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hi this is Mike, your instructor
and welcome back to advanced Photoshop
and with this lesson we're going to be learning some advanced photo retouching
techniques.
now many of you have had some basic experience retouching photos,
but sometimes they can prove to be very challenging.
and photo retouching is a common task
in Photoshop used by
photo labs and photographers so it's an essential skill.
so here we're not only going to learn how to do some advanced photo retouching
techniques but we're also gonna show you how to do some
hand tinting, or hand tinted color effect. we're gonna start out with an antique picture
which I've titled dust and downloaded from blackboard. here's our picture.
it's an antique photograph, a scanned image and you can see it's got some
issues - let's zoom in on that a little bit and you see that it's got
lots of dust spots on it. there's some scratches over here on the face
that we'd now like to retouch. and the picture
over the generations has turned kind of a yellowish color so we want to restore this
to its
original image quality. now you
might have used like the
clone stamp tool to retouch pictures in the past but as you can see with all
these dust spots here you'd spend an
enormous amount of time trying to retouch those
so we're gonna do this in a bit quicker way,
the more efficient way, and when we're finished retouching we're going to hand
tint it. if you look really careful you can see that there are parts of the picture
where there are very subtle shades of color. you see that there's a little bit
of tint added to the lips and cheeks and the
dress is green. well, this is of course a black and white picture taken in
the 19th century before there was
any color methods and what photographers would do
is after they printed the photograph they'd come back
in with oil paints and paint in a really thin
transparent coat of oil on it to give a little bit of
realistic color and so we'll do that
in Photoshop. we're gonna start out by
duplicating the layer. let's go to our Layers panel
and the reason we're duplicating this is
primarily because we want to keep in line
with non-destructive editing practices as we've mentioned before.
and if I do something to the image
which perhaps my customer doesn't like or if i make
a mistake that might not
be repairable
then I can always go back to my original image because
the original pixels are still preserved. so i'm just gonna press alternate
command J or option command J
if you're on a Macintosh. command J would've just
copied that or jumped it to a new layer but holding down the Alt key gives me an
opportunity
to give this layer a new name. let's call it
dust and scratches. now on my dust and scratches layer I want to apply
the dust and scratches filter but in case I have to come back
and make changes to this image I'm going to
convert the dust and scratches layer to a smart object.
right click on the blank part of the layer and choose convert to smart object.
then I will go to filter,
noise, dust and scratches.
now in the dust and scratches panel
drag your radius slider all the way to the left and also make certain that the
threshold slider
is all the way to the left.
and you can zoom in a little bit if you'd like
in the preview window. now what I wanna do here
is drag this radius slider
to the right until
those dust spots disappear.
and I'm thinking
that at about 5 pixels
they're pretty much gone. actually probably around four pixels.
if I drop it down to three I'm seeing too many of them still so let's go ahead and set that
at about four or five pixels and i think we'll be just fine.
now of course having done so we've lost a lot of our
detail in the image so I'm gonna take the threshold
slider and i'm gonna drag that to the right just until
those dust spots start to reappear.
and I think there's a whole bunch of them right around on her
jaw there so i'm just gonna
drag this up.
and we're getting a lot of them starting to pop back in now
so I am thinking probably around
14
pixels.
well, let's try 16 pixels. I think that's going to work out pretty well for us.
that looks pretty decent to me. and i'll click OK.
if it turns out that that's not correct, i can of
course come back into my dust and scratches options just by
double clicking on the dust and scratches label
underneath my Smart Filters sublayer.
okay so now we see we got rid of those
dust and scratches, or at least most of the scratches are gone, but the dust is
definitely gone,
but there's been a trade-off. you can toggle this layer on and off again
and you can see even though we got rid of
the dust specks, we did that
at a price. in other words, what we've lost here is the sharpness in the eyes and
the sharpness in the hair
and other details like in the clothing or now nice and
fuzzy which we really need some part the picture
to be in sharp focus and in a portrait the eyes
absolutely must be in sharp focus even if nothing else is.
so the way i'm going to correct it is with a mask so
on my dust and scratches layer let's click on the add
layer mask button. now what I'm gonna do is
Press D on my keyboard to reset my
foreground and background colors to their default settings,
black and white, but then i'll press X to swap those colors
so that my foreground color is set to black.
then i'll got to my paint brush and i'm gonna choose a brush that is
nice and soft. set all the--the softness--
or the hardness, rather, down to 0 percent
and then I'm gonna drop the brush size down a little bit here.
i'm gonna zoom in on my picture and i'm making certain that my layer mask
is active. you see that it's filled with white paint.
i'm gonna be painting with black paint on the layer mask
and that--that's--what that's going to do is it's going to cut a hole
in this mask to reveal
the sharper image in our background, our original image back there.
now you wanna make certain too that your
opacity for your brush is set to 100 percent.
and we're just going to paint over the parts,
the eyes, make them nice and sharp once again.
you see how that sharpness is returning. what's happening of course is
the-- as I mentioned, the background layer is now showing
through this layer at the top.
if I turn off my background layer
you see the part of the
dust and scratches layer that is masked off. you can see there a little
part that i missed so i'm gonna mask that off too. turn that back on.
now let's go ahead and get other parts
of the picture sharp. the nostril should be sharp, the lips,
the curls of her hair.
probably some hair back here would be nice. the edges of the hair would be really good
if it were
nice and sharp just to give some definition to it.
bring that sharpness back in and
the lace on her dress, let's make that nice and sharp.
i bet now you're noticing probably something else is happening.
as I'm painting that sharpness back in i'm
picking up once again these dust spots
so in this case i'll press
X on my keyboard and that's going to swap me back to white paint
and then i'll drop down my brush size to where it's really small
and i'll just paint over those and that's going to restore the mask
on those areas and this won't take very long at all because
I didn't really have that many
dust spots that popped
back in.
now I need to fix those scratches up on the cheeks and
here's what I'm gonna do to do that.
I'm gonna merge these two layers into one
but I want to preserve the original layers so i'm gonna use a
shortcut that you won't find in any of our menus up here.
i'm gonna press Control alternate
shift and E, or command
option shift E on the Macintosh and what that does is it merges all these
visible layers
into one layer but it preserves the original ones. if I had just gone over
here
and chosen merge layers from
the drop down menu it would have merged the layers
into one layer but it would have also destroyed
the original layer. so this keyboard shortcut is really really handy.
that done, I'm going to go to my healing brush tool
and I can just press J to get to my healing brush tools
and shift J will allow me to
toggle through those different tools and the one that I wanna get
is the Healing Brush Tool itself - the little band-aid icon,
not the spot Healing Brush Tool. and what I'm gonna do is move my cursor--
let me just get on the right layer. let's get onto our merge layer here.
i'm gonna move my cursor over into the forehead were we have nice
clean skin tone and i'm gonna hold down
my alternate key of course or option on the Macintosh
and i'm going to click. and then I'm gonna move my cursor
over to the scratch portion here. drop my brush size down a little bit.
and i'm just gonna click and release or click and make really short strokes.
and what Photoshop is doing here
is we're borrowing these pixels up in here and we're blending them
with these pixels down here.
again this is gonna work really well if i just click and release or if i just click and drag
a short ways. and we're just gonna get rid of
those scratches on the face.
and we've got some down here. now were into a darker area of the skin so I'm gonna hold down
the Alt key and
click in a clean section of skin over there
and then retouch
the areas that are dark.
you got some scratches on the fingertips, let's take care of those.
adjust your brush size as you need to.
any other blemishes you see we'll take care of those as well.
let's take a quick look at the background too. you see there's some--
it looks like there's some areas that are kind of moldy back there so let's clean
those up.
okay I think that takes care of that. so you see that
very quickly there we have taken care of our
dust scratches. now need to correct
that yellowish cast
that has occurred through the aging in the photograph.
now the way i'm gonna do that is I'm gonna use
the average blur filter on this--
on a copy of this layer and then change the blend mode and
invert the color and that's going to neutralize
this yellowishness. first of all, let's go to layer 1, the one that merged and let's go
ahead and
rename that - let's just call that repair. and i'm gonna copy that layer.
just press Command J.
now when i do my color corrections
I don't want the white background to be considered by photoshop
so let's-- let me zoom out here just a little bit. I'm going to
select the background with my quick selection tool
and then I'll
invert my selection by pressing control Shift I,
or command shift on the Macintosh. then I'll choose
filter, blur, and average.
and what that does is it takes
all the values in that picture and it's like it puts them in a blender where it just
averages everything out. now let's
invert these colors. so I'll choose
image, adjustments, and
invert, or press control/command I.
now there is an adjustment layer for that too
but we're not going to need to concern ourselves with it this time because
I know that i don't-- there won't be a situation when I would
need to undo that. okay so what that does is inverts the values.
of course the complementary color of yellow is blue so now you see that
the picture is more of a bluish tone.
then back in our layers panel let's change our blending mode from normal
to color. color runs off the list here so we can't see it but it's down near the
bottom, second one from the bottom.
change it to color. and what that does is it preserves
the luminance of the image, the brightness
and the darkness and so all you see is kinda
the bluish cast of the image. and then what i'm gonna do
is take my layer opacity and i'm gonna pull that down
until that image is neutralized. and it should
be right at 50 percent. now the color is neutralized
but you see there's absolutely, well, no significant contrast in the picture.
you know, no real blacks, no real whites, so we need
to correct that. I can do this either with curves
or levels. I'm gonna use the curves adjustment layer.
so i've got my Layers panel, and
create that adjustment layer for curves.
in the histogram you see
that we have no blacks because
our data doesn't start until we get over here into the
dark gray area of the histogram. now we see that there's no
whites either because these areas right here
are not present in the image. the lightest value is this light grey.
so I'm gonna take this point right here, which is my shadow point,
i'm gonna drag that in until we get to the base
of that histogram and then i'll take
my highlight point and drag that in
until we get to the base, just to the base,
of the histogram as well.
and that sets my black points
and white points and then I can click and drag
on the diagonal line-- i'll drag it up a little bit just to brighten the image
now this is an antique picture and
oftentimes those older pictures they deliberately used a
low contrast rendering
so you might-- i mean this is up to you, but you may have a little bit of
lower contrast than you might ordinarily would,
but in a-- in a contemporary image.
okay? so we've kinda-- we've adjusted our brightness and contrast there with--
with curves.
now i'm looking at my picture and I still see a little bit of that yellow cast in there
which I didn't really
notice before so may have to go into my repair copy layer
and increase that opacity of
the blue just a little bit.
I can double-click the opacity and just press my up arrow key a few times
maybe setting that to about 55 percent.
don't want to get too blue - maybe anywhere 53 to 55 will
kinda neutralize that for us.
the next thing I want to do is restore the color to the image.
as i mentioned, there are parts of the image that were originally
hand tinted, such as the green dress,
her cheeks, and her lips.
now to simulate this hand tinting effect i'm gonna create a new layer.
let's go to our topmost layer, our curves layer, to make it active.
and we'll create a new layer. Alt or option clicking on the new layer button,
we'll call this hand tint.
and i'm gonna change it's blend mode to color, just like what we did with the repair copy layer.
and for my foreground color
i'm gonna choose a green for the dress.
I could go to my eye dropper tool and sample the dress itself.
then open up my color picker and you can see this is the range of greens. this is the gren that we have chosen
and i may just want to choose a brighter green. we don't want to get it
too intense, nothing really saturated like this, but just kind of
a soft-toned green.
and i'll paint over her dress with my paintbrush. so what I want to do
is make certain that I don't paint over into the white area
so I need to make a selection
and drop this out. so let me hide this panel for a
second. i'll go to my quick selection tool,
select the white background once again,
invert the selection -
control shift I or command shift I.
and keeping that selected on my hand tint layer--
again, i'll go to my paintbrush tool. making certain that the brush opacity is
100 percent,
we'll paint over that dress.
now it's gonna look a little intense right now.
that's because we've got the brush setting, brush opacity, at 100 percent.
but not to worry, i'm gonna come back to that and change it here
and the reason I'm setting that at 100 percent rather than at
20 or 30 or something a little bit more subtle
is that if I've got it set at maybe fifty percent or something like that
and i put one brushstroke down and then i paint another one top of that, you're
gonna see those brush strokes overlap.
you won't see that if it's at 100 percent.
and what i'll do to control the intensity of the color is once i've finished painting,
i will then drop the
layer opacity down to an appropriate level.
okay so here is my green. I can pull that opacity down
to about 30 percent or so
and see how you have a nice soft green.
I'm gonna move up to her cheeks, switch my foreground color
to a nice rosy hue.
and just little bit.
that's probably a little bit too strong. in this case here i may want to
create a new layer for the cheeks.
I think I'll do that. that way
I can control the color of the cheeks separate from the color of
the dress.
so here we kinda-- oops, we gotta change our blending mode
back to color. okay, again
I get pretty heavy-handed here; i'm doing this intentionally
because when I drop the
layer opacity, in this case here probably about
25 percent will do the trick. it looks natural.
and maybe I'll choose something a little bit darker for the lips.
i think i could probably keep those on the same layer because they're about the same
brightness. and again let's
tweak those-- that layer opacity. actually i think probably around fifteen percent in
my case
will do the trick. do a
few final adjustments.
there. what I've just
done is i've dropped the layer opacity of
the green dress down to 10 percent because once I saw this
at 100 percent in my window here it seemed a little strong
and I've got the cheeks down to about 15 percent.
so at this point I can deselect
and there is my completely restored
image. okay now let's open up the Walt Whitman picture
which is on Blackboard. and here you see we've got a similar situation
we've got an image if Walt Whitman that needs some repair.
dust spots and all kinds of
other things going on that need to be fixed but it's got a particular problem that
our other image didn't have
and that is the-- about the upper
third of the picture has really low contrast;
the bottom third does not. so what we gotta do is correct
just the contrast on the upper third without it
affecting the bottom half. and we're also going to apply a vignette
to this. vignette is a
kind of a darker area around the
edges and corners of an image which focus your attention towards the center.
when we're finished with our image it should look like this. you see that the
contrast on the upper third has been
improved. we've got the vignetting applied to
all four corners. all repair has been made and also we applied a little bit of
colorization to it because the original image was just kind of a really
bland black and white.
we just add a little bit of color - kind of a sepia tone. that gives it
a lot of life. so let's go ahead and get started.
I'm gonna copy my background layer by pressing command J
and on this first step, this is where we're going to increase the contrast in the upper third.
I'm gonna create a layer mask for
layer 1. now with my
newly-created mask active, I'm going
to press D on my keyboard just to make certain that
my foreground and background colors are set to their default settings of black and white.
if they're not there already. I'm gonna go to my gradient tool.
from my gradient picker
I'm going to choose foreground to background.
I'm gonna choose the linear gradient,
setting the opacity to 100 percent
and make certain that reverse
option is not selected. i'll zoom in so i can show you what i'm getting ready to do here.
and starting at the top
of the image i'm gonna click and drag down and then i'll have to press Shift so that I
can draw a straight line.
and i'm gonna drag my cursor to
just below his chin like that. and that creates
a gradient mask. now if I turn off my background layer
you see that I've only got the top third or so of
the picture is revealed; the rest of it is masked off. so now
with my gradient mask created I'm then going to create
an adjustment layer for levels to improve
the contrast, but I only want to improve it over the top
third of the image. so here's how I'm going to do that. i'm going to press
my control or command key and click on
that layer thumbnail. that's gonna load that part of
the image as a selection. remember anything that's black in the image will be
masked off. so i't's
only selecting the upper third of the image.
now I'll go to my adjustment layers and i'll choose levels.
I could do this with either curves or levels,
but i'm gonna choose levels.
and in the histogram I'm gonna take the shadow slider
and i'm gonna drag that until it gets to the base of my
histogram on the left. that's setting my black point. then i'll take the highlights slider
and drag that until we get to the base of the histogram on the right to set the white point.
then I'll take my mid tone slider and adjust the brightness
and I'm setting it at 0.79.
and back in my Layers panel I can toggle that
off and you see how my
levels are only affecting the top third of the image because
we had only loaded the
layer mask as a selection.
so we've improved the contrast in just the upper
third of the image. next i'm gonna merge these layers just like i did before,
control alternate shift and E,
and I'm gonna rename this merge layer
Walt sharp.
and then i'll copy that layer
and rename it dust and scratches.
and we'll use the dust and scratches filter as we did before
to get rid of the dust and scratches. again, I'm just going to
convert this to a smart object. I'll just kinda breeze through this because we've
covered this already.
looking for the areas where there's lots of dust.
and filter, noise,
dust and scratches.
set everything to 0 and then bring
the radius out. looks like it's just going to be
a little bit. right there. 4 pixels.
and then we're gonna set our threshold up,
increase it until those dust spots start
to come back.
then i'll create a layer mask.
switching to black paint and a paintbrush. i'll then paint in the parts that
I want to be sharp,
which include these buttons on his jacket - i want those be nice and sharp.
sleeves,
any other details. I'll let you
kinda determine those.
but again it's a male figure so we want to have a little more sharpness than we would
if it were a
female subject, but we definitely want those eyes to be sharp.
get those nice and sharp.
get that hair nice and sharp, eyebrows,
the rim on his hat, so on and so forth.
and then in the background where you've got those larger areas over here,
you can clean that up using
the Healing Brush Tool. make certain that we've got the
layer thumbnail selected for that. clean those up.
now I'm not gonna show you every single one to do otherwise it's going to make a
really long
video, so i'm gonna pause the video while i clean this up a bit. okay, so I finished that
retouching part; it's looking pretty good.
the next thing I would like to do is create that vignette.
and that's, again, where we darken the four corners
and usually a little bit around the four sides as well.
and the way I'm going to do that is by creating a dodge and burn layer.
now we've got dodge and burn tools but
I don't really care for those very much. for one thing, it permanently affects
those pixels and it just kinda makes things look kind of a sludgy gray.
here's our dodge and burn tool right over here,
but again we don't usually use those. there's a much better way
to do dodging and burning and that's with a dodge and burn layer.
so i'm gonna create a new layer which I will call dodge and burn.
and,
before i click on OK, I'm going to change the blending mode in
the new layer dialog to
overlay and then I'm gonna
put a checkmark where it says fill overlay--
fill with overlay neutral color which is 50 percent gray.
and i'm gonna click OK. now i could have done that manually too. just create a new layer and
change the blending mode to overlay but this is a little bit quicker.
and then go to my paintbrush tool
and use a large soft brush.
i'm gonna zoom out here a little bit too and
with my layer opacity set to about 10 percent,
I'm just gonna gradually paint in
these corners. actually i'm gonna set that to about
30 or 40 percent. 10 wasn't quite strong enough.
and you see as I paint with black paint it's
making those edges and corners darker.
notice how large my paint brush is too. we want to use a large brush to do this.
and you can see on the layer thumbnail
how its painting it with black which is the purpose filling it with gray. now why
doesn't the gray show up
on our layer? that's because when we set the blending mode to
overlay, well, overly ignores gray pixels -
we only see black and white.
so i'm gonna create my vignette just by darkening these corners
and the edges a little bit.
now if it's still not dark enough, which in my case it is not, i've got--
i've painted that as opaque as I can get it and it's still not dark enough,
I can copy my dodge and burn layer. now it's twice as dark as it was before
and then I can lower the layer opacity to get it back down to something
that i-- a little more manageable. and then if i want to lighten
an area, i switch to white paint. and see how it's lightning those areas there that
got away from me just a little bit. so, again, my original dodge and burn layer here,
then i copied it because it wasn't getting quite dark enough on the top
even though I had maxed out my brush setting.
and then I used white paint
to lighten up these areas where it got too dark and of course I dropped my layer opacity.
one more thing I want to do and that is to create
a little bit of a sepia tone. I'm going to create an adjustment layer
for hue and saturation and I'm going
to click on the colorize option because right now if I
change my hue-- well, there is no hue in this picture; it's purely
black and white so nothing happens. but if i click on colorize
then it applies color to it
and I can adjust the hue. I'm gonna choose kind of
a red color. and I could drag the saturation up to see,
you know, what color it really is but something
kind of in the red or red orange range and then I'll drop my saturation
down to about 15 percent.
it's a very subtle difference
but its noticeable.
that gives that little bit of life that it needs.
just a slight sepia tone. you don't want to overdo it or look too cheesy.
okay? there's my finished
Walt Whitman retouched photograph. okay, let's do just one more
and this one will be a color photograph that needs some
resuscitation. let's open up color
correction.jpg. and as you can see there's
really nothing good to say about this picture
except for the people of course. the composition is terrible, the lighting is horrible,
and of course it's an old color snapshot taken with a
box camera and the colors are all
faded but we're going to try and correct those colors and make it look as
nice as possible. at least we don't have any dust spots and scratches to worry about with this one.
the best way to correct tonal imperfections
is with curves and we can also use curves to
correct our color imbalance as well.
so let's open up our layers panel and we're gonna create an adjustment layer for curves.
again, you see that you've got your
histogram down here and we can first of all
see if Photoshop can create
the corrections for us automatically. on some pictures it can just by clicking
on this auto button. some pictures you can't and then you have to go in and manually do it.
so let's go ahead and-- first of all we''ll go ahead and set
our auto options so let's click this little list button right up here.
and I'm gonna choose
auto options and in this panel that opens up
let's click on where it says find light
and dark colors, and i'm gonna click on where it says
snap neutral mid tones,
and click OK. now it's the same thing as me having
clicked on this auto button once i've got those options set.
and it corrected
the tonal range quite a bit; did nothing for our colors.
but you could take a look at your red green and blue channels here
and you can see how it is automatically adjusted.
the brightness for those,
the white points for them. and you also see that you got this
white diagonal line and that is for our
lightness and darkness range overall. of course our color is still off.
what I'm gonna do is go over here to these three eyedroppers here.
there's a black one, a gray one, and a white one,
and I can use these to define
black, white, and gray points that are in the picture.
I'm gonna choose the gray
eyedropper, the one in the center, and I'm gonna click on a part of the image that
I think should be gray and then it's going to adjust
all the other colors in the image based on that one
being gray. I'm gonna zoom in here just a little bit.
and I'm gonna click at various parts. I'm gonna click
on water and you see that
that does a pretty good job - it defines the water as gray
and it brings most of your skin tones and your other colors
into their proper range.
you might find another part of the image that would be gray and oftentimes
white that isn't shadow would be rendered gray.
let's click there. and that looks pretty good too.
gives you a little bit more blue in the water rather than having it be
so dull. or there's a road over here,
I can click on that because that should be gray.
and that's a little too on the blue side so I'm gonna go back to this shadow part
of his shirt
and click on that. and you can see in your histogram
what is happening. it is adjusting
the contrast
of each of these channels.
now I still think I need to open up my shadows
so I'm going to go to this white diagonal line
and i'm gonna pull that up to open up those shadow details.
now my highlights are starting to get blown out
so I'll go to the upper range of that same white line and
we're gonna pull that down so we're lowering the contrast.
now I'm also taking this black point's
slider and i'm gonna move that in just a little bit there.
just like that until we get some good contrast.
and there is our finished image.
very quickly and easily corrected using curves. you could do something similar with levels,
but curves is gonna give you a lot more flexibility.
so submit all three of those pictures to me on blackboard
and I'll look forward to talking with you again. this is Mike McRuiz.