Photoshop with Logan #6 - Happy Camera Guy | Logan Susnick | Skillshare

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Photoshop with Logan #6 - Happy Camera Guy

teacher avatar Logan Susnick, Photoshop Master

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (39m)
    • 1. Class Intro

    • 2. Skin

    • 3. Clothes

    • 4. Hair and Details

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About This Class

In this class, I will show you another way to colorize your image. This time, we will use Hue / Saturation adjustment layers with layer masks. This is a great way to colorize black and white photos as well as change existing colors in color images.

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Logan Susnick

Photoshop Master


Photoshop with Logan is a set of Photoshop projects designed to improve your existing skills and teach you new ones. Each course is one relatively simple project that uses different tools to achieve intended results. Most courses are designed for the intermediate user.

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1. Class Intro: Hello, students, and welcome to photo shop with Logan. This time we're going to colorize in black and white photo again. I love these old photos, and this time we're going to use this likely different technique. We're going to go from this, do this, but we're not going to use solid color layers like last time. We're going to use hue, saturation, layer adjustments, adjustment layers rather, and we're going to create masks for each one of those adjustments. So we're gonna affect just the areas selected. ITT's slightly different technique. It gives you more options. It also works better if you're colorizing, maybe a ah color photo ready. So it's going to give you some additional jobs that you can use. And then that's it. It's It's not, Ah, complicated technique, but it's it's pretty powerful. So if you're ready, let's get started 2. Skin: when it comes to colorizing. As I've shown you in another video, there are different ways of doing it. We've done it before with the solid color layers. Basically, from here you can go solid color, and then we created masks on them. But there are other ways of doing it. In this video, we're going to use hue saturation, and that's useful because even when you're changing colors in, ah, a color image. So you know, in this case, we're literally gonna colorize a black and white image. But it's gonna easier to work with human situation if you just want to replace the color in an image in a color image, and then you can just keep working and colorizing it the same way that we're going to do it here. I'm personally used to doing it like this, but you know there is not. The results can be pretty much the same. So whatever works for you, I think again, this was a little better because off the option to change existing colors in an image. So we have this black and white image. This is an actual old image, although it looks like it could be a new kind of fake retro, but it's the real thing. It's from Flicker. It's, Ah, public image, one of this Turner images and basically what we're going to do. We're going to separate different areas, just like we did in the other colorizing video. And like you probably have to do. However you're you're doing this. You need to create selections. You need to create masks, so we're going to create a different layer and create selections. So we're gonna have a selection just for the skin. So it's gonna be his hands and his face, and then we'll need to punch holes for the eyes and the mouth. Obviously, we don't want a color that then we have the jacket. We have the shirt and the tie and, of course, the hair cause, you know, it may look weird just being literally black like this. You may want to give it a touch of color. And, of course, if you want to do details like the background or some details on the camera and so on, that's all an option. Eso. Let's let's start by doing some basic selections first. In this photo, As you know, I don't like to work on a background layer. You could just option or halt Click on that old double click, and that's gonna become a layer. Or as you know, I usually double quick and just call it main, Or or you know, if we're gonna preserve something, we can call it original, just in case we're gonna be doing any edits on the on the layer. But we're not going to do that because we're going to use adjustments, layers. The other thing. If you look at it here, you can see that this is a grayscale image. So, uh, what you need to do is change the mode, so you have to go to mode RGB color. Otherwise, we won't be able to colorize as you can see, a lot of these air not even available in this moat. So we have to go and change the mode to rgb color. Don't merge the layers so it stays the same. And now these air all available. So basically, we're gonna turn off the original and we're gonna work on main and I'm going toe add a hue saturation layer. So what? What you can do? You can you can work like this. Oh, are. Actually, it's You know what? Let's not do this. Let's let's make a selection first. So we're gonna use we can use the quick selection tool. That's one of my favorite tools. I'm gonna make the brush a little smaller. We can start with the with skin. Now, here's the whole head. We don't need the hair, so I'm gonna hold option or Ault, and I'm going to just click away on the hair now. We can easily fix all this. It doesn't have to be a perfect selection. We're gonna be brushing Uppal of all of our selection later. So let me grab the you know, as as well as you can. You can. You can make the brush smaller to make a finer, finer selection. We're gonna punch the holes for the for the crevices later. Oops. That's this. A little too much. You can start from where you need to grab. And, uh, yeah, I'm just making it smaller with with the square brackets and that I'm holding option are old for the for the minus. We have the thumb. Here we have this hand. We don't need all this. I probably need this a little bit again. You know, We can tweak it. Then we will tweak it. We don't need the camera. Probably This looks like a but no, you can, you know, you can zoom in. Obviously, Um, this should be Yeah, something like that. You know, the better the better job you do, selecting the less cleanup you'll you'll have later. But either way, you'll have to do some some work. But maybe it's easier. You just spend an extra 10 seconds on selecting it properly. I think this will work. Fine. Hand. I think you know this wedding band This is gonna be similar to the hand. It's gonna get colorized with a yellowish color on. Let's see what else around here and a little more of the things here. Andi. Yeah, well, we'll deal with the ice later. Okay, Let's assume this is fine. Obviously, you know, if you were doing it on your own, you would You would do it differently. So I'm going to add a hue saturation there. And because I had a selection, it automatically created a layer with the mask. So I have the mask for the areas that I was selecting. So now I need to turn on colorize. And as you can see, I am getting the color right away. It's obviously not too bright color. It's somewhere here. You don't want to go to yellow. You don't want to go green. Uh, you want to stay here in the kind of brownish, Then you can play around obvious. You don't want it to saturated. He's gonna have that unnatural tan. Potentially, you can make it darker, But it's really all about Hugh and the saturation. So, you know, somewhere somewhere here. And of course, there are other adjustments you can you can make. But, you know, we're not going to make this too complicated. Another thing that you can potentially work with is using different layer, Moz. Now, you know, with these usually sometimes you see, when you change the layer mode, it kind of has a certain look and feel to it, you see. And now, because I'm in a soft light mode, I have to crank up the saturation. But it has kind of a cool look. So if you're going for a look, if you're not going for realistic, you know, this looks like a cross processing effect. You know, like slides getting processed in C 41 process and so on. If you know what I'm talking about film. See, if I go into overlay mode, then it's too much saturation than I have to reduce it. But you have to look at the areas like, you know, lighten dark and depending on what you're trying to target on what you're trying to fix. So I see this is this is pretty red here and, you know, it just doesn't look right. If you go for dark and then it's a completely different collar. Maybe go for this and you brighten it up. You reduce saturation and you fix the hue and so on. But anyways, we're gonna go with normal. I think for most of these, normally is going toe work. I'm not gonna touch lightness Sell. Let's go back to this to this yellowish brownish, a little more saturation and leave it so you you condemn, definitely play with this. There's no right way about it. 11 good way to deal with it is to find an image that has kind of towns that you you're trying to achieve, find a nice. Maybe maybe old color photo that, you know, old colors look a little different. And modern colors and, uh, open and open and here in photo shop and just switch back and forth and try to target that . That's definitely a good way to kind of eyeball eyeball. But, you know, this looks this looks pretty good. Definitely for us. And we're gonna have a lot of these, so make sure you're given a name, so we'll just call this skin. Now, sometimes you may wanna change the settings for the face versus the arms. I'm thinking maybe because of this highlight, but there are other ways to change this. Be careful if you separate the skin so you don't end up with totally different looking arms . If you change the hue and your hands may a little be in one color and the face in another and so on. So anyways, so that is our face. We're going to do the details later. We're just gonna I kind of do the selections and then do the details at the end. Okay, so let's do the clothes in the next video 3. Clothes: Okay, so we'll continue here by selecting the next biggest areas his jacket. Make sure you click back onto the main layer and select the jacket. So that's sleeves in, in and out. Uh, see a little bit here. Not this, Um, I'm option or alter clicking in the parts that I don't want. And yes, we do want the inside. We want the edge of sleeve Knocked a hand. Um, yeah, we'll be fixing that. It's keep adding, I selected this image because this it's not really complicated when it comes to to the selections. Not too complicated. It's interesting enough. So hopes Sometimes I forget if I have to hold option and my deducting where am I adding to the selection and my subtracting from it? We're adding to it to see they're just hold your finger on hold or option and keep doing okay. I think this is This is pretty good for the jacket. So again, I'm gonna add hue saturation, Boom! There's jacket and again colorize And yeah, we can stay with this color. Doesn't matter now. If you go, would you see? You can go with a lot of situation, but you don't you don't want to go too far, you know, far further. You go there. I mean, it starts to look completely unnatural. Now, if all your colors are gonna be kind of bland, then you can do it like that and make sure the skin matches the overall. You know, if skin is kind of like that, this kind of color is not gonna work. But, you know, if you can't get the skin to look like super supernatural, then then make the the other parts also look the same. Now, this jacket, maybe it looks a little light. Let me just zoom in. Um, let me see if we can do any. Any other kind of okay. See, when you switch the dark and then you have to do this. But then it's looking a little dark. And then when you lighten, then everything Lightning. So we don't We don't really want that. Uh, let's try something else, Lighten. It's on the other end of that spectrum again. The whole jacket is very light. We don't want that as screen looks weird. Let's equal effect over lake and sometimes work. Let's reduce this, but the whole thing is very dark. they say, If I brighten it, that's an option. That's certainly an option. Let's try one of these lights, huh? A soft light, hard light. Let me just reduce this may be hard, light, saturation, soft light. I like this, you know. Go do what you like. Make sure the details don't disappear. You know, you have to maintain the balance. Just think you know what this jacket really look like This. So this looks pretty good. Maybe a little less saturation. And let's say we're we're happy with this that you see here, areas that we're gonna be fixing. So that's our jacket again, back to Maine and I have my selection. Let's select the let's like to shirt. Start with small brush here on here. No, just kind of more small areas here. So you have to work around it a little bit more. Remove the skin. Uh, sometimes you can't really see what's going on. See, you kind of have to guess, or you can even make it up. You know, if you're not sure, then just just, you know, decide. Decide what what it's supposed to look like and make it look like that. There's just no other way about. So let's say this is a shirt. Sometimes, you know, shirt can come up under the jacket. You have to pay attention to that. So let's say this is our shirt. We're gonna add hue, saturation, colorize and, uh, to change hue of shirt. Yeah, I don't really know what would go this. My wife would probably kill me now. Well, let's go with something bluish, less less situation. See if any other mode will do something, maybe a lightened with about overlay. It's two to contrast. Soft light. Not bad. Maybe some more situation. Okay, let's let's go with that. It's kind of sudden, Anglican main again, and I'm going to select the tie on and go here. I say this. I don't know what's gonna be more important jacket or the tie. What's really going to give the give the color there? We'll find out later on. Door will decide later. Basically, so not the shirt. Not this, Not this. This is not And okay, let's say he goes up to here. Let's let's pretend this is fine. I think I don't know if this is This is a shadow from the jacket, so I think. Probably. Yeah. See what it can Pick that up. Let's leave it as jacket on DNA. Nothing here. Uh, okay, well, probably fixing this I know had hue, saturation, colorize. So, whatever for fun, we're gonna use some some mother color. But obviously it has to really think about what these colors actually actually are. Don't saturated too much on. And what else do we need? Uh, well, nothing else. Really. Except for the hair. Let's do the hair quickly. Here. Now, this will include his eyebrows. Oops. But you know what? We'll add the eyebrows later with with a brush. Let's pretend this is hair. Had you situation, you can go with some crazy crazy color just so you can see it again. We'll deal with that in the next video. And what else? While the rest would be details you could again you could gophers for, like, the background. Um, we will need the eyes. Let's do that quickly. So I'm gonna select just the inside of the eye here. Option click outside this one, and there's the other. Make sure it's just a he actually know what? Where we do need both the white and the the inner part of the you know, because see, if you colorize the whole thing with with Blue, that's not really gonna work. This what we're gonna do? We're going to select the skin, and we're gonna fill this would black. So I'm doing you know, you could do Phil with black, or you can do option or Olt backspace or delete. So as I did, I do that. No, that's forgotten color. Well, anyways, when it's foreground, then it's option. So now we got out. We punched out the hole in the in the skin layer. You see, this is the skin layer now, and what we need to do is create a separate selection for the eyes. Also, what we can do while we're on the skin layer, we can we can Let's try to make a selection with his teeth on. So let's pretend this. Is that a good selection for that? And again, I'm selected here. I'm gonna fill with foreground color, which is black. So now we punch that hole, and now I'm going to select main and just to the selection here on here. So this is really all we need for the eyes and eyes We're gonna go again for blue Oh, not to read. Here we go. Some light blue, I guess up too much saturation. Maybe lighter. Maybe not too light. You condemn punch out in another for the black inside for the very center. So anyways, that's roughly are high And then the rest again would be details like this looks like an AG for camera. So you could say, make a selection or or even just go with the brush. No need, really to select months Let's pretend this is a selection and we're going to select you saturation, colorize and the AG fellow Go is actually read, but not the letters. It's the other part That's red. So anyways, these are the types of types of details that that you can you can have their So what do we let's see. What? What did we not name? This is, uh this is a shirt. This is the hair. This is the time and the rest is named. So sometimes you see, if you don't punch the holes out like another colorizing video, the order of layers may may play a role here may not, but generally, if you're really just selecting the areas that you need to colorize. You're not gonna have that problem. Except maybe in these that overlap a little bit. But we'll work on that. So So this is our basic basic video basic us colorizing. So now in the next video, we're going to tweak off these selections and colors. 4. Hair and Details: So let's start with the with the hair. That's right. Now the one that needs most attention where they're here. There it is. So first, I'm going to double click here and, uh, change the color, obviously. And the color is not clearly working. Now. He he should have some kind of see like, like, just just, I think a touch of brown. Nothing else. Not much saturation. Just really like a smidge off color, Like a tiny tiny, a tiny amount of color. You can turn off colorized to see what happened. Is he just a little bit? Not much, really. Almost. If if you can see it, just tone it back down a little. Uh, obviously, if you want to try to make him blonde, that's gonna be harder. But for this, this is gonna work. You need to You know, if he was blond, his hair would look different in the black and white photo, and you'd be able to deal with that. So for the let's, let's pretend that's perfectly fine. I'm going to zoom in here and I'm gonna pick up just a regular brush with the B. I'm selected on hair here. Gonna make a smaller brush. I'm going to right click and select a soft brush. DoubleClick. And basically, I need the white. Someone had X to swap. And as I find the right player Yeah, I clearly this is working, but actually what? We're sorry, What we need to do We need to remove this from the This is working. What's not is that skin is. Actually, we need to punch a hole in the in the skin layer for this to work properly. So I'm going to select the black brush. I'm gonna go be being the skin mask, and I'm gonna basically remove removed the skin, remove the eyebrows from the skin mask like this. I'm over doing it. Clearly. I'm gonna hit X to swap so I can blend it now. Another thing that you can do obviously you know, I have a soft brush. You can reduce the flow so you can go like, really, really small, small areas. Oops, Wrong one. So you can really, really blend it in. And let's say that this is this is fine now. So now we should be able to to do the same thing here may increase the flows and I'm back on the hair layer with the white brush. And again, maybe while you're working, you can remember this. I don't know. 32. You can change it to 1 50 and go back to 32 later. So you this This helps while you were working, too, to see your to see your selections. Right. So let's see using the brush and again for you. See, I'm not able to affect the skin because, you know, skin is above and it's colorizing it so But be careful is sometimes it can. It can actually change how things look so you can turn off the skin and just work with with the layer that you need and get it in the best possible shape here. And then you can continue tweaking it later. So say if you reduced flow, then you can go a little bit little bit at the time, and then that's gonna that's gonna work Fine. So I'm just switching between black and the white brush. I think this is good for the hair. Now how that's gonna work together with scan again. That's that's a whole other story. But what did we say? 32 right, So I'm gonna just type in 32. So now this is more, more natural. Certainly. Now that you can tweak this obvious, it is conveyed better. Maybe Maybe it can be darker. Maybe Maybe you conduce you eyebrows and hair separately. But like I said, be careful when you separate the areas that really are supposed to be together, because then you may end up with different colors turning it on and off. It really shows you the difference so clearly you can't leave it like this. So So let's say this is fine. And then when it comes to hair now, this is the touchy part again. So what you can do is grab a brush your your selected on the hare level on the hair layer, make a brush bigger, make it you can make a much larger brush and also again use the low flow and just go in and do it like this. Actually, I'm using the wrong the wrong brush. I'm going to switch to to the white brush and what we need to do here is basically sorry. I need to be using in black brush here and the area. Oops. No I don't. Sorry, I lied. So you need to blend in on both of these layers. You need to do some blending on the hair layer, and you need to do some blinding on the skin layer. So I'm gonna go back to the skin layer. Now, here, I want to go from the hair to the skin. You see, if I go here, I am removing all the skin color so you can set the floors as little less as you want to set it obvious you don't want any any skin in the hair so you can start from that side and just, you know, keep working it until things look until things look normal or look acceptable, you know, whichever that is. So now that we have this side now, I can actually go back to the hair layer. He was the white brush and bring the hair color back in here into this mask. So yeah, it's basically combining of these two masks that doesn't know, you know, this is not perfect, but look at this. I mean, this looks Biss looks pretty good. Now it depends on on the you know, the say saturation. You see now you can really see what's going on. Depends on your other settings. How much of that you're gonna need to do, but you'll be basically blending from one area to another now, other parts that clearly need fixing here on the skin layer. I'm gonna right click and select harder Brush on double Click on this. Make it smaller and I can use the white brush to just make sure I go go around wherever it's missing. Let's see where else is missing right here on the chin. We need to be careful that there is no red. Now it's normal that there may be read kind of, um, reflection in the skin and and even vice versa. So that's perfectly normal. But in this case, we don't We don't have any of that. So care needs a touch up here, So let's do the hair now. My flow is very low here, which is fine for the hair, but not for these fixes. So I'm gonna go back to the skin and so like this. And let's see, what else, uh, skin. You can touch up areas like this'll. What else? I don't know what's going on here. I assume this is the hand This It's logical that this is the hand, but it kind of looks weird. So I don't I don't kind of know what to do with this. Sometimes you may have to go and back into the image. And maybe, you know, you could even do a bit of dodging their, you know, burning rather maybe burning a little bit. So it's not as as visible, you know something like that, or use a stamp tool and extend the area below. That's perfectly fine to do back to the skin. I have my brush. I'm just coloring. See him adding, Why is this like this If I'm adding white? Oh, you know what? I have the wrong tool. So make sure you have the right tools selected. You don't want to be burning and where you want to be brushing. So be for brush. I have my white brush now and back on skin and there goes I just touched it. It's fine. So I'm just gonna check all the areas where the skin is like right here, right there. And also, jacket is going too far here. So I want to use the black black brush here to remove any read from the skin, and then you may. If you reveal the gray, you have to go back to the skin and had some white. Let's see what happens here. Now Here you want to remove the coloring from the from the nails. Clearly now union. You can't remove it totally. So what you can do really, I think for this image you can you can leave it. But what you could do is just create a separate layer where it just needs to be a little brighter. That that's all it is, and, uh, it's extended a little more here, a little more here. The rest is fine. So I would say skin is generally okay. Another thing that we can do is let's let's add another, another hue saturation without any selection. And let's make it. Let's colorize it to some red color and then we'll fill this with black. Now you can do command or control, delete or backspace to fill with the background color. So it's all black now and now I have my white brush, and what I can do is I can again reduce the flow and I can white brush around if he mouth. So I'm just gonna do, like, a quick I need a smaller brush here on just a little bit here. You can't really see much. I'm not surely retried. Supposed to go. You wanna have a soft brush? This was a hard brush I used. And, uh, but, you know, you can You can soft in it from outside as your erasing hands go back from the inside again . And obviously we wanna reduced saturation here. Color is probably OK, Darken it again. The saturate. You find the balance between the darkness and this. Another thing that you can do also is you can reduce. Elena, call the slips. You can reduce your passage of this layer to you know, this this can give yet another effect and actually here. I think it works well. So just the touch. You know, you don't just do less less than you think is generally gonna work. So, uh, okay. We don't need to I think we don't need to go to every detail. It's maybe Okay, jacket Now, here. Clearly we want to grab Ah, brush. We want to remove. So I have a black black brush here, removing. Just gonna crank this, You can go with a heart brush. Just, you know, everything that's supposed to be there, the tie. And then you could switch back to the white brush. Some areas like this actually could soft on brush a little bit on, and I'm back on the jacket layer that's working fine. These air really tiny details. You can't really see most of this. See, the tie is missing some color, so I'm going to switch to the Thai white brush. This this looks good. Make sure you don't see the gray areas because that means it's not colored sea like here. Basically, there is No there is no color cause it's the meeting of these three. Gonna go to the jacket Had a little bit here. Another thing you could do. Like for the tie, you could possibly, you know, remove this. But keep in mind that this is kind of gray. It's not really it may not work. You know, you may need to consider if you do something like this, you may end up having to create yet another layer to take care of this, so but you know, Just do it and see what it looks like. It actually looks fine. So there you go. I would maybe reduced the hair a little bit. Not is saturated and maybe a touch darker. Why is everything So you see how far the hair goes into the You would probably we overdid this. And let's go back to this layer. Use a big brush there goes and just gonna reduce the flow and undo this so it doesn't affect this layer. Okay. And then, you know you can go back and tweak your skin Has has needed Oh, see, now we can go a little more saturated. Now this this needs work. You see as your change things, things change. So we are on here, we have our white brush and I see some like this maybe handsome saturation, so we can see what's going on. And we wanna reduce the the hair layer here, see how that works. And that's that's really the tricky part. Let's turn this off. Let's see how far the skin goes. So skin his skin. Congar Oh, a little bit deeper, A little bit deeper into the hairline here. And then we go back to the hair. And if you turn off the skin, you can see where the hair is. So we can probably add a little bit here when we can definitely remove all of the hair from here. I apologize for the drill, if you can hear it. Sorry about that. And they were sent to do home improvements whenever I'm recording videos for some reason. And there you go. Now I think we can see what this looks like. So again, these air tweaks, they're you know, they're totally up to you, and you can do a better job. The more time you spend, the more you can do this. You can make the ring bigger. You can see he has buttons on his jacket. You can basically just punch holes with the white brush and remove those from the jackets that they're not really. You know, the highlight shouldn't be dark red on them. And what did I want to do? Hair just wanted to reduced saturation a little bit. Yeah, And you see, eyebrows probably need a separate layer, separate treatment, but basically Yeah, there you go. So let me just group all of this so selected everything, Commander. Control G. And that's our before head after pretty good right for half hours work. This is very, very nice. And the more time you spend on it, the more realistic you can make it. Or you can make some cool effects. So now you know how to do colorizing using Hugh situation in the colorize moment. If you're happy with this, please recommended toe others and I'll see you in the course. Take care.