Refined Channel Adjustments
Lesson 15 from: Adobe Photoshop Mastery: Retouch and RestoreBen Willmore
Refined Channel Adjustments
Lesson 15 from: Adobe Photoshop Mastery: Retouch and RestoreBen Willmore
Lessons
Class Introduction
03:50 2Tonal Rescue & Noise Reduction in Adobe Camera Raw
14:04 3Retouch a Hazy Image in Adobe Camera Raw
07:33 4Recover the Brightness Range with Levels in Adobe Photoshop
11:34 5Use Curves to Restore Details on Vintage Images
48:12 6Color Rescue & White Balance in Adobe Camera Raw
10:12 7Selective Color with the Adjustment Brush in Adobe Camera Raw
06:29 8Correcting Color in Faded Images with White Balance
13:02Correcting Color in Faded Images with Levels & Curves
26:02 10Additional Examples of Color Correction
14:26 11Retouching Images with the Spot Healing Brush
14:27 12Fundamentals of Retouching Vintage Images
30:29 13Overview of Retouching Tools
46:51 14Refined Adjustment Techniques
21:29 15Refined Channel Adjustments
05:31 16Refined Texture Adjustments
07:16 17Refined Compression Adjustments
06:57 18Adding Color to Vintage Images
12:32 19Adjusting the Background of an Image
13:48 20Audience Questions & Final Tips
15:44Lesson Info
Refined Channel Adjustments
We talked about working with the individual channels that make up your image well sometimes that's needed on more normal pictures two or sometimes they would just be helpful in this case you know it's his skin doesn't have all that much detail in it well when that happens in some images would all end up doing is going here too the channel's panel and all end up inspecting the channels that make up the image to see is there more useful detail in one of the channels and so click on red and you see that and read there's pretty much nothing in his skin the reds not really contributing to the detail in the skin if I got a green uh there's some detail and if I go to blue there's in detail as well so looking at just his skin I could look through the green and the blue and decide if there is one that I think might be more useful then the other the blue I think makes his blotches on his skin more pronounced the green not as pronounced but green or blue could work. So now how can I use some of t...
hat information and the green or blue and just kind of forced it in here without shifting the colors? Well, you remember the adjustment we ended up using any time you wanted a copy from one of those channels? Wasn't it called channel mixer let's see if we can use it here first I'm going to select his head in a kind of basic selection I'll do it using quick mask just because I feel like painting so I type q and just like I showed you before I'll paint in the area that I want selected and I could be much more precise but we're not trying to be mega precise we're trying to learn stuff so spend a little bit more time with selection techniques but we're going to say that's good enough for now I read usually indicates an area not selected I wanted to space selected so I need to invert don't command I and then I could take you to turn off quick mask so that's one way of selecting you just are one of those people that like to paint next I'm going to go here too the channel mixer the problem with the channel mixer is it's going to ask me what my output channel is that means what channel though I wantto effect you remember the channel where's face barely showed up that was the red wasn't that so that's what I'm going to tell it to work on it's the red but if I tell it to pushing an information from any of the other channels the problem is the color is going to shift around just watch I'll move any of these sliders if I move it up you see is weird looking colors in the shadows move it down! Woo that's terrible it's just not feeling friendly when it comes to that. Well, do you remember what we do if we have an adjustment and we wanted to only affect the brightness? We don't want to affect the color luminosity, so we're going to change this luminosity. So that means that now if I move those same sliders around it's not going to be able to shift the colors around, remember luminosity, so now let's, see if we might be able to do a little better. What I'm going to do is say that the read the information that was in there was not all that helpful to begin with, so why not not use what was read? Therefore I could take the slider for red instead it to zero to say don't use any of what was in the red it instead replace it with what was in the green, you know, I was bringing up until I think we have an amount of detail that I might like you want to see before and after I'll turn off this adjustment layer before to see how much lighter his skin wass after you see our britain a little bit of detail by stealing from one of the other channels, and I could do this differing amounts depending on by it what I end up meeting before after and if I don't like it on his eyes or his teeth, I just grabbed the paintbrush tool paint with black because black prevents an adjustment from applying then if I want to find two million result, I remember that I compress the backslash key remember back slashes where it takes the mask that we have and it ends up putting it is a red over life. If you ever find that backslash doesn't work, sometimes it won't. It usually means that a text or number field is active it thinks you're typing so over here, if I was just moving the slider in this number field right here is active. When I hit backslash, it thinks I'm trying to take back slash into where that number is so press return her enter and that'll make it so whatever number field that you could type into it thinks you're done typing and then backslash will work, and so I could now paint on that mass to refine it. I can tell exactly where it's affecting the image, so I just wanted to show you how could we use some of the features that sometimes get in your way that sometimes they're not as useful like channel mixers way too easy to shift the colors around, but we can cheat and get it to be used in luminosity mode tio help us out there
Class Materials
Bonus with Purchase
Ratings and Reviews
a Creativelive Student
Wow! That is pretty much what I thought about the course. It was my first live studio experience and it was fantastic! Ben is a great instructor because he presents the information in a straight forward manner that is understandable, detailed, and concise all at the same time. I have a couple of his other classes and the handbooks his wife creates are exemplary and make going back and reviewing the rebroadcast so much easier. Also, I want to give a shout off to the Creative Live team...Kudos! They are an excellent host...they are professional and fun at the same time! The content they produce has helped me tremendously to expand my knowledge and skills and mostly importantly they are affordable!
Old_Redeye
Ben is one of my favorite instructors on CreativeLive. (That's saying a LOT because they are all so good!). Besides being very thorough and understandable, Ben sets himself apart with two things. 1. He thoroughly demonstrates a process, then does a recap of all the steps he just took. That makes it much easier to remember. 2. His wife takes notes during the broadcast and creates a handbook which is available to download when you purchase the course. Some people find it easier to learn by reading than by re-watching the video. I like it because I can find information by using a word search. I feel so fortunate that I was able to sit in the audience for this class. It was great to be able to talk directly to the instructor and interact with the other students.
Wilson Blackwell
Super class! Ben is the best at explaining Photoshop and how to make full use of it. This class included techniques I've never seen or heard explained in other photo restoration classes I've taken. And the accompanying book, while I've only glimpsed through it so far, is expansive, well laid out, attractive, and looks to cover everything Ben went over in the class - it's a valuable resource as well (thank you, Karen Willmore, for all the effort you put in to produce a worthy complement to what Ben teaches.)