Color Correction with Photoshop: Practical and Creative Techniques | Mark Johnson | Skillshare

Color Correction with Photoshop: Practical and Creative Techniques

Mark Johnson, Photoshop luminary and encouraging teacher

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13 Lessons (2h 22m)
    • 1. Introduction

      2:17
    • 2. Adjustment Layers: Part 1

      26:18
    • 3. Adjustment Layers: Part 2

      11:09
    • 4. One Click Color Balancing

      10:36
    • 5. The Sledge Hammer of Color Correction

      9:45
    • 6. Fine Art Color to Black and White Conversions

      12:29
    • 7. Black and White Infrared

      9:40
    • 8. Combining Black and White with Sepia or Color

      16:26
    • 9. Vintage Toning with Gradient Maps

      9:05
    • 10. Creating the Popular 1970s Retro Look

      9:20
    • 11. Simulating the Russian Lomo LC A Camera Vintage Look

      12:03
    • 12. Split Toning Effect

      8:27
    • 13. Cross Processing

      4:42

About This Class

If you've ever dreamed of mastering both practical and creative color correction techniques in Photoshop, this class is for you.

As a photographer, you know that capturing a great shot in the field is only half the battle to producing a truly stunning image. In this digital era, it's critical to know how to properly process images on the computer. An inability to do so can leave you with images that don't come close to realizing their potential. Using crystal clear language and step-by-step instructions, I show you how to use Photoshop to optimize color, contrast, brightness, and saturation in your photos so they do justice to what you saw (or imagined) while you were shooting. In addition to learning how to produce beautiful, accurate color, you will discover how to create gorgeous black and white, sepia, retro, and vintage-toned images.

Transcripts

1. Introduction: photographers know that capturing a great shot in the field is only half the battle to producing a truly stunning image. In this digital era, it's critical to know how to properly process your images on the computer. An inability to do so can leave you with images that don't come close to realizing their potential. Using crystal clear language and step by step instructions, I'll show you how to use photo shop and adobe camera raw to optimize color, contrast brightness and saturation in your photos so that they do justice to what you saw or imagined while you were shooting. In addition to learning how to produce beautiful, accurate color, you will discover how to create stunning black and white C P A and vintage toned images. Here's specifically what you'll learn. How to effortlessly use both the global and local color correction features in adobe camera Raw. How to make targeted corrections using photo shops, adjustment layers and mask a one click solution for correcting color caste. How to radically shift the color of a subject from red to blue, for example, the easiest and most powerful way to convert color to black and white. The secret to achieving gorgeous black and white infrared pictures. How to mix black and white with color or sepia. How to produce stunning vintage toning with Grady int maps. Three techniques for transforming your photos from modern to retro and a simple solution for achieving the popular cross process look. Although this course does not focus on light room light rooms develop module is virtually identical to adobe camera raw. Therefore, light room users will definitely benefit from the coverage of adobe camera raw sample images air included with this tutorial, Siri's. So please feel free to take advantage of them or use images of your own. Let's get started. 2. Adjustment Layers: Part 1: this lesson is about using adjustment layers for local targeted corrections. In part, one of this two part lesson will focus on curves and in part two will focus on hue saturation. But let's not jump ahead. First of all, what is an adjustment layer? Well, Adobe came up with this ingenious idea to create a type of layer that allows us to correct brightness, contrast, color balance or saturation oven image in a non destructive fashion. And better yet, we can isolate those corrections to very specific parts of the scene. Now, when this was first introduced, Adobe camera raw didn't even exist. So I used adjustment layers for just about everything I did in Photoshop, be it global corrections, which were image wide, or local corrections which are targeted and, um so adjustment layers were in an indispensable in the old days. Now that adobe camera raw has come along and weaken do global and local corrections there, I still find that I'm using adjustment layers in Photoshop a lot for very specific targeted corrections, not using them nearly as often for global corrections. One way to think about an adjustment layer is imagine Ah, that you are an eagle soaring high in the sky, and you're looking down on a skyscraper that's being built. Think of the picture layers or the pixel bearing layers as concrete floors. Adjustment layers are like glass floors that you can stack on top of the picture layers. So you're actually looking through those glass floors. And there's glass floors are altering either the brightness that contrasts the color balance or the saturation of the underlying picture. The neat thing about toes, glass floors is that you can go in with a glass cutter, and you can trim the glass away from certain areas so that the adjustment layer is Onley, impacting specific regions. So when it comes to adjustment layers, you're going to find that adobe has ah, whole slew of adjustment layers. You can see them right here in the adjustments panel, which, by the way, you get to hear under the window menu. Just choose adjustments and you'll see that there are all kinds of adjustment layers as Brighton cut brightness, contrast levels, curves, exposure, vibrance. The list goes on and on, and although I use several of these, I find that when it comes to local targeted corrections I am using two of them almost all the time. I am using curves when I want to affect brightness or contrast, and I am using hue saturation when I want to effect saturation. Almost everything else I'm doing in regard to general color correction is happening in Adobe Camera Raw. Now, when it comes to specialized color correction techniques, I'm certainly using other other of these layers, and you're gonna find that out as you continue watching the Siri's. But we're gonna focus right now on using curves to effect brightness and contrast, and in part two of this lesson, we will use Hue saturation. One other thing I'd like to point out is that although I like to access my adjustment layers right here in the adjustments panel, you can absolutely do it the old way, which is to go into the layers panel. Let me actually slide this up just a little bit, and you come down to this yin yang looking symbol, and you can choose adjustment layers right here as well. You can also, if you're a menu person, you could go under the layer menu, and you can choose new adjustment layer and find your adjustments here. One thing you would be very careful of, though, is that you are always working with an adjustment layer because as you'll see in this lesson, adjustment layers are non destructive, completely fully reversible. Do not make the mistake of accidentally popping over here into image adjustments and selecting levels, curves and the other choices here. These adjustments, they're permanent and they have. They have a place in Photoshopped. I use them for certain things, but only when I know that what I'm doing can be destructive or permanent. If you want nondestructive, you want to be working with an adjustment layer, which you get to hear here or in the adjustments panel. All right, so we're gonna talk about curves now. Um, Curves is my absolute best friend. When it comes to making local corrections again, it effects brightness and contrast, which is the number one and number two things that I am changing on ah, local basis inside a photo shop. When I worked on pictures before, I actually show you how to use curves for a local correction. I want to show you just how to use curves. I want to explain it cause it's not nearly as complicated as it may seem. So I'm gonna come here and you'll notice I have a single layer document. I'm going to the adjustments panel. Click right here and I'm going to add a curves adjustment layer. I want to show you here in the layers panel. This is the curves adjustment layer. It's the glass floor in the skyscraper that's ready to affect what's below. By the way, when I popped back to the adjustments panel here, you'll notice that, um, these air just the adjustments in photo shop, CS six actually want to see what I'm doing. I need to go into the properties panel right here. Now, this is new for CS six. So if you have a previous version, you're not going to have a separate adjustments and properties panel like I have here. All right, so I mean, the properties panel, I can see the curve now here is kind of the curves Overview. Notice how this line represents the curve, but what does it do? Well, this bar down here shows you what tonal or what brightness value you are about to effect. For instance, this is a very dark part of the bar. So right here, this point on the curve represents black. This point on the curve right here above this region represents what we'll call a shadow with detail. This point right here represents a mid tone. This point right here represents a highlight with detail. And finally, this point here represents a pure white. All right, so there is a corresponding point on this curve for every tonal or brightness value throughout the entire picture. In fact, look, when I hover over the picture, I can actually see where a point exists on that curve in terms of its brightness. Now, when you place a point on the curve, it I'll just click right here on the mid tones. This bar right here tells you what you were doing to those values. So this represents all mid tone values in the picture. This bar says if I move straight up, I'm brightening them. And if I move straight down, I'm darkening them so straight up brighter, mid times, straight down, darker mid tones. Now it's happening globally because we haven't isolated it yet. Using the mask that's coming up. This is just kind of the how to understand curves part of this. So if you don't like a point than what you can do is, you can click and drag it right off the edge of the curve, and it just disappears so no points are permanent. Now that was a single point on a curve. It's very uncommon that I use more than two points on a curve, especially for local corrections. So, um, don't think of a curve is something we have to drop all these points on here. A curve has a very specific mission, and usually you're gonna be able to accomplish that with one, maybe two points and the mask. That's all you're gonna need. If you have two points on the curve, it's important to understand what happens. Let's put a point right here. This is what will call highlights with detail, and when we move it straight up, we're brightening the highlights with detail. This represents shadows with detail. If we move this straight down, we are darkening the shadows with detail. Now here's what I want to explain. We have steepen the curve between these two values. Any time you make a curve steeper your image and I mean used the eyeball here to do a before and after becomes mawr. Contrast between those tonal values, so it's become more contrast power to do the inverse. If I were to take the highlights with detail and make them darker and the shadows with detail and make them brighter, well, we would have an image that has become flatter, less contrast, e so less steep, curve flatter curve means flatter picture. Less contrast, steeper curve means more contrast. Now a real nice way to look at this is all right if this represents your shadow values, if you move them up, you are brightening them. You come to your highlight values represented here. He moved down your darkening Look at that. The picture is just dramatically less contrast at this point, let's look at the opposite of that if we want to Dark and shadows contrary to what I poll told you earlier, all these points along here you darkened by moving down for this bar shadows. You can't are the absolute darkest values. You can't move down, so you move in to darken those all right, the highlights, as I said earlier, moving straight up Brighton something but it doesn't work for the brightest whites in the scene. You've got to move in to make those brighter again. Steeper curve here. More contrast, all you have to do is keep that concept in mind and you're going to be able to overcome any curves nervousness that you might have. So that is that's the whole idea. Behind curves find a total value Go up to brighten or down to darken. If you want to add contrast, make the curve steeper. If you wanna reduce contrast, make it flatter That's it. Now I'm gonna make this even easier. So now that you understand curves, I'm gonna tell you that you may not have to understand curves because again, Adobe came out with something few versions ago that makes it so that we can actually click on the picture and control the curve by clicking and dragging on the picture. This icon right here represents the on image controls. Now I like them so much that I have made a default here in photo shop, um that have those on image control switched on to go to the fly out menu here for the properties pain panel, and this would be the adjustments panel in previous versions of Photoshopped. If you check auto, let me actually that over even more, cause that's really a long phrase there. Auto Select targeted adjustment tool. If you check this on, as I have right here, you are now automatically by default, going to have this icon here depressed. This button is turned on. You didn't have to press it if you choose not to turn them on the targeted adjustment tool by default. If you turn and choose not to have it turned on by default, then you'll have to click on this icon. But mine is already depressed. It's ready to G O because that's the way I want it. So let's actually put this to use. Let's say that we have a couple goals here in this scene. First of all, the foreground is very dark. We want to bring some a lot of light into the water, maybe a little bit less into the grasses in the shrubs here. And then we want to do a separate adjustment where we control the brightness of the in the contrast of the castle. We're gonna do two different curves here, So you can get a sense of how you can apply as many different curves you want for different regions. Now I want to brighten this region down here. So to do that since this is switched on by default, I don't even need to click it. I can come right over the picture. I can find something that kind of represents the general brightness of this. So I'm not gonna go into the darkest shadow. I'm not gonna go into the brightest highlight down here Just going to go into something average like this and I'm going to click and drag up to brighten. Now it never hurts to go too far because then you know what's out there and then you come back it down until you feel comfortable with how bright that region has become. So that's much better. But since I did such a radical bright ning of this lower region, it looks a little flat a moment ago and now it's brighter, but it looks kind of dingy and flat. So what you can do now is you can find a dark region in here. Maybe not the blackest one, but something dark. And you can click and drag down to darken that region and therefore add contrast between this point, which was here and this point we're here, which represents that steeper curve. More contrast. I want to actually undo what I just did, though with that, because I want to show you there's actually an even easier kind of lazier approach that I take almost all the time. After I brought in an area like I did here by dragging up, I just come straight down to this corner here, which represents the darkest pixels in the scene, and I move in a little bit. Sometimes I'll drag a little and then I'll refine it using the right arrow key or the left arrow key. So right moves it in left, moves it back out till I get just the right amount of contrast there. And I use this before and after switch to see before and after. Make sure I'm happy, all right, so you could see there's before there's after. But also you'll also notice that this adjustment is affecting the whole picture and I want to isolate it. So in order to isolate it, we have to work with the mask. Come here into the layers panel. This is the mask for this curved layer. I want to make sure that has photo corners around it right here, indicating that it is active as you can also make the adjustment itself active versus the mask. Now, when you're doing local corrections in photo shop, usually, I would say, 95% of the time, the local correction represents less than half the picture. So the way to very quickly isolate this correction is to fill the mask with black and then paint with white where you want the adjustment toe happen because a mask when it is white, it's impacting the whole picture. So this adjustment is impacting the whole picture. When it is black, it's impacting just a tiny I'm sorry when it is black, it's an impacting none of the picture until you use a white brush and paint back in the areas where you wanted to have an impact. So I want to have an impact that just this region down here that means I'm gonna take this mask and quickly fill it with white or with black so I can choose image adjustments, invert, and it will swap the white mask are inverted until it becomes a black mask. Notice that's command or control. I a very intuitive shortcuts. So I'm going to Commander Control. I I've filled my bat mask with black temporarily hiding the impact or the effect of this curves layer. I'm gonna go grab the brush tool set. Why does the foreground remember? You can swap these colors with this arrow right here. Or you can tap X You want white is your foreground. You want to be working with a soft edged brush right here. And I want to work with 100% opacity and flow because I want to see what it's like to bring in full brightness right through here. Okay, So I'm just painting through this region and never hurts to zoom in if you have to do really detailed work, This isn't super detailed, but never hurts to zoom in. Now if it looks too bright, don't worry. Everything here is adjustable as I will show you in just a moment. If I want to make sure I painted that whole mask, I can tap the backslash key and see where I've painted Notice How happened the backs last key will sometimes swap your colors. So beware of that. Another way to look at this is to hold down option on the Mac or Ault on the PC and click the mask and you can see where you've painted. Hold down, option or all, and click it again and you're back to here. All right? No, I want to let some light into here. But maybe not all of that light. So I'm gonna tap maybe six or seven on my key back. Keep head to set. Opacity up here to six would be 60% 7 would be what seven would be 70%. You can also click and drag right here on the word opacity. Or you can click here and dragged that way as well. Any of those work, like the faster out, which is tap seven. I'm a 70% opacity. Now I'm gonna make my brush smaller using the left bracket key, right bracket key to make it bigger left smaller. And I'm gonna paint over this region right here to a little bit more light into their now paint over this a little bit more light into here as well. Maybe just a little bit along the edge of that to give it some dimensionality. So here's my mask. By the way, you can see where I have painted with white, which means full impact of the curve and with Grey, which means partial impact of the curve. So here's before. Here's after Now, if I wanted to change that curve, I can do that at any point in time by double clicking right here takes me right back into this curve where I left off and I can just do a little bit of this. Just drag it up a little bit and brighten it. But we need more contrast. I can come in. There we go. Here's your net effect before and after this will allow you to dive back into the curve. This the mask will allow you to control where this curve is having an impact. Now we want to do a separate curve to effect just the castle here. All right, so we're gonna go back into the adjustments panel and add a second curve right here. Now I want to brighten and add contrast to the castle. So what I'll do is I'll find an average part of the castle. Maybe this spot right here, This would probably work here, too. And I'll click and drag up, never hurts to go too far and then went to darken or add contrasts. Eso I want a dark in these areas right through here, Someone coming to a shadow zone for this spot and click and drag down. Keep in mind, you can again just comes straight to this point instead and draggin that's also gonna work really nicely. Um, doesn't make a big difference. It's a slight difference, but it's really subtle. So more often than not, I just dragged this bottom point in right here before. After courses impacting the whole picture, we only want to affect the castle to go back into the layers panel. That castle represents way less than half of this scene, So what I can do is I can invert the mask by choosing image adjustments. But sorry, image adjustments, invert or command or control. I and else just hide the effect of this curve. Now I want O isolated to this castle when I zoom in on the castle. That is a tricky thing to paint over. I could certainly grab the brush and try painting over this. And I want to be a 100% of past Yes, All tap zero to get to that very quickly. I could try painting, and odds are it will work just fine, but notice how I'm going outside the lines here. Most people are gonna notice that unless you do a really radical adjustment. But I want to be a little more perfect about what I'm doing here, let me show you how to do that. Were to grab the quick selection tool. We're going to start painting on the castle just like this Now, Onley in cases where you do really radical corrections, do you need to be completely spot on with your selection? So I'm not worried about utter perfection, but I'm gonna go ahead and paint over this Now I want to get a little tighter on some of these areas. May make my brush a little smaller. Using that left bracket key allows me to get into some of these regions right here. I can eliminate regions like this by holding down option or ault and painting over those to subtract those regions. Begin. Don't worry about complete perfection on this is just not important. I'll show you why in a minute. But you do want to get kind of the General Castle selected here. That's looking pretty good. I'm just checking my edges. Take this away. I'm holding down Option are all painting over that This is all happening with the quick selection tool. And you know what? I might I don't really want thes ah shrubs selected. So hold down. Option. It will paint over those as well, just like this. Here we go. Okay, So it zoom that back out, which I'm doing by the way of space bar and option on the Mac or space bar and also on the PC and then clicking. Now, here's my mask. I want this curve to have an impact in this selected area. So, with the mask active, what I need to do is get white pain on. There is if I were painting with a white brush to bring back the effect of this curve. All right, So get what? Getting white pain on their means. Going to the edit menu and choosing Phil and I want to use white to fill Now press okay, but I'm actually gonna cancel because I want to show you a short cut for those of you who like shortcuts. So instead of edit, fill and using white, I want to fill with this foreground color that's option to lead on the Mac or all backspace on the PC. If you want to fill with the background color, that's command delete on the Mac or control backspace on the PC. Now here's a moment ago and here's now. Now I can eliminate those marching ants by choosing select de select. Here's the mask. I'm option or all clicking on it to show you the mask. Now if I want to improve that mask because I want to be a little bit more accurate, what I can do here, Let's assume this up just a little bit more. With the mask active, I can choose select refine mask in here. I can view this on layers, which is lovely, or if I want to see it other ways I can. Another nice way here is black and white, so on layers what I usually use, but black and whites really going to illustrate the point here by dragged this radius slider Watch what happens? Did you just see that? I'm going to go back? Watch this. Look how it has really gotten into the fine details of the castle just by dragging that radius slider, cause I did a fairly accurate quick selection from the beginning. Now I can use this toggle here to get before and after, or I can use the peaky does the same thing, and I want to output this to the layer mask and press OK, now I can optional click and you can see Here's before on the mask. Here's after looks like what we were just working on. And now my adjustment is really targeting to the castle right there. That didn't take very long. Now let's look at the castle in relation to this area down here. Syria's pretty bright castle may not be quite bright enough, so to make it brighter, I can double click on here just or dive into the properties panel as long as this is active . But I like to double click here, takes me right into the properties panel, and I can make the castle brighter to go a little too far and back down and not gonna control the contrast right here. There we go and click this and use the down Iraqi to adjust it back into layers. Let me show you the before and after I wanna hold down option Altana PC and click the eyeball next to background. There's before our adjustments. Here's after assume that a little tighter so you see a little bit better before and after. We use curves for both of those adjustments, and we use curves to brighten and effect contrast. We did it to our targeted tonal ranges by clicking and dragging on a region in the picture , and that affected the part of the curve we wanted to effect. But then we isolated the correction to a very specific region in the photo by working on the mask. In this case, we painted as we didn't need much precision. In this case, we use the quick selection tool, and we made a selection and then filled the black mask with white in that selected area. So, um, that is how you use curves to locally affect brightness and contrast. I find curves from local corrections to be the most beautiful tool you can possibly use. especially in combination with mass, which are equally wonderful. So in part two of this lesson, we're gonna talk about using a hue saturation adjustment layer to affect the saturation of targeted regions. 3. Adjustment Layers: Part 2: This is part two in the lesson about using adjustment layers for local targeted corrections in part while we use curves. And in part two here, we're going to use a hue saturation adjustment layer to locally effective the saturation of our seen. All right, So in part one, we talked about using curves in part two here, we're actually going to use a different type of adjustment layer with virtually the same principles. This is gonna be a hue saturation adjustment layer. You're actually going to discover that it is a simpler type of adjustment layer to use, then curves, but like our curves adjustment layer and like all adjustment layers, we're going to be able to isolate the effect of our adjustment by working with the mask. Now, like all adjustment layers, you can find them here in the adjustments panel we have a choice is right in here. We're gonna be using hue saturation in this part, or, if you prefer, you can go into the layers panel and pop right down here to the black and white cookie and find hue saturation there. Or, if you're a menu person, choose layer new adjustment layer hue, saturation they're all going to do the same thing. I'm gonna go into the adjustments panel. I'm going to add a hue saturation adjustment layer. Now, my goal for this hue saturation adjustment layer is to saturate these turrets here on the castle. I want to make these blue turrets look a little more vibrant now in reality would actually want to make the sky and the water down here a little more vibrant. But for the sake of illustrating this, we're just going to make the turrets more vibrant. Okay, now, as I mentioned in Part one, I've come to the fly out menu here for the Properties panel. Again, That's gonna be the adjustments panel in previous versions of Photoshopped and I have checked auto select targeted adjustment tool. That means that by default, this little button right here is switched on. So I don't even have to turn that button on. When I want to go saturate a specific color in the scene. It's already there. If you haven't selected this for some reason, then you can always click on that button and it will allow you to use the on image controls . Now these controls are awesome. because what I'm gonna do is just zoom up here and I'm holding down space bar and command on the Mac or space bar and control on the PC and just clicking If I hover over this blue area and I click and drag to the right I am saturating all blues in the picture. Okay, They're all being saturated. But since this is an adjustment layer, I can isolate those Ah, that saturation to specific blues by working on the mask. And I might go just a little too far here. So you can really see how this works. Zoom back out. So here is a moment ago and here is now notice how the sky and the water are also saturated , which I actually think it's quite lovely, but I only want to affect the's right now so you can see how this works. So I'm gonna go back into the layers panel and I want to isolate that correction to a specific small part of this scene. So most of the time, what I'm going to do is invert this white mask toe black because a white mask means you're affecting the whole picture of black mask means you're affecting none of the picture and a black mask with white painted into specific targeted areas major affecting Onley those areas so I could invert this mass toe black and I could, uh, paint over these blue turrets with white, and he would accomplish exactly what I want. However, I like to take a lazy approach is I like to make life as easy as possible. So you'll notice that in the part one of this lesson we created a mask and I'm holding option or all to click on this. That represents just the castle. Okay, so that means that for this curves adjustment from Part one, the castle is being affected because it's white on the mask, and what's outside of it is not being affected. Well, if I borrow this mask, bring it up here onto my hue, saturation layer Onley the castle's gonna be affected and specifically on Lee, the blue part of the castle's gonna be affected because going back into my hue saturation adjustment layer here when I use that on image control, it targeted the blues and it only affected the blues. Maybe it's science to let's see no, just blues Those are pure, pretty, pure blues. And so it only affected the blues. That means that saturation Onley happened to the blues didn't happen to any of these colors right here. So when I borrow them, ask, I'm done. So I'm gonna hold down option Altana PC and I'm going to click and drag this mask right on top of that mask right there When I let go, it asked me if I want to replace it and the answer is yes. Now, if you turn the visibility on, offer this, you'll see and let me make it a little more dramatic. I'll double click here. We'll go back into those blues and just make it a little more dramatic over the top. Dramatic. So you could see the only thing that's being affected in this picture, um, are the blues because of what we've done here in this dialogue. And it's just the blues in the castle because of what we have done with this mask right here. Now again, we could have painted that, or we could have used the quick selection tool, as we did in Part one to select the castle and then apply that selection to the mask, But why not just borrow it? So that's what we've done here. Now, as I look at this scene, I say to myself, Well, that is a lovely blue, my eyes really moving into here nicely now. But it would be nice if these areas thes grassy areas were just a little more saturated as well. So we're going to apply an independent, a separate hue saturation adjustment layer to affect those areas, All right, And to do that, we're going to dive back into the adjustments panel, and we're going to click right here on hue saturation. So we have another hue saturation adjustment layer. This is automatically activated. I'll hover over these greens and I'll drag to the right and notice as I do this and never hurts to go too far and then back it off. As I do this, it has targeted the yellows, which is going to be the case when you think something is green. More often than not, Photoshopped is gonna I d that as yellow, and so that's what it's done here. Okay, so it's seeing those yellows. It's saturating the those in the scene. Now I say to myself, boy, I want to take advantage of it over here in this grassy area and maybe along here and up into here a little, but perhaps not throughout every green or or in this case, every yellow in the scene. Like if you look down and here in the water, you'll see that some of those leaves are saturating as well as the reflections here. I might not want that. So I want to isolate this. I want to isolate it. I'll do what I do 95% of the time. Make sure the mask is active. Choose image adjustments, invert or command or control. I invert the mask, temporarily hidden the effect of this adjustment layer. Now grab the brush tool and start painting. Now, if I want all of this impact from the hue saturation layer, I paint with 100%. So I'm paying with 100% here saying I want all of it over in this region. For whatever reason, I'm just I'm just pretending here now say over here. Well, I want most of it, but it might get a little too vivid for evergreens, so I'll tap maybe seven. Give me 70% up here and again, you can use these sliders. But I love the idea of tapping seven for 70% 5 for 50% 0 for 100% lips. You can't do it when this is actually activated. It does not work. But if you do it now, so zero is 100% 7 to 70%. Now I can paint over here and bring in a little bit of this. Now, one thing to keep in mind, there's a little bit more green there. If that is not quite enough, in fact, let me paint it with 50%. So you can see this by paying over this and I say, Well, boy, that's nice, but I want a little more. Well, you notice here. This has been painted with 100% meaning I have full impact of this, you saturation layer. This is paying with 50% which means I have half impact. If I paint over this again, watch what happens. Look at the mask. Now that is a moment ago, 50% impact. I just built the density of the paint up by painting on top of it again after I lifted my finger from the mouse so you can paint over something more than one time to build the density. Um, of that area. So this area is now probably being affected. It about 70%. 50% with the first swipe. Um, another 25%. I can have to do math here for the 2nd 1 So anyway, is building that color in just like what you see there? So that is the idea. Let me show you. Here's this scene. Before we didn t local corrections and here it is. Now, these are the two most recent part two corrections right here, before and after. Now, of course, you could continue this process either with curves, as we did in part one or with you. Saturation is we're doing here in part to you can continue to add curves for contrast and brightness, and you can continue to add hue saturation adjustment layers for saturation. The more of these you do, the better your picture is going to become. Each one is going to be targeting a very specific area and you're gonna be able to control the brightness, the contrast, and that was curves and the saturation. That's you saturation off every area in the picture. I didn't mention color balance here because 99% of time my color balance is accurate when I emerged from Adobe Camera raw. So it's very rare that I am doing any sort of targeted color balancing here in a photo shop if you need to. And there are cases, especially especially when you're doing compositing. You go into the adjustments panel, come here to the color balance adjustment layer. Click on that, and you can add a color balance adjustment layer that you'll find self explanatory just by looking at the sliders in there. Um, and you can target the corrections by working on the mask for that adjustment layer. So once you get a feel for adjustment layer, you're gonna find that they're gonna become more and more intuitive, and you're gonna feel better and better about the process. So here's before, and here's after Ah, whole lot better. Remember, adjustment layers and their associated mask are definitely your friends 4. One Click Color Balancing: in this lesson, I'm going to show you a simple one click solution for removing a color cast from a scene. Now we're gonna use a curves adjustment layer to remove the color caste. But the nice thing about this is you really don't have to understand curves in order to accomplish this. So this is the image that we're gonna work on right here. And when you look at this to me, it's appear apparent that there is a blue cast to the scene. Even if you don't know if there's a blue cast, I'm gonna show you a way right now in order to determine if there is actually a cast to the scene. So the key to accomplishing this one click color about balanced solution is to have something in your scene that should be neutral when I say neutral. I mean, if you imagine it as just a individual pixel in the scene, that pixel needs to be equal parts red, green and blue. Anytime you have something that is equal parts red, green and blue, it is neutral, meaning there is absolutely no color caste. This scene is full of things that should be neutral um, the other kind of key to making this work is that ideally, you want that that subject that should be neutral to be somewhere in the mid tone range. So you're not looking for ah, bright white or a deep black. You're looking for something kind of in the mid tone range that should not have a color cast. All right, so we're gonna take a look at something here. I'm gonna go into the info panel, which you confined right here under the window menu. Right. There's info. All right, We're in the info panel, and I'm gonna come over here to this tool, the eyedropper tool. I'm going to click and hold on it until I find and actually let me move that all the way till I find the color sampler tool right here. Okay, so the color sampler tool allows us to actually put a color sample on the picture. Now, you don't actually have to do this when you're trying to remove the color cast by clicking on something neutral, But this will help you see how this all works. So you don't actually have to use this color sampler, But I'm gonna go ahead and drop a point right here on this spot because I believe that that should be neutral. It's it's not a mid tone. It's brighter than a mid tone, but it's it's close enough, and I believe that it should be neutral. No color caste Right now you'll notice if you look in the info panel here. I have color sampler point number one, and it is showing up as 1 96 to 02 to 34 now. What does that mean? In order to read this? It's really helpful to know three basic complementary colors. Complementary colors are colors that are the opposite of in this case, red, green and blue. So the opposite of red is scion, and I remember that by thinking of RC Cola and Scion is kind of Ah, think of that as a Caribbean turquoise water color. The opposite of green is magenta. I think of that one as general manager, Um, and Magenta is a hot pink, and then the opposite of blue is yellow. Think of that one as Brigham Young. So it's obvious here from these numbers that that point, which should be equal parts red, green and blue that we have a lot of blue in there, more blue than anything else. We also have a slight shortage of red because it's below this middle number here, a slight shortage of red, which means we have the opposite of red. So we have a science. So we basically have a strong blue and a slight scion cast in this area that I believe should be neutral. What we're gonna do now is go through the little one click solution and I'm gonna show you how it will neutralize not just the spot where you click but every pixel in the scene. In other words, it's going to shift the color balance, or you can think of it is the white balance of the entire scene to remove that color cast from everything. So what I'm gonna do is go, um, here into the adjustments panel, and I'm going to add a curves adjustment layer. So I like to click right here on the curves icon. But keep in mind if you prefer, you can go into the layers panel and you can click here and choose curves, or you can go to layer and choose new adjustment layer curves. Any one of those is going to work. Now. When I add my curves adjustment layer, I'm going to hold down option on the Mac or alter on the PC. And that's going to pop up this new layer dialog box by holding down option or all that gives me the ability to change the blend mode right from the start and the key to color balancing. This is to effect just the color balance, but not the brightness, the contrast or the saturation. And there's a blend mode that will make that happen. We're changing this from normal to color blend mode. Now all we're going to effect is the color balance press. Okay. And one other thing I want to point out if if you forgot to hold option or all when you clicked on this icon, you can still go into the layers panel and you can change your blend mode right here. By default. It's gonna be normal, and you can choose color right there. All right, now, I'm gonna go over into the properties panel where I have that curve. If you're in a version, um, a Photoshopped prior to CS six, it's gonna be the adjustments panel. And in here, what you want to do is find this set gray point dropper. All right, They think of this is the mid tone dropper. So I'm going to click on that now. I am going to hover over the point that I believe should be neutral, and I am going to click now. It'll take your eyes. A moment to adjust. When I first looked at this and think, Wow, that's really yellow But that's cause I was staring at blue. I need to let my eyes sort of settle in on this and adjust to it that one click Let's go into the info panel. That one click changed our numbers so that we have almost It's not perfect cause I didn't click right on that spot. But we have almost equal parts red, green and blue said these air the before adjustment numbers and these air the after adjustment numbers. We have almost equal parts red, green and blue. We have a slight predominance of red, um, and even slider amount of green, then blue. So there's a very, very, very subtle red green cast going on in there right now. but it's so so it's not really going to matter. But if for any reason do you do this color balance and you want to alter, I'll show you how to do that. But before I do that, I want to show you that, um with this curve using this great point dropper, you could click on anything in this scene like I could click on that red coat. That's not gonna neutralize the scene, cause red shouldn't be neutral. So undo that. I could click on this. I can click on anything and just see what happens. Like down here should be fairly neutral looking a little bit warm a little bit orange to me when I click on that. But the nice thing about this trick is, once you click on this dropper, you can move around your picture and click on different things and see if it will neutralize the scene until you find just the look you want. That's actually really good. I clicked right up here, and I'm really happy with that. Yeah, that is, um that's pretty great. Right up in there. Uh, so that worked out a little bit better than this spot here. But you can keep clicking until you get a neutral seen, Um, assuming that you're clicking on something that should be neutral. Now, if you want to make an adjustment, So here's our curves layer right here. I want to make an adjustment to the curve because when I look at these numbers, um, well, you know what? Forget about the numbers. Let's just do it visually. Assuming we have a color of calibrated display, just do it visually. What I can do is go into the properties panel. And by the way, if you ever show up in the properties panel and you don't see your curve and you know you're on this layer, just double click right here and you you know it will bring up that curve because if you had double clicked right here, it brings up in properties. It brings up the mask so that that's where a little confusion can come in. But let me just look at this. I'm going to go into the Blue Channel because I feel like it's a little too yellow and I'm gonna click right here on this point that's already on the curve, and I'm going to use the arrow key, and I'm gonna bump it up slightly toward the word blue. So I'm adding back a little bit of blue because I wanted to be a little bit cooler than it currently is. So by driving this up toward the word blue and I'm going straight up using the arrow keys that is adding back some blue I could come on in here to read. If I feel like it's a little too red, I can click on this point that's already on there, and I can drop it down away from red. So, in other words, I'm heading. It's opposite, which is science, and that I had come to green click on this existing point. And if I want to remove green, I move away from the word green straight down. So to my eye, that looks extremely neutral right now. If we look at the numbers, that specific point is very close. It's not perfect, but it's very close to being neutral and again the numbers help. But they're not the end all be all, um, is that right? Be all end all and all bl so it's nice to be able to read the numbers, but ultimately your eyes have to appreciate what you're seeing. Let me show you. This is before we made our adjustment, and here is after and keep in mind, that's all done with one curves adjustment layer in color blend mood. Using this great point dropper and clicking on something that should be neutral. That's the whole idea that is going to neutralize your seen in just one click. 5. The Sledge Hammer of Color Correction: this lesson is called the sledgehammer of color correction, because we're going to be radically changing the color of a subject. If you want to subtly change the color of a subject, then odds are you're going to be visiting the adjustments panel and adding either a color balance adjustment layer or a curves adjustment layer. More often than not, I use color balance for suddenly changing the color balance. So, for instance, say I have something that's purple, and I like it to look ever so slightly more bluish than I would use a color balance adjustment layer to do that. But sometimes you have a subject that is, say, read like this canoe and you want to change it to blue. So we're talking of complete 1 80 on the color. If you want to make a radical color change like that, then you're going to be using a hue saturation adjustment layer to accomplish this. So where to Go ahead and dive right into this? I'm gonna go ahead and click right here on the hue saturation adjustment layer icon in the adjustments panel. And if I want to radically change the color, I have discovered that rather than trying to target the color, which means working with this on image control. Which, by the way, just is a reminder to go to this fly out menu. Here in the Properties panel, I have auto Select Targeted adjustment Tool switched on, and that means I can hover over a subject and I can click and drag and it will start affecting things. But what's it going to effect? Well, it's affecting saturation. I'm not trying to change the saturation here. I'm trying to change the hue or the color balance. And if I target Reds to do this because it looks like a red canoe to me, then when I pull the hue slider, if the things I'm trying to change aren't completely red, appear red that I can start to run into some trouble. So the way that I like to approach this when I'm ready to make that radical change is I leave this set to master, which means I'm affecting all colors in the scene equally with this set to master, which is the default, I come right down here to the Hugh Slider and I slide through the tonal or sorry through the color spectrum until I have exactly the Hugh or the color that I want. Then I come down the saturation and I control the amount of saturation for that subject. So now you can see I have a blue canoe, which is exactly what I want. However, because I did this change this. You change to the master here. Everything in the scene is affected, which means I'm gonna have to do a little bit of precision masking in order to isolate that correction to a specific area. But the the radical color shift is just Azizi is adding a hue saturation adjustment layer, leaving it set to master and pulling the huge slider. It's that simple now to isolate its require a few more steps. All right, so I have the mask active right here for the hue saturation adjustment layer. I am gonna go over to my very good friend, the quick selection tool. All right, I'll choose that, and I'm going to paint on this canoe. I'm even gonna paint in the reflection because I need that. Look how quickly this made the selection. It is really beautiful what this quick selection tool is capable of. But um, having your subject a little bit isolated from what's around it without a bunch of, um, tonal similarities is gonna help. And ah, in this case, it's a really nice subject for this. Some subjects are gonna be even easier than this, and some will require a little bit more patients. I do have a dramatic portrait compositing video tutorial series where I talk about making extremely detailed selections. Ah, so that Syria's might interest you if you really want to know how they get in there and do super detailed selections just going right along that edge right there a little bit. I can see that. That might be a little bit tricky in there. Okay, so now I'm on the mask for this hue saturation adjustment layer that's making the radical color change. And what do I do with the mask? Will remember. A white mask represents where this adjustment layer is having full impact. Black Mask means that it's having no impact. So I really want this to be having an impact right in here, changing the color of the canoe, and it's reflection, but not out here. So that means I want to fill this area outside of the selection with black. So what I'll do since this is currently selected, I'll come up here to the select menu and I'll choose Inverse. So I'm inverting my selection. So it now has this area selected. And now I want to fill that with black. And I can accomplish this by choosing edit Phil and using black. Now, normally, I'd press okay, but I'm gonna hit Cancel because I want to show you a keyboard shortcut for accomplishing the same thing. Black is my foreground color. If I press option delete on the Mac Ault backspace on the PC, I'll get what I want. If black were my background color, that would be command delete on the Mac or control backspace on the PC. All right, so here it is. I'm gonna choose select D Select, and you'll notice now that we have shifted the color of both the canoe and the reflection. Unbelievable. Beautiful. And we're almost done. In some instances, you're gonna be completely done at this point. Oh, by the way, here's the mask, just so you can see that. But in some cases, you might want to do a little refining for instance, I'm just seeing a little red still right here. I want to refine that. What I can do is still on the mask. I can choose select refine mask and I can come in here, make sure that I'm viewing this on layers and I can play around the sliders. Sometimes the radius slider will work. Let's see what happens if we combine that by the way, before and after is this check box here? Or you can tap the peaky and shows you right there before and after. So definitely got better there. Um, if I want to refine it even more, I can shift the edge a little bit. I can play around with the contrast, play around the feathering, which is the softness that doesn't work. I get to smooth it out a little bit. Let me shift the edge back. It looks like it's Here we go. It's just a matter of playing around with these things until you get it where you want it real close right now. It's not perfect, but it is an improvement over what I had. So anyway, playing around these sliders, you're gonna get to a point where your Mass is going to do what you want and then you want out. Put this to a layer, mask your press. OK, let me show you the before and after I'm holding down option or also and clicking on the mask. Here's before and here is after Okay, before and after much cleaner mask. Now, another thing. If you have areas that you want to change, like for instance, when I look into here, this looks a little bit reddish to me. I'm so I might want to shift that a little bit. You can always paint on the mask. So, for instance, I can click on the mask, grab the brush tool here. I want to paint with black so I can swap my colors by clicking on this air or tapping X. Then I come right in here, making the brush bigger with the right bracket key, and I can click once and then shift click. I'm drawing straight lines and then shift click. So I'm holding down shift the whole time, and I'm just drawing straight lines right through here, just like this kind of driving that back more toward a neutral color. And again, some cases you'll have to do this. In a lot of cases, you won't have to deal with this. So the shift key really helps you draw those straight lines. But now I can see that that's more neutral. I like the way it looks better. So anyway, Ah ah Hue, saturation adjustment layer Oops and up. Some on the mass there have to double click this. There we go. And we left it set to master pulled the hue slider until we had the color. We want played around with saturation to determine how saturated that new color is. And then we isolated it by working on the mask and you can paint on the mask. Or in this case, we used the quick selection tool to make a selection. And then we filled parts of the mask with black, and our result is going from a red canoe to a blue canoe, a very radical color shift. Pretty cool 6. Fine Art Color to Black and White Conversions: in this lesson, we're going to explore a truly powerful way to convert an image from color to black and white. You're going to begin with a color picture. So we're gonna work with this one right here. This is an HDR. You'll find that HDR color pictures work really well for this technique. But any color picture that has ah lot of, um, tone ality. So a lot of ranges of brightness and a lot of different colors is going to be an ideal candidate for this. And we're going to be using photo shops, black and white adjustment layer. But we're going to go beyond using a single black and white adjustment layer. So in order to begin this process, we're going to dive right into the adjustments panel, and we're going to click right here to add a black and white adjustment layer. Now you'll see that by default, photo shop is going to do a conversion to a black and white. That it thinks is is good. But you have a lot of choices beyond this. So where to come over here to the presets? Pull down and we're going to slide through these presets until we find one that we like? Of course, this is gonna be different for everybody, but I'm just looking for a preset that has, um Ah, look that I like. And I like the green one so far. I also like the high contrast red just gonna slide down through all of these until we find one. That is a very good starting point. I'm gonna go with the yellow filter there, several that I like, but I think I'm gonna go with the yellow now. I'm thinking of this as a starting point, because now what I can do is actually modify colors in the scene that already exist. In other words, I can take the yellows and make them brighter or darker. I can take the blues and make them brighter or darker and easy. Way to do that is here in the properties panel. Um, soon, as soon as you start working photo shop, I recommend changing this option. Here. Go ahead and check this so that it says auto select targeted adjustment tool. Get that turned on. That means that this is going t be switched on by default, which means you can go right over to your picture and start clicking and dragging. If this isn't switched on, then you'll need to do that manually. We're gonna pop over here. I'm gonna make the grass is a little brighter by clicking and dragging. So when I go to the right, they get brighter. I like to go too far and then come back a little bit. Go. Something like that, maybe. Now come over here. Let's see. I think the barn shares the same colors as the grasses It does. So it's hard to affect those two independently, Um, knowing that I can do something here in just a moment, cause I think I don't think I like to affect those two independently. Here we go. All right, now, I'm gonna go over here to the car, the blue car, and click and drag on that. Now again, as I brighten or darken the car, it's impacting the sky. So those cannot be affected independently with a single black and white adjustment layer all blues in the scene of currently being targeted. So we get the car where I want it. We'll go with something like that. And now we have a sky that looks like this. If I want to affect the barn independent of the grasses or the sky independent of the car, I need to do something more. So here's what we're gonna do. Let's just say that we want to affect the sky independent of the car. In order to accomplish that, we're actually going to add a second black and white adjustment layer. But when you initially add this black and white adjustment layer, it is going to be looking at this already black and white picture, and a black and white adjustment layer has absolutely no impact. When it's looking at black and white. It only works when just looking at color. So we're gonna have to fool the second black and white adjustment layer into thinking that it's seeing color. And the way we're going to do that is get the second black and white adjustment layer. It will be stacked up right here to actually look through this first black and white adjustment layer at the color background layer right here. All right, so we're gonna go into the adjustments panel at a second black and white adjustment layer. We make changes here. We can't see anything actually happening because it's currently looking at the black and white picture. Okay, To make it look at the color background layer, we need to go into the layers panel. Here's our black and white to adjustment layer. And we need to either double click in this empty space right out here to bring up the layer style dialogue. Or we can go up here under the layer menu and choose layer style blending options. Either way works fine. Either way, and in order to make this layer look all the way down at the color background layer, we're gonna change the knockout here from none too deep now knows how that change things okay from none too deep and press. OK, All right. Now we want to get into the second black and white adjustment layer and make some changes because we're trying to in this example, I'm saying we're trying to independently change the the sky, so I'll double click right here on this icon If I want to independently change the sky. Of course, I can slide down through here and look at the different presets or I think an easier approach on this one is to go right in and start working on the picture. Now you'll notice that for whatever reason, this isn't breast down right now. This button is not switched on. I'm not sure why, but doesn't really matter. I can just click right there that I can hover over the blue sky. And I can impact it now as I make it darker. Sure enough, it's impacting the car, too. But it won't be for long because we're gonna work on the mask, so I'll make the skies dark. Is I want it. Say maybe that dark right there. Go back to the layers panel, Activate the mask for this black and white adjustment layer. And I really just want to affect the sky, which represents maybe 20 25% of this picture. Since that's a small percentage, a local targeted correction. I'm going to invert the mask. I'm gonna choose image adjustments, invert or command or control. I So I've hidden the impact of this black and white adjustment layer. What we're doing now is a local correction. So I'm working on the mask. I've got the brush. White is my foreground color. I'm 100% opacity. I want to paint on just the sky so I could get a darker sky. As I paint over it, I say to myself, Well, it's getting darker, but not as dark as I want it to be, So I'll double click right here. Take me right back into that black and white adjustment layer, and I'll move this until the sky gets closer to what I want. I'm kind of just pretending here, actually don't know exactly what I want, but I'm pretending. So we get the idea of what to do here. All right, there we have it. Now let's say that we won't affect the grass is independent of the barn. What? We're going to need another black and white adjustment layer. So we're gonna repeat kind of the same process. I'll go into the adjustments panel at another black and white adjustment layer. I need it to peer through to this color background layer so I can double click here, or I can choose layer layer style blending options, and I can. I said, it's a deep knockout. All right. Now, um, I can double click here, go into the properties panel, and I can make my grasses do what I want. So I click on this. My grasses look like that. Maybe. All right. Now I want to isolate that to just the grasses. So I go into the layers panel, click on the mask for this one, command or control, I it which is inverting it to black and then use the brush tool a white brush tool and paint over these grasses just like this. I could even be a little bit sloppy here, because if I bump into the car, it's not really gonna have an impact as the car is blue. I can look at my Basque by option or all clicking. And I could just see that I missed a few spots here. Optional click. I want to change that grass. I just double click here. And I know the grass tends to be yellow and photo shop. Maybe I wanted to. I don't know what I want. Maybe I want to be somewhere around there. Okay, so now this layers just impacting the grass is making him a little darker. The slayers just impacting the sky and this layer is Well, you can't really see that one. Well, that's kind of our initial initial changed our initial overall change. Here's just the sky and here the grasses. Now, one more thing you can do to make your black and whites even stronger is you can add a curves adjustment layer and do local targeted corrections with curves. So we'll do that, say, on the car here. In fact, let me double click on this on to make the car a little bit brighter just so you can really see this. There we go. All right, so I'm gonna add a curves adjustment layer. I'm not gonna go into great detail about curves right now if you want to know how to use curves for targeted corrections Um, listen to lessen three in this series, Lesson three, part one talks all about curves. So I go into the adjustments panel. I'll click here on the curves icon. Now I am going to hover over a bright part of the car, not the brightest but kind of a generally bright part of the car, and I'm gonna click and drag up to make it a little brighter. I'm adding contrast here. I think that's my goal. Go up to make it a little brighter. Don't go to a generally dark part of the car. Not the blackest but kind of a generally dark part. And I'll drag down. So I'm steepening the curve between this point right here, which is Ah, highlight with some detail, not a lot. And this point right here, which is a shadow with detail from steepening the curve. Steeper curve. More contrast. Okay, now I want to isolate that to just the car. So I go to the mask, command or control. I invert the mask to black, grab the brush whites, my foreground, about 100% opacity and flow. And I paint over the car, just the car. And that means I'm going to get a little bit more punch, a little bit more contrast out of the car. Just like that. You can see years before and here's after. So we went from here to here, which is a nice looking black and white. But then, via additional black and white adjustment layers that we set to Deep Knockout moved, we were able to independently alter colors that exist in more than one location in the scene. So, for instance, here via the deep Knockout mode and the mask. We were able to alter the blood three blue sky independent of the blue car. On this adjustment layer, this black, white, black and white adjustment layer set to deep knockout mode. We were able to alter the grass independent of the barn. They share the common color yellow, but we were able to alter the grass independently through deep knockout mode and the mask. And then up here, we used a curves adjustment layer to add more contrast to the car. And, of course, we could add other curves for the barn and the grass and all these other areas. By the time this is all said and done, you can have an absolutely phenomenal fine art black and white image. So here's our before, and here's our after. That's a lot of fun, huh? 7. Black and White Infrared: If the glowing high contrast look of black and white infrared appeals to you, you're going to love this lesson in this lesson. We're going to transform this color image into a black and white infrared. You're going to find, ah that if you watch the previous lesson fine art color to black and white versions. The first portion of this technique is exactly the same as that one. But then we're going to spin off in another direction that's going to impart that unique, ethereal black and white infrared look. All right, So to begin the process, we're going to start with a color image, and we're gonna go into the adjustments panel and add a black and white adjustment layer. Now, when we're working with fine art, black and white were generally moving through all of the presets to see what's possible. You can definitely do that with black and white infrared, although I have discovered that most of the time it pays to begin with either the green filter, the high contrast red filter or the infrared filter. Actually, these are presets. I'm calling on filters, but anyway, one of those three is gonna be a great starting point. I'd say more often than not, I begin with infrared. Now, as I look at this, it started to look like an infrared, but it definitely has some issues. For instance, these white areas here are completely blown out, and I don't want that. So I'm using this infrared preset Justus a starting point. Now, what I'm going to do, since this is depressed by by fault, this button is switched on. And that's because of this being checked. I could move right over the picture, click on an area like this. Graphs and drag left to darken or right to brighten. And I'm trying to get to the point where there is detail in that foliage, but just a little so maybe right around in here is where I will leave that. Now, the boat out here. I think I like it that dark, but let me go ahead and click on this red boat, play around with it a little bit after Mitt. I'm gonna brighten it up a little, but not much. I like it pretty dark. And then the water. I suspect the water Well, actually, the water is it has some similar characteristics to the grass. So you gotta watch the grass when you do this. But, um, kind of set that right in there. All right, this is looking pretty good. It's already starting to look like a black and white infrared. And by the way, the characteristics of black and white infrared are you have You tend to have glowing very bright white foliage are you tend to have extremely dark, almost black skies. So there's a lot of contrast and a lot of glowing foliage, and that really defines that. You also tend to have, um, some noise, especially if you were shooting with actual film. And I like to add a vignette as well. So now that we have this starting point in place, where to go back into the layers panel and we're going to add a blank new layer by clicking right here, all right, now what we want to do is select the bright, luminous foliage. We're gonna do that by choosing select color range, and we're going to click on a bright part of the foliage like right here, and then we're going to move the fuzziness slider until we see a bunch of foliage areas here that are selected now. When I say selected, I mean, if it's white, it means is about to be selected. And if it's black, it's not going to be selected. If it's grey, it's gonna be kind of, Ah, partially selected. But you don't want to go this far where everything is selected and you don't wanna go to here where barely any grasses selected, all looking for something in the middle and this just take some experimentation to come up with the selection that you like the most. You go with that and I'll press okay, They could see the marching ants are crawling all over those bright areas those air now selected. We have a blank new layer. What we want to do is fill these selected areas with white paint so we can choose Edit Phil , and we can use white. But in this case, I'm gonna cancel out. I mean, use a keyboard shortcut by press a d. I get my default foreground and background colors. That's the same thing, is clicking on this little tiny icon right here. If I want to fill with this background color, I can press command delete on the Mac or control backspace on the PC. I've now filled that layer with white paint within the selection. I'm going to choose select D Select, get rid of the marching ants, and I want to blur this, and we may as well do that non destructively. So we're gonna go appear to the filter menu and choose convert for smart filters. Now we're going to choose Filter, blur, galaxy and Blur, and this is going to impart that glowing look to the foliage. Actually, that's lovely right there. Wouldn't change a thing. Crank this up more and show you what happens and good unless it's completely subjective. How much glow you you have here? I might go with something kind of like that. Here's before. Here's after as a beautiful glow. One thing I will say about it is I've lost maybe just a little bit more detail in these regions than I would like. So to restore that detail, all I have to do is take the opacity for this layer and reduce it, and I like to click on the word opacity and use the scrubby slider here to change that opacity that might go with something kind of like that. There we go. Now, if this glow, um, isn't intense enough, you can always make it more intense by pressing Commander Control J and duplicating your layer. And that will make the glow even more intense. I'm gonna undo that with command or control Z, I'm gonna look at this the past again. Once I saw that brighter, I just I kind of like it right. I'm going back to 100% going all the way there. Why not? It's looking good. This definitely has a look of a black hornet for red. But I want to simulate the film. Look. So that means my next step is to add some noise. We can add that noise right here in the background. So I'm gonna activate the background layer. I want to do this non destructively, so I'll choose filter convert for smart filters and they don't choose filter noise. Add noise. Now, when you do this, you want to be viewing your picture at 100% magnification. Mine is at 100% right now because this is a low rez file. If you ever want to get to 100% very quickly, simply double click on the zoom tool, and it will automatically take you to 100% magnification, meaning what you see on screen is as much detail or even more detail, than what you'll see on a printed page. It's as much detail is what you'll see on a Web page if you're up printing to screen. All right, so we're to choose filter noise, add noise, and in here you want to make sure monochromatic is checked. You can go with galaxy, and I'm sorry, uniform or galaxy. And it's your choice, depending upon which, look you want, um, either one is gonna look great. I'll go with uniform and they can play with around around with the amount slider until you have a suitable amount of noise and secure 100% magnification. You know that what you're seeing is consistent with what other people will see on a website . You know that what you're seeing is consistent with what will come out of the printer. Although truth be told on a printer 50% magnification, it's probably gonna give you a slightly more accurate look. It's gonna be a close call. I'm gonna go with that right there, Just a little bit of noise in the scene. So before after. Okay, now let's finish this off. I think it look nice if it has a bit of a vignette. I vignettes seemed to work with black and white, and they seem to work really well with black and white infrared. Again, we can do this non destructively to this very same layer by choosing filter lens correction and in the lens correction dialogue. What we can do is pop right over here to custom, and in the vignette section we can move the amount slider to the left. I do a pretty substantial amount of vignette ing. We could move the midpoint here. I don't really want that encroaching into the boat. I'll do that. See, this encroaches more. This encroaches less and I'll press. OK, here's pre vignette. Here's Post Finn yet, so we now have the look of a black and white infrared. Keep in mind that if you want to further refine any elements in this scene, you can always click on the top of the layer stack. Here, go into the adjustments panel and add a curves adjustment layer and you could make further refinements again if you haven't listened to the lesson on, um, local targeted corrections using adjustment layers. That's where you're gonna learn everything you need to know about curves. All right, so let's take a look at this image, and it's starting form as a color picture and in its finished form as a glowing high contrast black and white infrared. 8. Combining Black and White with Sepia or Color: in this lesson, we're gonna talk about how to combine black and white with sepia tone or color to begin the process where you're going to combine black and white with CPS. So we're gonna work with this image that you see right here. And our goal for this image is to make the boats black and white and to make the water around the boats. See Peotone. So we'll show you how to go through this process. First thing we're gonna do is dive into the adjustments panel and we're going to add a black and white adjustment layer. So we'll click right here to add the black and white adjustment layer. Now keep in mind what your subject is here and what you want to make. Black and white I want to make the boats black and white. And so, in other words, as I cycle through the presets here, I want the boats toe look their best in black and white. So I'm really paying attention to them and not the water around them. So I just cycled down through here. Green is kind of interesting. Lighter is also nice. Whatever we choose here, we can change it after the fact. So you're not stuck with anything, cause adjustment layers are completely non destructive. All right, let's see here. So I like green. I liked yellow. I think I like green better. And let's see here. I think I liked maximum white. Let's look at those two. There's maximum white, There's green. Let's go with maximum white and play around with that just a little bit. Gonna knock this back just by clicking and dragging to the left. And that's because the on image controls or active here trying to knock this all back a little bit. There we go. That's looking pretty good. Okay? And again, we could change this after the fact. So we have our black and white image. Now what we want to do is returned to the adjustments panel and add another black and white adjustment layer. Only this time the black white adjustment layer is going to serve as a psi Peotone layer. So I'll click right here, and in order to tone and image, you want to check this box right here that says tent and the default is actually a C Peotone right here. If you want to change that tone. You can come right up here and click. And then you can either pick a different brightness value in here so brighter here, darker here or something more set more saturated over here or less saturated over here. In addition, you can choose other types of toning. So this is C p a. Here. But you could do a scion a tone right up in here. You can do all sorts of different color tones just by sliding through this pillar of color . And then you can change the brightness and saturation of that existing. Hugh, by playing around with this box of color, I wanna press. Okay, I'm just gonna leave this at default right now because something I like to do when I'm working with sepia is I like to actually go into the layers panel and cycle through the blend modes here to see if there's a blend mode that will produce a cp effect that I like. You want to cycle through these blend modes? What you do is you activate the move tool and then you tap are you hold shift and tap. Plus, now, when I hold shift in tap plus watch what happens both to the picture into this pull down menu shift. Plus, we're getting different looks and, in fact, right off the bat that multiplies pretty awesome. Like that type of toning there. So holding, shift tapping, plus cycling through shift minus will take you back overlays Fantastic. Soft light is nice. Hard light is lovely. Oh, man, So many good choices here. I think I'm gonna go with somewhere between hard light and over light one of these Well, that's why I like them both there the same. All right, so there is our toning now if it's too much, you can always pull the opacity slider here and knock back the toning wherever you want it . But I really like the way that looks now. What I want to do is knock a hole through this black and white layer that is toning the image to reveal the black and white boats on the layer below. So I can either grab the brush set. Black is the foreground paint with 100% opacity like this, or in the case of something that's a little more complex, like these boats. What I can do is I can grab the quick selection tool and I can start painting with it to make a selection and spilled outside. I don't worry about that. I'm shrinking it with left bracket key here, and I actually like it going into that reflection in the water up here. I want to get rid of this. I'm holding down option or all, and I'm subtracting that region right there going to go up to this boat and start painting over it. Now, One thing about this process, since this image already has a texture over laid and I love of relating textures of that sort of thing excites. You have got a video tutorial, Siri's called Photo Shop Impressionism and another one called maximum Creativity with filter forging Photoshopped. They talk a lot about working with textures, so I've already got a texture over late here, and so this scene has a little bit of a grunge look to it. So I'm gonna show you a really neat trick coming up here for, um, working with sort of the grungy look of this in combination with exactly what we're doing right now, which is combining black and white with CPS. I want to subtract this area here. So again I hold down Option or Ault subtract thes out. Didn't subtract that. Here we go to track this out Here, subtract this region down in here. I'll add that back in. I kind of play around a little bit. There we go. That's pretty good. Okay, so I have a generally decent selection here, and that's all you're really after when it comes to the effect that we're about to accomplish here. So I'm on the mask. I've got the selection. What I want to do is punch a hole through this toning layer to the black and white layer below to punch a hole. You fill a selection with black so I can choose edit Phil and use black. Or since black is my foreground, I can simply press option to lead on the Mac or alter backspace on the PC, and it punches a hole just like that. Now, a couple things need to happen to make this work still not quite working. We need to choose select d select and get rid of those marching ants. Now, if we want this area here toe look a little more organic, just sort of kind of flowing mingling with the existing water. What we can do is activate the mask and choose select refine mask. And in here, if we really push the radius slider up with all the way to the top, don't do that. We really push that radius slider. Notice how it is making these areas look much more organic. It's even allowing some c p A to come in right up here, which I think I like. I'll paint it away and see. But that little bit of mingling of CPI up there is kind of interesting something about this particular picture that really works for me. With that. I'm viewing this, by the way, all in layers. That's usually my default. And here's before and here's after so it looks less like a cutout and more like you're really intentionally blending the black and white with the C p. A. We want to output this to a layer mask, all press OK, and now let me show you the mask. Actually, here's before. Here's after. Look at the difference before and after. Now, if I want to bring back some of this Ah, black and white up here I can grab the brush and you guessed it. I can paint with black, but I'm not sure I want that. I kind of like that mingling of the two. So I'm not entirely sure this is what I want. Um, I actually think in this picture, I'm gonna let the CPI a leak in up there, and I'm gonna be real happy about that. Um, I love that look now the black and white here. Not quite what I want. So I have two choices. I could either double click here on the original black and white layer and play around with these sliders or I can add a curve. My choice might just open that up the reds of a little bit. Let's to have to play around the yellows greens. Oh, yeah, that is looking good science, really liking the way this is working. No, you go. So that is playing around with the sliders in the original black and white layer or and come to the top of the stack here, go to adjustments and I can add occur, um, I say it myself. I want this bright area to be a little brighter, so I click and drag up and this dark area to be a little darker. So I click and drag down. It's adding a little contrast, actually those two or to close in value because when I worked on the dark one, it didn't place another point on there. So I'm going to a different one. I did, Commander Control Z, something like that. Now I want to isolate that to the boats. So what I can do is borrow this mask that I have here option or all dragged the mask up just like that. And now, actually, it's affecting everything but the boats. So I need to invert this mask. So with this mask active, I can choose image adjustments, invert or commander control. I now that is having an impact on Lee on the boats. I'm gonna paint that away. I'm from these really bright areas using a brush 100% opacity and black got a little too bright out here. So painting it away from right in there a little too right along there as well. So there you have it. We've now combined black and white with CPL. Here's the original image. Here's the black and white version. And here's the C B A version with a little bit of, uh, curves for contrast as well. So that is combining black Mississippi. And now we're to use virtually the same principle. Here we go by in black and white with color. So I'm going to restore this back to its original appearance, and we're gonna bind Blagoy with color. This is actually even a little bit simpler. We'll go into the adjustments panel and we'll add a black and white adjustment this time of the boats are gonna be in color and the water's going to black and white. So I'm paying attention to the water this time because I wanted to be really beautiful, um, water out there. So just looking at the water is I slide through these presets trying to find a good tone ality for it tend to like it a little bit darker. I think we just check something out. It's not blue, just just citing between green and yellow here, I want to go with Green, and I might not get back a little bit, so I'll come out here and just right there we go. All right, now what we want to dio is punch a hole through this black and white adjustment layer to reveal the color layer below and again as before rather than painting here, which certainly works. Painting with black woodwork. Going to use that quick selection tool because it made pretty quick work of these somewhat complex boats earlier. Let it leak down into the reflection shadow that the boat is casting there, flied up into here and do the same thing on this boat. If it leaks, don't worry. You always have the option key or Altana PC. You just paint that away. There we go. When a option or all paint this away, it's gone a little haywire up there. Your options are all paint this away and maybe just a little bit in here, option or all. Paint that away as well. Good enough. Okay, so we want to knock a hole through here, which means we need to fill that selected area with black. That's either edit Phil with black four. It's option the lead on the Mac, all backspace on the PC. As before, we will choose select D Select, get rid of the marching ants. It doesn't look like a smooth natural blend. So with the mask active, we will choose select refine mask, and we'll drag this radius slider. And I'm going pretty far. Here we go. Something like that. And this is your preview, toggle, or you can tap p before after output to a layer mask Here. Impress. Okay, look at that. Isn't that cool? All right. Now, um, we as as we did in the previous, um, combining black and white with sepia, we can control the contrast of these independently or this into independently. Let's just look here. Will go into the adjustments panel, Add a curves adjustment layer. Just going to see what happens if I just pump up contrast here. So I'm actually making the brightest whites a little brighter. The darkest blacks a little darker, just pumping up overall contrast in here. I can even put a point here, which is highlights with detail and drag up a little bit to brighten and then shatters with detailed dragged down a little bit to darken. Let's see the overall look of that. I like it a little better, although the whites here too bright, so I'll make sure the mask is active I'll grab that brush tool. Black is the foreground. 100% opacity and flow. And working with a soft edged brush, I almost always do when I'm painting on a mask. Unless it's something like a precise composite where I need ah, harder edge. Now I'm just painting over these areas right in here. Do not come back a little bit. There you have it. We have combined color with black and white, and we did that simply by, um, adding a black and white adjustment layer here. And then we knocked a hole through that black and white adjustment layer by making a selection and filling with black. And we made that hole so much more, Um ah, natural and organic, by choosing select refine mask. So, um and then we had a little bit contrast of the whole scene using a curves adjustment layer here. So that is how you combine black and white with sepia and how you combine black and white with color. Enjoy 9. Vintage Toning with Gradient Maps: in this lesson, we're going to create a vintage toning effect by harnessing the incredible power of a Grady INT map. So let me show you how this works. We're gonna take this image here. We're gonna impart a, um, kind of a t toning effect, but we're going to give it a teal twist. In order to do that, we're actually add two separate Grady int map layers. Now, Grady, it map layers are they are adjustment layers. So everything you do in them is completely non destructive. And they come with mask so that you can hide bits and pieces of the effect. If you want, we're gonna begin by creating ingredient map that is designed to impart a a t tone to the image. Now, before you add degrading map, you want to begin by making your colors over here the default colors. And you can do that by clicking right here on this tiny icon or by tapping D for default. Then you want to pop into the adjustments panel and come to this icon right here, which represents Grady in map. All right, Now, a Grady int map works like this. Essentially, you can impart color tones to different tonal regions of the photo. In other words, let me just single click here and this is what you want to single click here. It's gonna bring up the Grady Int editor. Right now the shadow regions are getting a black tone, and the highlight regions down here getting a white tone were actually going to apply a variety of different color tones. Or these air referred to his color stops throughout the spectrum, going from shadow into shadow with detail and then mid tone than highlight with detail and then whites. So in order to change the color here, we have to double click this stop and it brings up the color picker. Now you can play around with radiant maps all day long and come up with all kinds of different looks. What I'm gonna do right now is give you a few formulas in terms of the colors to use in order to get certain looks. We're going to do the tea toning right now. So on this left stop, we want a red value of 48 I'm pressing tab to get to the green here, a green of 48 and a blue of 85. So this is giving us kind of a bluish color that you see right here, and that's being imparted. I'll press OK to the shadow regions in this photo, predominantly to the shadow regions. You can see how it graduates right now, which means the highlights aren't getting it. All the highlights of detail are getting a little midterms were getting a little more shatters with detail, are getting a bit mawr, and then the pure shadows. We're getting all of it. Okay, Now we want to add another color stop right here, so I'm going to click. That's gonna add a stop. I want a position this at roughly 20 roughly 25% somewhere around in that range. And then I'll double click it and I'll change its color. And again, I'll use three different values here. So do 1 25 for red tab over to the next field, 35 for green and 75 for blue. This is going to create a maroon color sort of a maroon, maybe a cranberry 1 25 35 75 for this Stop press. Okay, so now we have this blue in the black is shadows or the deepest shadows. And we have this sort of maroon cranberry color in the, uh, uh, shadows with detail were to come over here. We're gonna add a stop to the middle so we'll click here. We want this to be located roughly at 50%. Saul, slide this over 2 50 Double click, and again, we'll drop in three color values Right here. Will use 2 22 1 53 and 1 48 This should give us kind of a peach looking color. All right. So to 20 to 1 53 1 48 And go ahead and press OK again. Were to do this with two more stops. We're gonna put another stop right here. You notice I'm not clicking on that because that controls the color midpoint or the graduation between these from clicking right here. And then I'm moving my stop to roughly 75%. I'm going to double click and plug in three more red, green and blue values here. So this is gonna be to 35 to 11. 1 73 I said 2 35 to 11 and 1 73 that's going to give us this beige color that you see here will press. OK, finally we're gonna pop over to this. Stop here, double click it. And for our highlights, we're going to add this color cast to 45 2 37 2 29 So this is going to be a very light, creamy beige for those highlights. Okay, to 45 to 37 to 29 press. OK, notice. We've added all these stops, so we have Ah ah, blue in the shadows. We have a cranberry here in the shadows with detail. We have ah, kind of ah, peach. In the mid tones, we have a Beijing the highlights with detail and we have a creamy light beige in the brightest values will press. OK, now let's go back to the layers panel and the way you can make this look better, cause that's a pretty intense effect right there. As you can drag the opacity slider, reduce the effect. I'm just gonna look at it. I can't really tell until I said it to something and then switch this on and off and you can decide how much of that effect you want. It looks pretty nice right there. Around 50%. That's a nice effect in and of itself. But just so you get the experience, we're going to do this with a second Grady int map adjustment layer. I'm gonna back this one down, Make it a little bit less intense here. Can also play around the blend. Modes will do that with second grade Ian map adjustment layer that we're about to add. All right, so we're back into the adjustments panel. This is going to be the teal twist. So we'll click here on the Grady it map icon. Then we'll click right here, pops up the Grady int editor. And this time we're gonna set our blacks to a lovely teal color. So we'll double click here and we will plug in these values Ready. Where to go? With 12. 1 49 1 51 12 1 49 and 1 51 We got a beautiful teal color press. OK, now we'll come over to the highlight values. Double click this stop and we're gonna make this a creamy beige color similar to the highlight value that we did for the tea. Toning a moment ago. So that's 2 40 2 35 2 12 Don't hesitate to play around with your own color combinations. You're gonna come up with some great stuff if you just spend some time playing around here because Grady it maps. I mean, it's amazing that you can add all these different color tones into different tonal, different brightness values in the picture. It's very powerful. So to 42 35 to 12 press OK, I'll click. OK, here. Now again. It's a very intense effect, So we want to play around with blend modes and opacity. I'll start with blend modes. Now you can cycle through these by activating the move tool. And then she holding shift and tapping plus well, you to cycle through these. Now I know where I'm headed on this one. But look at all the different choices. Lighten is actually really beautiful. There. You're gonna get a lot of different options. The one I'm interested in is soft light, and I'm going to drag the opacity here, scrub that on over to the left until I get just the look I want. And I like something kind of around in here. So there is the teal twist happening on top of the, um t toning that we have right there? So here's the original photo. Here is the tee. Here's just the teal twist and here's the tea and the Thiel twist. So we went from here kind of ordinary but beautiful picture to here, which has a very vintage look and combining that t toning radiant map with the teal twist. Radiant mouth really gives us this kind of beautiful vintage. Look, we're gonna talk about some other vintage looks in upcoming lessons, but this is vintage toning with Grady int maps. 10. Creating the Popular 1970s Retro Look: in this lesson will recreate the nostalgic 19 seventies film look complete with a prominent red cast and film burns caused by light leaks. You want to be sure to begin the process with a subject that looks like it could date back to the 19 seventies or earlier. So we're gonna work on this subject that you see right here, and the first thing we're going to do is affect the color balance, and that can be done via the adjustments panel. Using either a color balance adjustment layer or a curves adjustment layer, they're both effective. We're gonna work with curves today just to give you a better sense of how simple it actually is to effect color balance with curves. So we're adding a curves adjustment layer here, and instead of working in the RGB Channel, which effects, brightness and contrast, were actually going to target the individual color channels. Specifically, we're going to begin with the Red Channel and in the Red Channel. What we want to do is we want to add a little bit of red to the mid tones. Now, if you watch the lesson on local targeted corrections in photo shop, then you know that this part of the curve represents the shadows. This is the shadows with detail. The mid tones highlights with detail and the bright whites. So if you want to apply a color cast to any of these tonal values, you start by targeting the total value you want to effect, and I want to effect the mid tones. Now, if I want to add red to the mid tones, I simply move straight up toward the word red. I want to remove red, then I move straight down. Now, this is where it pays to have a sense of what the complementary colors are. The opposite of red is scion and think of that as RC Cola and think of science as a beautiful Caribbean Ocean. Beautiful turquoise. The opposite of green is magenta. You think of that as General Manager. Magenta is a hot pink, and I'll actually show you that specifically coming up soon. And the opposite of blue is yellow. Brigham Young. So we're going to target the Red Channel. We're gonna work on the mid tones and we want to add a little bit of red into the Midtown. So we're gonna move straight up toward the word red here, so we'll just do this. And since this is an adjustment layer we can play around all we want. We can add a little bit of red and we can change your mind later so we don't have to get the exact right amount right now. Now we're gonna move on to the Blue Channel right here so that we can toy with the blue and yellow color balance and we're going to begin by coming here to the deepest shadows. And we're going to add a whole bunch of blew into these. So we're gonna move this up to here at least here. Sometimes I'll even go higher, but we'll move it up to right here. Then we're gonna go up to the highlight values right here, and we're going to add the opposite of Blue Brigham Young. So the opposite of blue is yellow, so I'll move straight down and we're gonna add a bit of yellow to the highlights. Not a ton, but something kind of like that. And they were to come into the mid tones for this blue channel and in the mid tone area. What we want to do is we want Teoh. Try to remember if I wanna move up or down here, let me just do this and decide. Get ah, buddy. We're gonna move down a little, I think There we go. Yeah, yeah, but, you know, you could move either way, but, um, I think I want to move down just a little bit here at a little bit of Yellowstone moving away from the word blue toe, add in just a little bit of yellow to the mid tones. Okay, so our curves adjustment layer has done this. It's taken us from here, which looks very natural and modern. Teoh here starting to get that look of vintage film with with ease, dreadful color cast and in a moment with some light leaks, I would actually move this one up just a little bit more. I want a little bit more blue in in the shadows right there. Okay. Now gonna go on to the layers panel and we're going to add a solid color fill layer in order to produce a magenta cast. Okay, so we're gonna come down to this spot right here. This is the create new fillers are adjustment layer icon, and we're going to choose salad color, all right? And we want a very vivid magenta. We know our magenta czar right here. I want something like that. If you want to get very precise with this, you can do to 55 red that's full on red to 55 blue full on blue and zero green, No green. So when you mix your red and your blue, you get that pure magenta that you see right here. All right, that hot pink to oppress. Okay. And we want to change the blend mode of this layer from normal too soft light, and that is going to impart this intense magenta cast way too strong. And we want to reduce that by coming up here. I'm gonna scrubby slide over the word opacity until I like the look of this. If you go to zero and then push it from there, maybe something kind of like this around 2025% looks pretty good. And again switch the eyeball on off and you could see before and after. So we've gone from here to hear now, definitely looking like that kind of nostalgic 19 seventies Ah, film. Now we're gonna finish this off by adding in some light leaks, which is a common thing, particularly with toy cameras. But some of the older cameras just weren't built as well and you got light leaks. So we're gonna click here to add a blank new layer. But I want to hold down Option or Ault while I click this and want change The blend mode here to screen and screen blend mode is going to allow us to add these lightly leaks so that they don't overwhelm the picture. They allow some of the tones from the underlying layers to pop through. Alright press. OK, then we want to come over to the foreground Chip and click here, Open up the color picker. We want to choose a very pure and bright red So to 55 red, No green, no blue full on red click. OK, I'm a shrink this down Just a little bit of holding space bar an option or state book space bar at all and clicking. I'm gonna grab the brush tool. I've had 100% opacity and flow have a soft edged brush and I'm just gonna come in here and put in some light leaks. So you see, you can just sort of just move through their kind of come up with whatever light leak areas you want. Let's do it now. Hear about something like that and I'm using Undo a lot Commander Control Z if I don't like where I painted, so that's looking pretty good. It's a bit intense, even though it's in screen mode, it's still a bit intense, so I'll reduce the opacity here for those light leaks. Here we go. All right. Now it's looking just like the leaks that ah tampered with the edges of our film back in the day that we're gonna have one more layer like this. So I'm holding optional clicking here to add another blank layer, and I would change the blend mode from normal to screen. Now, keep in mind if you don't hold option raw. When you click this icon, you can always change the blend mode right up here after the fact we're going with screen again. This time, we're gonna use a nice pure yellow, So click here, slide up through the pillar of color until I get a nice, pure yellow there it is. I'm all the way in the upper right corner, which means fully saturated, fully bright, beautiful yellow and, actually, technically to 55 to 55 0 is that's by the numbers. I'll click OK and them coming just into these spots right here, just barely letting that kind of encroach into those corners like this. There you go. That's looking good. Maybe a little too intense, so I'll back the opacity down until I get a little bit. At that effect. There we go, totally looking like light leaks. Here's prior to light leaks here is after. Here's the image where we started and here's where we are now. It's actually zoom that up a little bit where we started. And here's where we are now. Keep in mind if you ever want to make changes, it's totally easy to do. Based upon this workflow, for instance, say you want to affect the curve. Just double click on this icon. Target the channel. You wanna work on being read or blue and let's go to read and let's play around with this deciding. I want very little of that increase in the Reds for the mid tones here just a little tiny bit. So here's before, and here's after now you have the nostalgic 19 seventies film look. 11. Simulating the Russian Lomo LC A Camera Vintage Look: ladies and gentlemen in this lesson will recreate the look of a vintage Russian Lo mo. L see a camera. This budget camera produced images with a strong color cast. Often scion high contrast vignette ing and sometimes even blurs. So we're gonna have a lot of fun. Ah, simulating this Look on this particular image here. Now, this is an HDR scene. You certainly don't need an HDR scene. But HD ours do tend to work very well with this. This nice Loma look. So you use one or not, But definitely choose a subject that looks like it could be kind of an older subject for this particular look. All right, we're going to begin by creating a strong, um, blue, green and yellow tent, and we're going to do this using a grating map adjustment layer. So we want to begin by setting our default foreground and background colors here, which is gonna be black and white. So we can either click on this little icon here or we can tap it D for default colors. Now we're gonna dive into the adjustments panel and we want to find the Grady int map adjustment layer right here all right. Now, to affect the radiant map, we're going to single click right on this spot, and it's gonna bring up the Grady int editor. Now, what we're going to do is we're going to actually add color caste or tents to tonal rains ranges in this scene, and we're going to do it in a beautiful fashion using ingredient map. Now we're gonna begin with the darkest values in the scene. We're going to be adding a dark blue tone to those that were to go into the mid tone. So we're going to add a kind of turquoise, bluish tone, and they were to go over here to the highlights, and we're going to be adding a minty green tone. All right, so what we want to do is double click on this. Stop here, this shadow stop and again play around with these values because none of this is set in stone. But here are the values that I'm using to simulate this Russian Loma. Look, I'm setting red 23 green to six and blue to 41. All right, this is my deep blue. You can see it's an extremely deep blue. In fact, it almost looks black. Now we're to come to the mid tones and I don't want to click on here because this is actually controlling, um, the transition between these blue tones and these current white tones. So I'm just going to click right here to place another stop and then I can slide it to 50% . I can either type in 50% here, or I could just slide that over. Now it's at the midway point. I'll double click on this color Stop. This is where I wanna produce the turquoise ish blue color. So it's 31 red, 99 green and 1 47 Ballou said 31 red 99 green 1 47 blue. All right, it's given us this turquoise blue here We're sort of science blue. So click OK now, finally were to come over to this highlight value Stop, double click on it and we're gonna plug in values here to get the minty ish green 20 to 26 1 75 So 20 red to 26 green and 1 75 blue. And there we have that sort of minty looking green I'll press OK, so we've added a deep blue to the shadows, kind of a turquoise blue to the mid tones and then a minty green to the highlights press OK , and then head back into the layers panel and we're going to play around with this layer in order to make it blend better. Right now, it's just like we've added kind of a almost like a sigh and a tone to this scene. We don't want to do that. Well, we just want to add a cast to it. So we're gonna change our blend mode here from normal to overlay. You see, there's overlay and we can play around capacity and generally something between 70 and 80% works in here. I'm gonna go with belt roughly 70% on this particular scene. It will vary from scene to scene. Now we want to add that kind of ah contrast that is so common to this camera. And so we're going to do that using a curves adjustment layer will go into the adjustments panel and click right here to add a curves adjustment. And we're gonna use a classic s curve. Classic s curve basically means we're coming here to this point, which represents If you look at this bar down here highlights with detail, we're gonna brighten. There's just a little bit. We don't need a lot of that in this scene just a little. And then we're to come to this point. If you look on this bar, these air shadows with detail, we're click here and drag straight down, See down his darker up is brighter based on the bar, you see right here. So we're going to go down. We're gonna add some contrast through into the mid tones. That's what an S curve does. Um, and you can see by steepening the curve between the highlights with detail and the shadows with detail here by steepening the curve, we've added that contrast. We've gone from here to here. This scene doesn't need a whole lot because it's already pretty contrast because it began as an HDR. All right, now we're gonna head back into the layers panel again, and we're going to add a vignette to this scene, and we'll do that by starting with a blank new layer. This is our vignette layer, and we're gonna come over here to the rectangular marquis. I'm clicking and holding on it and choosing the elliptical marquee tool. I'm gonna click and drag this out on the picture and notice when you're clicking, holding and dragging your changing the size of the elliptical marquee. If you want to actually change the position, keep your finger on the mouse and add in the space bar. Okay, add in the space bar. And now, instead of re sizing it, I'm moving it. Now. Come down to here. So I let go the space far. I'm re sizing again and I have something that looks like that. Alright, so I've got elliptical marquee around their, um what I want to do. You know what? Here's what I want to do first. Actually, um, let me take that back. Don't have elliptical marquee yet. One thing I forgot to do. I need to fill this layer with black before I do the elliptical marquee. All right, so I want to feel with black, which means that I can choose edit Phil and I come here and fill with black, or I'm gonna cancel that. Since my foreground color is already black, I can just press option to lead on the Mac. We're all back space on the PC. Alright, Option to lead on Mac. All backs based on the PC will fill with your foreground color. Now that I filled that layer with black, I can grab this elliptical marquee and do what I did a moment ago. I just jumped ahead. I forgot to fill with black first. So here we go. So I added in the space bar there to reposition a little. And now I'm just re sizing purely with the mouse. Here we go. Okay, So here's our black field layer. There's are elliptical marquee. Now what we want to do is choose the inverse of that someone choose select inverse as going to invert the selection to this area right out here. And now I'm going to add a mask by clicking right here on the front loading washing machine icon. There's a vignette. Doesn't look like a good vein yet yet because we haven't refined it. First they want to do is soften the edge of it. So in order to do that, we're going to just double click right here on the mask. It's going to take us into the properties panel is going to take us into the masked panel in prior versions of Photoshopped. But in this version it's the properties panel, and I'm going to move the feather slider to non destructively. I'll say that one more time non destructively blur the mask so I could change this blurring at any point in time if I desire, which is pretty awesome. All right, so there's a vignette again. It's a little bit intense right now, so we're reduced the opacity of this one down to somewhere between probably 60 and 80%. Now go with maybe 70% on this. There we go. So we have our nice vignette right there. All right, this is really coming together. We have one last thing to do. We're going to create the little bit of blurring at the edges of the frame that was common to the ah, Russian Lo Mo. So in order to do that in the most straightforward fashion will hold down option or Ault and slide this over just a little bit. Come here to this fly out menu for the layers panel and we'll choose merge visible while we're holding optional. And that merges all these layers into one composite layer right here at the top of the stack. And we're gonna blur this layers that we want to do that non destructively. So we'll choose filter convert for smart filters, and they will choose filter, blur gals e and blur. We want to blur this. Um, it's really gonna vary depending on the resolution of your picture. But generally, somewhere between three and six pickles pixels is gonna look good. It really depends on what you want. I'll go with something like that is a low rose file, so stick closer to three press, OK? Right now, I want to just blur these edges right here so I could borrow this mask that you see right here. I could option are all drag that right up here. But I don't wanna have exactly the same look as this mask. So with this layer active, I'm going to choose that elliptical marquee tool. And as before, I'm going to drag this out, hold the space bar. I'm letting go the space bar exam no longer repositioning. I'm sizing. Here we go. I'm gonna choose, select in verse and then add a mask again. The blur is very abrupt. Here So I double click right here on this mask, and I can control the feather for it non destructively. So I can change my mind about this at any point in the future. Go something like that right there. And this ended up being pretty similar to the one on this layer Here s so I could have borrowed it. But that's OK. So here's the blur. So I want to break this down for you. Here was the radiant map for adding the strong blue, green and yellow tint. Here's curse for more contrast in the mid tones, Here's a black field layer with a feathered mask for a vignette. And then here's a composite layer of the top that I non destructively galaxy and blurred here on the smart object and a mask associated with that That's feathered. We started here, and we ended up here with a vintage Russian loam. OLC a look 12. Split Toning Effect: in this lesson, we're going to create a classic split toning effect. Split toning dates back to the late 18 hundreds and refers to a darkroom process where black and white images were toned to produce C P a colored highlights and gray or silvery blue shadows and mid tones. Of course, now that we've entered the digital era, you have the option to split tone with whatever colors you desire. So we're going to work on this image right here again. The subject matter matters. We want something that looks like it could date back quite a while a couple centuries in this case. And, um, we're going to begin the process by converting this to a black and white and black and white image using a black and white adjustment layer. So we'll dive into the adjustments panel, and we will click right here on the black and white icon to add a black and white adjustment layer. Now we can cycle through these to pick the look that works best. Um, since this is a fairly high contrast HDR seen to begin with, um, I got to be careful not to go over the top with contrasts I'm gonna be seeking something that is not ultra contrast. E darker is kind of nice. Just gonna slide through. I'm going for medium toe. Low contrast, lighter is nice. So far darker and lighter are my favorites of the lot. And this will vary from image to image. So you want to pick one that suits you best. You're starker. And here is lighter. I think I'll go with lighter for now. I can always come back and she was a different preset or move the sliders in order to affect the scene. So you're not stuck with this? It's an adjustment layer. All right. Now what we're going to do is we're going to add the toning we're going to add are toning using a color balance adjustment layer if you've listened to any of the previous lessons. We've worked a lot with curves, and we recently worked with curves for affecting color balance. Now we're going to use a color bounce adjustment layer so you can get a sense of the difference between the two again. They're both wonderful. Both very effective. Um, I use both of them, um, probably color balance more than anything, but they both work, and neither of them are very complex once you get to know them. So we're in the adjustments panel. We're gonna go here to the color balance icon, and we're going to begin this process by ensuring that preserved luminosity is checked. OK, now we're gonna target the highlights and into these highlights, we're going to add a sepia tone. So we're going to add a little bit of red here, something around 30 and then we're going to add some yellow are? Yeah, we're gonna add some yellow, which means pulling out blue. We're gonna have a pretty strong amount of that somewhere around minus 75. So we have plus 30 red and minus 75 yellow here in the highlights. Now we're gonna move on to the shadows and in the shadows. We want to add, um, a cooler cast. So we're gonna do, Plus 10 Red, which is a slight warming look, plus nine plus 11. Whatever. That's perfect. And we're going to do plus 30 blue. So this is where we're going to add in that cooling look to the shadows and can play around with this. Go for the exact look that you want? I'm giving you a formula here, but this is all about creative process and enjoying it. So you don't have to use these exact numbers here. All right, So they had a little bit of red and a lot of blue to the shadows Finally will target the mid tones here, and we want to add Scion to the mid tone. So we're gonna go here and we're gonna be working with minus 40 scion in the midterms here . So we've had a pretty strong amount of cooling scion to the mid tones. Here's a scene a moment ago as a black and white and here it is. Now you can see that the contrast is really getting pushed pretty far here, Um, that's supposed to happen with this look, but it's happening even more so here, because I have a strong contrast HDR seen to begin with. So I'll show you how to tone that down a little bit coming up. Now, the next thing we want to do in this scene, it's kind of kind of be an exception. And most seems you're probably going to want to add a little bit of mid tone contrast additional mid tone contrast this scene, I might actually want toe pull some of that out of there because it's getting really strong in the contrast. But to do that, we're gonna click here to add a curves adjustment. And when you want to add contrast, you're coming to the highlights with detail here and moving up to brighten. And then you're coming to the shadows with detail here and you're coming down to darken. This adds contrast. And in most scenes, you're gonna want that this one's going over the top for me, it's too far. So I'm going to customize this a little bit. I'm gonna move down here just a little bit. So I'm not blowing out those highlights with details much. I'm actually darkening them slightly, and I might just said Thies shadows with detail right here. So the net result is I really haven't affected contrast much in there. An S curve would do that, but this curve is pretty well the same angle right now that it was when I started, I darkened the highlights of detail slightly and dark in the shadows with detail slightly again, your old Taylor, everything to your own taste So there from there to there. All right, now, this has been toned, but we want to do something. That's kind of a finishing touch here. We're going to import a distressed texture, and the one we're going to use is derived from one of the flypaper textures which are wonderful textures, By the way, If you like textures, visit the discounts page on M s j photography dot com and you'll see discount codes for both the flypaper collections and the French kiss collections. So, um, an abundance of spectacular textures. There, also on my site m s j photography dot com You can find my personal textures that I Sella's well, so, uh, feel free to look for those. They're called texture labs collections. All right, so here's the distress texture right here. I'm gonna grab the move tool, hold the shift key, and I'm going to drag it over. Now, if you don't like doing it that way, you can always choose Select all at it, copy, and then you can move over to your destination and choose at it paste. And that works too. All right. Since this distress texture has black areas that I want to maintain on kind of a white background. If we change the blend mode here from normal to multiply will get an immediate look that we want. You can see this distressed aged look is immediately applied to the photo. And I think that really brings a measure of authenticity to the look here. So nice little touch right there. We're gonna finish this one off by going back to the black and white adjustment layer on click right. Double click right here. And I am just going to move these sliders and see what happens so I can control the contrast in the brightness exactly as I wanted. There we go. Okay, So that is now looking like a beautiful split tone. Seen here is where it started. And here's where it finished. 13. Cross Processing: this final lesson is really more of a tip than a full on technique. Did you know that photo shops adjustment layers come with presets such as cross process C P A or Scion? A type in a moment, I'll show you what I mean. But in the meantime, let's talk for just a moment about cross processing. In the 19 eighties and 19 nineties, cross processing was in vogue, especially among fashion photographers. By processing color print film in slide film chemicals, or vice versa, a photographer was able to achieve a highly stylized appearance. The most popular type of cross processing was C 41 as E six, which means color print film processed in slide film chemicals. The resulting images emerged from the chemicals with a delightfully unpredictable appearance that varied based on the film stock. On the whole C 41 a Z six images exhibit the following character risk it characteristics High contrast, bright or blown out highlights blue shadows and greenish highlights. Since cross processing is rarely done with film anymore, this lesson demonstrates how easy it is to achieve this look using nothing more than a Photoshopped preset. So I said that I would tell you where to find these wonderful presets. Well, if you go into the adjustments panel, you're going to find the majority of the awesome sort of esoteric presets under either Ah hue, saturation adjustment layer or a curves adjustment layer will start with you saturation just so I can show you where they are. If you go into hue saturation here, you'll notice that the presets are right here, and this is where you can bind things like Scion, a type or sepia. And of course, we have other options in here as well that are worth exploring. But those air great starting points when you want a Scion a type or a C P A. Of course, that's not our goal for this lesson, so it's pitched this out. Our goal is to go into the adjustments panel and add a curves adjustment layer and use one of the curves defaults we're gonna use, not defaults. One of the curves presets. Of course, you could see there's color negative and a lot of other choices, but this is the one we want right here across process watch. I choose that, and the image is cross processed as if it was color print film processed in slide film chemicals. It's that easy now. This could be altered. Let's go back into the layers panel. You can always play around with blend modes here so you can activate the move tool and shift plus to slide through and just see what happens. I'm shift plus ing through here to see what other looks I can get. If I'm in the mood or if you feel like the cross processing is too intense, you can reduce it's opacity right here. Make it a little more subtle, but I'll leave it on up full right now. And finally, if I double click right here and dive into the curve itself, you can see how the color channels have actually been bent within this curves adjustment layer. And I can alter those. For instance, if I want a little bit more greenish highlights, I could go right in here to green, and you can see right now the mid tones have a lot of green because that curve is really bending up toward green. But the highlights are actually bending down and away from green, so the highlights are actually picking up the opposite of Green, which is magenta general manager. So if I want to bring more green into those highlights, I might pitch this point off the edge of the curve and then take this point and drag it up like this. And now you can see if you click this icon. Here's before that adjustment. And here's after So this icon actually shows you changes that you've made since you reopened this adjustment layer here in the properties panel in CS six or in the adjustments panel and prior versions. So I like a little bit more green in there, and so that's actually the look that I'm after. But really, this whole process is so easy because it all began by adding a curves adjustment layer and picking cross process here, so you don't have to do anything after that, but you can if you want to get a little creative. So this image began right here. And then, as we simulated the cross process, look, it wrapped up right here. Thanks very much.