Selective Color with the Adjustment Brush in Adobe Camera Raw
Lesson 7 from: Adobe Photoshop Mastery: Retouch and RestoreBen Willmore
Selective Color with the Adjustment Brush in Adobe Camera Raw
Lesson 7 from: Adobe Photoshop Mastery: Retouch and RestoreBen Willmore
Lesson Info
7. Selective Color with the Adjustment Brush in Adobe Camera Raw
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
Selective Color with the Adjustment Brush in Adobe Camera Raw
Let's, look at another example of where he might use something with the camera. Here is an underwater scene and let me make sure this is, um, default settings. Yes, it is now underwater. If you ever shoot, they're the best thing to do is to get a light source to help you. Because the more water there is between you and your subject matter, the mohr, the colors within the water and the blue sky and the sky above is going to affect what's going on here. It looks to me like somebody had a strobe, a flash of some sort and that can only make it so far. So it got this area. But then we have somebody in the background that might be important and they look all blue, so let's, see what we might be able to do about this? Well, the first thing I'm going to do is I noticed the highlights and the image our bid on the bright side, like right up here in the turtles neck. So we have a slider called highlights. And remember with the sliders, if you move into the left, you darken wood to the right, you ...
brighten, so I want to darken up the highlights I'll bring that down and hopefully be able toe get a little bit more detail there then if I look at where the diver is in the background, that's in the shadows, I might bring the shadow slider up to see if I get a little more detail on him, but we're going to end up painting on our image to affect that area later, and I could paint in more brightness in that area, so I'm not worried about it too much. The next thing I'm going to do is try to get the color on this area that's close up toe look ok, and I'll attempt to do that by first grabbing that same eyedropper we used on other pictures, and I'm just going to look in the picture and guess at what might be a shade of gray if I was standing there in real life, I don't know if this fish would be or not, but I can find out if I click on it and the color looks better was probably a great fish if I click on it and the colors look way worst, it probably was a blue or yellow or orange or some other colored fish, so I'll click and if the colors in the near area they improve, then that's a possibility and I just click on various other areas in this four ground to see if they would help anything that looks like it could possibly be a shade of gray just try to decide I wasn't there when this photo was taken you'll see the ones that look terrible means it was not a shade of gray excuse me in real life, just trying to decide which I think looks best and then I confined to in the end result by moving these two sliders so it's a little bit to magenta e I could bring that down a little bit too yellow way can move these but let's deal with the diver in the distance for that I'm going to grab that same the adjustment brush now before I used the adjustment brush though I'm going to try to guess to mate what I might need I want to paint in different temperature intent settings so just to find out what I need, I look at this area into me it looks too blue so it makes sense so you see blue up here in temperature I'd really like to do the equivalent to sending this over here towards yellow yellow doesn't mean that I want the picture to look yellow it's that every color has an opposite and the opposite of blue is yellow so we have an excess of blue to get rid of it we need to push it towards yellow, pushing it towards yellow if we have an excess of blue simply means absorbed the blue absorb more blue, absorb more blue and it's on lee after we absorbed all the blue that was in excess, when we start noticing yellow showing up, uh, let's, see, we could do all grab my adjustment brush. I'm going first, make sure the sliders are reset so that whatever I used it for last doesn't apply community is guess that I need to push this away from blue it's not that I wanted this color of yellow it's that I wanted a lot less blue, just moving. That doesn't do anything, though, because I need a paint on my picture, so I'll move my mouse on top of my image now and let's, see if I can come in here and start painting, get a bigger brush just so you know, any time you see me change my brush size, I'm usually using the square bracket keys on my keyboard. They look like half squares and that's, true, not only here in camera rock, but also in photo shop itself, so paint that in here and now, experiment! I'll move this slide around and see if I can get less blue to be in that guy. I wish I had an eyedropper over here to use for this, but I don't want him in the adjustment brush, otherwise I would have clicked on something that's gray on him, and it would have really helped then I can move the other slider to see if I need to be a little less green some scene it beat another greenish I might also pull out a little detail there by bringing the shadow slider up to see if I can have him come out I can even bring out the exposure a little bit that type of thing then I can add additional adjustments on top of this usually I'd be more careful with where I paint here I'm in a hurry so I want to get on to other images but over here I wasn't very precise it would usually spend more time other things they might do is you can choose to apply more than one of these adjustments just choose new up here and that means you're done with the adjustment you've already painted on your picture and you paint another one in so again I go over here and choose reset reset all the sliders in down here I noticed it to be a little bit too greenish for me what I might do is push it away from green and maybe come up here and bring the saturation down a little and then I'll get a smaller brush and I'd painted on lee where it looks too green after I'm done painting I confined to knit maybe just a little bit less color but if you want to look at before and after let's look at the diver dude and in the before, do you see how blew us and how dark the area, wass whereas, and the after he's starting to come out a little bit, I could do a lot more to it. I could apply curve for the dark part of the invention, pull out the detail, or I could paint on him even more times with this brush to try to bring out mohr. The main thing is, I want to let you know you can have more than one white balance setting in your image by painting.
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.)