brush tool than the numbers on the keyboard, will adjust the opacity of the brush itself. Pressing the number one we'll give you ten percent to we'll give you twenty percent a quick one five, we'll give you fifteen percent. So wanna press two to get a twenty percent capacity in this case? And then I'll increase the size the brush here a little bit letter d on the keyboard again to get those default values of black and white letter x to exchange or to swap those foreground background colors. I'm going to start out with white toe, lighten up the image may want to lighten up the lion space just a little bit for example, what I'm going to do here and it's very important when I'm painting, using this technique because I'm working at a reduced capacity if I paint once I'm adding a little bit of in this case, white, if I paint over the same area been I'm getting a stronger effect and again and again and again. So I want to make sure that if I want to have an even effect in one area that I paint and hold that mouse button down and keep the mouse button down until I'm finished covering up that area. So, for example, I'll click and hold, keep that mouse button down and paint over the entirety of the face, perhaps maybe I want to. Sort of exaggerate those things a little bit I want to lighten up the mouth a little bit mohr so I've already lighting up the mouth by virtue of lightening up the face all reduce the brush size and come into the mouth area and click and drag and paint over the entirety of the mouth so I have a little bit stronger effect there so it's important to keep in mind that when you paint over the same area multiple times, you're increasing the strength of the effect you want to make sure that you don't end up with sort of a modeled appearance where you're kind of randomly and sporadically painting over different areas so you get little light patches and dark patches all mixed up all then had the ex key on the keyboard to switch to black, increase that brush size a little bit maybe darken up the edges just a little bit to kind of create almost like a vignette sort of effect, et cetera. So you get the idea I can paint with white toe lightened black dark and individual areas of the photo all turn off the visibility for that dodge and burn layer. Generally the effect I'm going for here is that when the effect is enabled when this dodging burn layers turned on, it just looks good nobody looks at the image and says, oh, I see you've been practicing your dodging and burning because you don't want, you know you wanted to be suddenly don't want them to actually realize that work has been done because if so, it probably was a little bit too strong, but to me, the ideal is that initially it doesn't really look like it's been too strong. Then you turn the layer visibility off just by clicking the ei icon to the left of the thumbnail for that layer and you toggle back important? Wow, actually that's kind of a strong effect. I didn't think it was so strong, I thought I was being subtle, but it turns out I wasn't and so that to me that's sort of the ideal is that you've got a nice impact in the photo you kind of accentuated certain details or toned down certain details, whatever it is you're trying to accomplish but it's not super obvious when you see the effect djukanovic lands so that's my personal preference and also if I turn off the visibility for the background image later, this is the reason, the real reason that I filled the layer with middle gray so that it makes it much easier to see where I was painting otherwise I've got that checkerboard pattern of transparency and it's very difficult to see wait that I paint toe light in that area that I dark in that area which area has more versus less here, just by turning off the visibility of the background image layer, I can see the actual dodging burnley and I see a lot of lightning here a little bit of lightning there, some darkening out there etcetera kind of analyze more importantly troubleshooting I've got some weird little area that a little bit too bright or too dark oh must have painted over that a few extra times without realizing it so a nice tool for being able to go back and evaluate the question yeah quick question how do you know which soft brush to choose when painting into the masks have you know which soft brush to use any of the round soft brushes? So these other options here generally speaking there alone be different sizes for some of these brushes off kind of scroll through here and you can see there are also some other shapes, but as long as it's a round brush that looks fuzzy that's good and you don't actually have to choose a fuzzy brush, you could choose a hard brush and then reduce the value for hardness down to zero percent. But what I generally avoid is these other fancy little brush is going to increase the brush size here this is one of the kind of painterly brushes I don't usually want a dodge and burn with the funny shaped brush like that not that it can't be done but it's usually better with it. Just a kind of plain vanilla brush. And any of them that have a fuzzy edge and appear to be round are going to be a good brush for you. And again really it's just making sure that it's round and at the hardness is set to zero. Thank you. All right, you bet. Question. Yes. So when you are painting on the gray, say thatyou added too much black and you wanted to get rid of it, would you paint with all together? Would you meet with gregan? Or would you people question? Excellent question. So I paint let's have painted this area little bit too dark. Well, I was painting at fifty percent gray. I'm sorry. Painting with the twenty percent capacity with black on a fifty percent gray area which gives me do the matt. I don't know it some other number, some other density value. And I decide that's too dark. Well, in theory, since I was painting a twenty percent capacity with black. If I paint with the twenty percent opacity with white, I will reverse the effect. Well, that's sort of true. Except are you really going to be able to paint in exactly the same area where that blending is goingto happen? Maybe you can but I definitely cannot and so the approach that I take is essentially to erase the effect but remember we're using a middle gray phil on this layer so we can see things more clearly I don't actually want to a race so instead once again using the brush tool I'm gonna keep this layer visible just so that more to the point of going keep the background layer hidden so we can see the actual dodge and burn there too so you'll see the effect a little bit more clearly so with my brush tool I'm going to click on my foreground color swatch down at the bottom of the toolbox that will bring up the color picker I'm going to set my brightness value to you guessed it fifty percent that I'm painting with fifty percent gray and so now I just want to bring my capacity back up to one hundred percent so I'm painting at full capacity exactly fifty percent gray which is in the context of this fifty percent great phil sort of like a racing and so now you can just come out into the image and you know, I felt that was too much darkening in this area and I just want to kind of start over this is effectively erasing that effect all good and bring our image layer back and I'll do the same thing up over here produces brush size little lips actually, brush into the image. There we go. And so now that's, erasing that darkening, so a little bit, tricking that you have to remember to change both the color and the opacity. If I want to go back and start burning again, for example, I'll press the letter d to get those default colors back. But I also want to set that opacity back to in this case I was using twenty percent normally be more like ten or fifteen percent, but a little tricky in terms of switching back and forth. But that's, a technique that avenues, but excellent question. Thank you.

Class Description


Targeted adjustments in Adobe® Photoshop® give you incredible power when editing photographs. Learn how they can quickly transform your images in Targeted Adjustments in Adobe® Photoshop® with Tim Grey.

Tim will help you truly understand the concepts and functionality behind layer masking. You’ll learn how you can apply adjustments to specific areas of a photo. Tim will demonstrate selection techniques, painting on layer masks, and using gradients. You’ll develop the skills you need to make impactful and efficient adjustments.


Software Used: Adobe Photoshop CC 2014.2.2