A Severely Damaged Photo Restoration (enlarged from 2"x3" to 5"x7")

hi folks this George Huffman and I'd like to invite you to come along with me while I do a photo restoration for a friend of mine his wife wife's dad is gonna have his 80th birthday coming up in a few weeks and he had this she had this picture that she said wonder if George can work on this for me and make of it maybe a 5x7 print of it for his birthday and so he handed me this photograph and I'll show it to you right here it's torn and a half almost completely through it's missing a corner and it's pretty scarred up but I'm gonna give it a shot I'm give it a try and last time I did one these photo restorations for him he said I gotta ask you how did you do that and I said I really don't know I don't remember all the little steps and so I thought well it'd be kind of fun to show him all those little steps on this one I don't even know if this one's gonna come out I hope it does but we'll see and I'm gonna bring you along with me on this journey there's so many little tools and tricks and tips that come along the way doing photo restoration in Photoshop that sometimes they work sometimes they don't so we'll see he wants to prosper get a 5x7 that he can take to the birthday party in a few weeks so anyway I thought I'd do this recording and and show you how it works and show him how it works when I get done and if it comes out Oh actually show this to them so let's get started okay so we're gonna get started here and I've taken this photograph and put it on my flatbed scanner I've got an Epson 2400 scanner I've also got a scanner on my one all-in-one printers but for this one I'm using my dedicated scanner it's an old one but it does a really good job and the settings I'm using is 2400 dpi I'm detecting the the item as I put it in there I'm gonna scan it to my Dropbox folder - 2017 a saline standard restoration in this case I'm scanning - JPEG I tried Tiffa little earlier and the file size was a little bit too large for this video so I'm gonna use JPEG and it works fine because I'm pretty much all in black and white or I'll be converting it all to black and white and Tiff's are great because they have all the color information and more more information than uncompressed information than JPEG but for this particular restoration it's going to be fine to use a JPEG so we should be good and so I'm gonna scan it I've already scanned it so I'm gonna go ahead and show you where it can came out the flip over here to my in Photoshop I'm using Photoshop CC 2017 and I've got the photo photographer's package which is the Photoshop and Lightroom package for $9.99 a month so I really like that and they're highly recommended for anybody that is interested in getting into Photoshop it's ten bucks a month for both Photoshop and Lightroom and I've got 25,000 some on photographs in Lightroom I'm between Lightroom and Photoshop it's just about anything you'd ever need as you can see this photograph is pretty bad it's in pretty rough shape however you'll probably be able to see and this is my first look at it too you'll probably be able to see that there's a there's a fair amount of detail that's in there but there's also an awful lot of stuff that is not desirable so I mean take a look closer because I did a pretty pretty detailed scan and we'll just see how much we can see and actually we got it pretty good I believe it or not pretty good view of his of his face I'm going to zoom in here and that's actually something that is better than some I've worked with and worse than some that I've worked with but we'll give it a shot and I'm going to see how we do here it looks like he's stand in front of a car we might to do a little reproducing of the pavement filling in the blanks on some of these holes so let's get started first of all you'll see on the right the inside here there's a number of lawyers on I mean I'm using a resolution in this to create a screen that you can see pretty easily on you know you know when I render this to a video file so I work on a really a lot larger scale so that things aren't quite as compressed as as it shows here so but I've got to think at 1280 by 800 screen here that I'm gonna be working with first thing I like to do is I like to color correct and the way I do that is I create a here's my background layer and I'm gonna drag this down to my create new layer and it creates a duplicate layer which is going to be the wood layer that I'm gonna be working on so everything I do in the future on this is going to be the the base layer is gonna be my background copy in my background which is my original image is not gonna ever be touched so I now have a reference to be able to look at my before and after as I'm working the first thing I do is I'll do a correction of the colors and the levels and the way to do that with Photoshop is you can pick this little guy right here which is a set of layer styles that you can put on a layer above whatever you're working on so I'm going to change the levels and you'll see here that the there's an RGB slider and a lot of folks just grab this slider and they move stuff around and darken that's a pretty easy straightforward way to do it but the way I do it is a little bit different and I think more accurate so this little box right here the RGB box I'm going to slide down here to the red and I'm gonna correct each of these colors individually so I'm going to color correct the red this white here is pretty much going to be the white that you see around the edges so I'm going to go over here to the white that shows up not the edges but the main part of the picture and I'm gonna change that to slide over to about right there and change my output levels and quite frankly I don't know all the details behind how this works but it works and I took a course in how to do this and this is the recommended way to change your color to color correct your your image you'll start to see why when I wind up correcting these these levels and these output you'll see here this changes the output level changes and whatever is doing it always seems to work so I used this is my first tip on just about anything I'm doing for photo restoration sometimes I've got it to make a few more adjustments but once I get done I've taken a lot of the cast out of the out of the photo and it looks a whole lot better darker the darks are darker the lights are just about right the whites you get some whites in here you got some blacks and you're in pretty good shape so this is what it looks like with the color correction this is what it looks like without it so it deepens it corrects the colors and so forth so the other thing I like to do is because the you see this discoloration through here and through here especially on a black-and-white photograph is I like to make it into a grayscale so I actually kind of a sepia-tone photo if it's an older photo and so I'm going to create another layer and my layer this layer is gonna be a hue/saturation layer and the hue/saturation layer you have the ability to colorize the whole photo so I'm going to colorize it and the slider values I'd like to use is 41 for the U and I like to bring my saturation down to about 10 or 11 and sometimes I might lighten it up or darken it up a little bit but I kind of like the way it is now and so if I go back I've now taken out all that discoloration that was so distracting over here on the sides and now the whole photograph has that nice sepia tone to it that that people like and so if you go now I'll do a comparison between those two and then with the two Corrections I've got a pretty nice at least from a color standpoint a pretty nice corrected photograph so next you see all of these bad marks all throughout here all these all this mess and some of this you when you look at it you okay what's going on here a lot of this is tears and breaks and and photographs and so there's going to be a lot of tedious work to correct this that have the thing I need to do is I'm going to crop it so I get rid of all this white around here so the way I do the cropping is a little different too this is my crop tool and typically if you have a crop tool you'll see the square but in my case what I like to use is what they have is a person the perspective crop tool and when I grab that I'm going to pull the square like you would normally do on any other crop but then the cool thing about this is each of these points you can grab and pull all over to the corner where you want it to hold on to so if you have a little bit of a oblique photograph it's not quite square if you grab those corners and get them right into the corner of wherever your photograph is whatever you're working on gonna be a piece of artwork you're taking a picture on the wall you got to get us to a different angle in order for it to not have any glare then you can use this tool to straighten it up so I'm going to take this and I'm going to move it to the corners where you can see it's right on the edge of the corner so now and I hit enter this one down here is a little bit it off so I move it up catch that corner you can see it's not quite as square looking as it was but when I hit enter now boom it's going to square the picture up and it's going to be nicely cropped there's a little stuff going on here but we're gonna little fix that so that looks a lot better already so that's listen it's the rich color it's got a better crop you've got a lot of stuff going on here building going on over here and some reminds me of Manuel's tavern where I don't think that's made most tavern but it's the same kind of poster that's on on Manuel's Tavor so I'm gonna start doing a little bit of work in the way I'm gonna do that is to start with my healing brush okay so the first thing I want to do with my healing brush and with other some other tools is to first want to make sure that his face is going to look okay when we get done with this because if I can find you all the other work on this picture and correct the big tear on the lower left and I fix all the little grips but his face looks like the pits it's not gonna be much of a restoration so I'm gonna go and zoom in here all I'm doing is hitting command + I'm gonna zoom in here and I'm going to see what his face looks like you may say there's no way and I'm saying way this is this is actually a pretty pretty good piece of content to work with and you can you can see is actually is you can see that the tears have distorted its face somewhat but I'm also going to show you how we can correct a lot of this said that he starts to look like a human being again and and it looks like a very handsome young man so let's see what we can do here I'm going to start off with with the healing brush and this is the tool that is extremely powerful and we're gonna just start to correct a few things and all I'm gonna do is I'm actually gonna come down here and work on my background layer and I'm gonna start to clean this up you'll see when I start to paint over this you'll see that's just too easy that's just cheating or something because you're not doing any work that's right that's the way it works my secrets out so I'm using a healing brush in this Photoshop and Adobe have figured out how to do this I don't know how they did it but they did it and so now as I go over these unusual spots Adobe is doing all the work they are analyzing what in the world this thing probably looked like and they're using their technology to begin to analyze what the surrounding picture looks like and then clean it up based on that and sometimes it works sometimes it doesn't work but so far so good and we'll see how far we get without having to do anything any more strange than this sometimes it's it'll make it it'll make a change that you go that's not exactly what it should be doing but so far we're getting some pretty good pretty clean pretty clean results this tear here is problematic because it cuts right across his his mouth and this one right over here it makes you wonder what in the world was going on underneath here but I think once we get into it we'll be able to figure it out and clean it up so I think we're gonna be okay when it comes to sometimes you have to stroke the correction in the direction of what was underneath it so that it kind of gets a hint as to what you're trying to match up and as you can see it's already doing a good job of finding the corrections or or analyzing what the corrections need to be you'll see when you get into the situation area right here it finds stuff outside of the the period that you're working on to make decisions about what it wants to do sometimes especially if you're on the edge I probably if I go down here and try it here it's gonna pull some of that white over right here where it didn't need to it still it's pretty close so I'm just gonna keep on working on this and cleaning up some of these these areas until I get to the point where I get a better idea of how he looked for real here is there's so much damage that I'm probably that's getting there I'm probably gonna have to do a little I'll take what's called a clone stamp and what that means is there's a little tool over here and I'll hit the X on my keyboard to pull it up there's a stamp tool right here and what that does is you pick you hitting the option key you pick a spot you see the little crosshairs pop up and the spot is the area that you want to clone so I'm going to clone this area right here down here that gives you a little preview of what that might look like and I'm just going to that's the it's got an opacity of 90 percent flow of 47 I increased that a bit Haiti and then what it's going to do is sample sample this area up here and then clone it down here I'm not a hundred percent but to the point where it does a pretty good job oh I'm in the wrong room I was in color mode I need to go into the normal mode that gives me a harder clock so if I pick up here and I know reduce its opacity down about 50% and flow down to about a 50% so it's not so stark and as I start to draw in here it's going to pick up this area of his face and rebuild it down here so that I can start to see what his face what it looked like and now now I'm over on this corner I'm gonna change my focus over here and then darken and lighten this area here till I get rid of that problem right through there I'm starting to see a pretty good idea what his face would have looked like then appear on his eye I'm gonna go back to my healing brush and I'm going to try to heal that little dot before I go in and correct as I pull back little ways we're starting to see his face which is pretty cool a lot of men there's a lot of something going on I'm not sure what it is here but Photoshop is pretty smart and so as I color this thing over I'm gonna draw back a little ways we're starting to see him he's starting to come out and if you want to see what he would have looked like otherwise there's the stuff that was on his face before I'm taking the background copy here and I'm putting a little eyeball on and off so I can see what what I've done so far so far I've gotten a pretty good set of changes this little dark spot here bothers me I'm not sure what that is I pull back I don't think it's supposed to be there I think it's either damaged or something yeah but I don't like it so I'm going to use my stamp tool my hit the S button and sample this area out here and I'm going to get rid of that little guy right there and I'm going to clean that up so it looks a little more natural it's probably a little bit too stark so I'll probably fuzz it up a little bit I'll maybe put a little opacity a little bit of a blur to it so when I clean up the edges it starts to look a little bit more blending in that's pretty good I like that and then the same thing up here this little button up on the top which the he had a little no it probably could be fixed just probably no guy right there up and I think what I'm finding just by doing this so far is that the work I'm gonna do a little bit later to clean up the rest of the photo I'm gonna wind up with a pretty good picture of what what he looks like or what he looked like it looks like in this picture I can clean up some of these areas by just using the clone stamp and getting the area around his face I'm gonna do the same thing here I'll probably clean this up more but I'm gonna do it now just so I can see where the edge of his face might have been I'm just painting in from my source right up above the sky and then now I'm kind of evening out the edge of his face and you can see a little bit better what it should have looked like I would have looked originally so now as we pull back and we look at the before and after we're getting a better picture of what's what's going on so I'm gonna take a break here and now that I know that his face is gonna come out okay I can move forward okay so now that I know that this is gonna come out well it's gonna take a little bit more work on his face obviously but I know that the picture is gonna come out and all I got to do is clean up this this little distraction right through here and maybe fix this little section right here that's all I gotta do so but the main thing I was concerned about was can I get enough of his face the detail on his face I noticed there's a lot of little issues for example the sky's lighter here and then for some reason when this tear happened through here and darkened up this part of the sky so now I've got a pretty good idea what I want to do and this area over here I've got a few things to correct I've got this area on the car where there's a lot of damage this happened and of course this big chunk on the lower left-hand side I've got the pole that was cut off through here which I can clone and his shoe you've got a pretty good bit of my shoes so that'll be a good source one of the things I'll probably you need to do is to come through here and do a fair amount of work on the sky because it's it's a pretty bad shape and there's a few pieces of discoloration all through here the first thing I really want to do is to clean up this lower right-hand side of the car of the pavement because that'll become a source for me to work in the left-hand side of the photo over here so that's gonna be my cleanup initial cleanup there's gonna be that and try to work through that so now that you've seen what I've been working on I've been using the clone stamp to be able to sample parts of his face and parts in the background and paint over areas that are damaged using that clone and so that's the basic technique that I've been using and then I've been using the Healing Brush tool which Photoshop is provided which magically takes a paintbrush and as you paint over an area that has damaged Photoshop using its technology will analyze the background the colors and so forth and then make a good estimation of what it should have looked like or could it look like so what I'm going to do is I'm going to go ahead and fast motion through some of the restoration using those tools and there'll be a couple places where I'll stop and go back to the live video when I do some cloning and some changes where I can take pieces of the pavement for example from another photograph I've taken to reproduce it here and do some of those types of things so I'm going to go ahead and fast motion through some of this now that you have the basic idea of how music using the clone stamp in The Healing Brush tool okay so I've sped up the video so that you can see what's going on this is where I'm using the clone stamp as well as the healing brush to make a few adjustments and changes to his pants to the bumper some of the things that I can just go through and easily paint in and paint out and at some point here I find that I need to maybe clone the right side of his bumper so the way I do that is I'm going to select the part of this bumper on the right here I'm going to clone it to the left side of the car and reverse it so that it makes sense it looks right and looks in proportion so I go to my selection tool and I'm going to grab grab the selection tool and I'm going to come down here and create an outline around the bumper right through here and it's going to create a selection and that selection is going to be what I'm going to and I want to grab some of the bumper as well because it looks a lot better than the bumper on the left-hand side so once I've selected it then I hit the command J to create a second layer with the bumper on it and I can grab that layer with my move tool and move it to the other side of the car which is kind of cool what you say well wait a minute that's not going to help because the bumper is not on the very end of the little little part there's not on the end what I'm going to do is I'm going to transform that that's a piece of bumper and reverse it and so what you'll see is by grabbing ahold of it and then using a transform I can I hit command t4 transform and once you slide it across to the left it actually reverses it and I'm going to then put it in place and then maybe make a little bit of an adjustment on the angle but the transform and move the bumper out just a just a hair so it matches up on the car to be symmetrical with where the other bumper is and it's a really nice way when you have something like this you can grab something from one place and clone it to the other side using a transformer and create a certain layer with just that little piece which is what I did with that command J gives me a second layer but I don't want to keep that second layer as another piece that I can get confused with so my next step will be go to go to the layers palette and merge that layer with the car so that it becomes a part of the car because a part of the whole whole drawing without having to worry about that layer getting lost and mixed up so what I'm gonna do now is I'm gonna speed up the drawing and take about an hour's worth of restoration compress it down to about five minutes and I'll walk you through what what I'm doing here i'm just using the clone stamp and copying the pavement over from the right side over to the left side i'm also grabbing some of the sidewalk and the pole to try to simulate what the sidewalk would have looked like there I just took the foot and did the same thing where I grabbed the left foot and put it on his right foot and reversed it so that it pretty much looks like the same thing but unfortunately he now looks like he's sitting on the hood of the car and he's floating in mid-air it's just not at all what I wanted and I'm also not at all pleased with the the way the curb looks on the left and the way the pole comes down but I'm not going to worry about that now the is I just remembered a photograph that I took of my own street when I walk my dog and it's got a pretty nice picture of a curb and so I'm going back and forth here and looking at the scratches on the photograph and and one thing I find is that that the clone stamp really is a great tool for a lot of things but the Healing Brush tool is pretty amazing I'm going over the sky here and you'll see that it's cleaning up pretty quickly a lot of these areas that are that are a mess and the other thing I found is or find is the healing brush when you see a scratch it's particularly good if you just follow the scratch and go to the direction of the scratch instead of crossing it across the scratch Photoshop does a really good job of analyzing what's going on behind the scratch so you'll see I'm just here I've got a lot of areas through the bumper where the healing brush is to fine and it picks up the wrong textures and colors so I'm actually using a paintbrush here and painting using the dark colors and changing my opacity here I've gone back on am using the healing brush to remove all these spots on my shirt and I'm noticing that this shirt is hard to differentiate from the sky so what I've done is I've come in and I've looked at the sky and decided I'm gonna make this shirt just a tidbit greater than the sky and I'm lightening up the sky and darkening up his shirt trying to come up with some definition between the two and it's coming out really nicely the building on the right is got a lot of scars on it and the patterns on the sidewalk were a little bit too symmetrical from the way I was using the clone stamp here in this on the bumper the bumper has definitely had some some areas where I had to go through and you see both the Healing Brush and the clone stamp to be able to clean up some of the some of the bumper so here I am working on the car on his pants primarily I'm using the brush tool to pick up color and texture and then paint in the shadows paint on the highlights go through just generally and sharpen things up I could look good before I get into the area around his fingers or there's gonna be a lot of detail so here I'm going in with the paint brush and getting kind of granular with the with his fingers trying to clean through the the web between his fingers and but so far the cars smooth it up really nicely I found I was trying to figure out some of the textures and some of the boundaries and finally made some decisions about what was going on with the car what was going on with this hand so generally speaking at this point I'm just using a paintbrush I'm going back and forth with the paintbrush to pick up the colors of his pants and painting that man between his fingers and then picking up the flesh from his hands and painting in the flesh on his fingers and it's just a little bit of a slow process but eventually it started looking really natural and I was really happy with the results and you'll see here the same things going on on both both sides first it looked a little bit unnatural and the more I work with it darkened some of the knuckles and zoom back in and out and then take it took a look at what was available I was pretty pleased with the way it came out at this point I decided you know that kerb and really bothers me on the left hand side that it reminded me of this picture I took walking down my subdivision on Morton Road and the curb that I had taken a picture of with a sidewalk and there was a girl in front of me and I was walking my dog and I snapped a shot of the street because I thought it was just such a neat neat picture and as I thought about this restoration the part I didn't like about it was that unnatural looking sidewalk and curb so I went into Lightroom and I found my found this image and I decided to grab a piece of it and the way I did that was I took and went command shift four and created and grabbed the curb and when I did had created a screenshot of just that part that you just saw and now I've got a screenshot which I can then go in Photoshop and I can place that screenshot into my so I'm going back to photoshop and I'm going to go a file place embedded and I'm going to go find my screenshot which is in Dropbox when I find a screenshot from the curb that I had taken a picture of before it's going to drop it down into a little spot on the on the photo and that the difficult part is the resolution can be way different as you can see it's a little tiny chunk of the picture that resolution on the restoration it's a lot higher so I'm gonna have to grab that little piece of road and it's going in the wrong direction so I'm going to transform it and to the size I want and I'm gonna grab the far corner to the right and I'm going to pull it across and that create a transformed you'll see in just a second when I get approximately the right size and I'm gonna pull it across one side and then pull the other side across and the air comes my curb and I'm gonna try to line up the perspective on the curve to match the perspective on the photograph which came out really nicely I thought it was great but I couldn't see what was going on but the layer that it's on I can go over and I can create a transparent transparency on it and so I'm going over here I'm going to hit reduce my transparency so that you can start to see the picture below which is the picture of the restoration so I'm going to move the curb over to be lined up and I'm going to change the perspective by changing the corners and transforming it down until it matches the approximate perspective of the the restoration it also brings in the texture of the sidewalk and the texture of the so that looks pretty good except for one problem is it's completely obliterating the the picture so I'm gonna go back and increase my opacity again back to where it is and I'm gonna create what's called a layer mask and the layer mask will allow me to paint out the stuff there there's my layer you can see it popping up and down over top of the restoration and so what I want to do is I want to make it visible and when I do I'm gonna create a layer mask so that I can paint out the parts that are covering up the car after I get it about where I want it then I'm going to make it visible and I'm going to change the perspective just a tidbit so the horizon lines about them about where it should be and then I'm going to grab the uncovering and click the layer mask button on the menu to the lower right and when I do it's gonna create a mask and right there there's a layer that's the layer with the picture I brought over from Lightroom and I'm gonna grab the I'm gonna click on the layer mask icon right there and when I do it creates a little mask and the mask uses we use the paintbrush and the paintbrush is black if you use black and accrete if you can imagine a frisket or a anyway you'll see what's kind what it is I'm gonna take a paintbrush with black and I'm gonna paint on the layer mask and you'll see there's my brush and I'm gonna make the brush pretty big so I can paint out and start to reveal the picture below and so [Music] my brush I could make sure the opacity is where I want it to be and then I'm going to begin to paint out as you'll see I'm painting out the the foreground layer which is the layer with the sidewalk that I just imported over from Lightroom he's on the screenshot and as I paint on the layer you see the layer I'm getting darker on the where the paintbrush is creating a black mask which takes out the old picture and brings in the new the picture the restoration picture below and the really of the main thing I wanted to get was that perspective curb looking thing and the pavement and I'm painting out now the mask so that that picture I brought over from Lightroom the screenshot becomes goes away and is now starting to look like it was originally there and I also like where the pole was I didn't like the way it was before so I changed the pole to be back on the edge of the curb which is where it normally would have been and that that starting to look really nice and he's starting to have a little presence he's not standing as much floating in mid-air he's he's actually looking like he's got some pay that around him so it's a really nice technique to be able to pull in another image from especially the one that I had created originally in black and white I used my iPhone to create to take that picture so my next steps on this part is to come back in here and I'm going to clean up the mask clean up the area through here and start to create a bit of a natural-looking shadow underneath the car and I'm going to use that by creating a use what is a Dodge and burn tool to create some darkness and some texture and eventually using the Dodge tool and the burn tool I can go back and forth and darken the layers and and create it so I'm gonna fast forward through this part to I feel I get to the finishing touches so to finish it up what I decided to do was to do something similar where I grabbed a piece of the pavement on the right hand side and cloned it over to the left hand side and so the McCreight a second layer and you see I grabbed the pavement to the left which looked really nice from the from the piece that I had before and I cloned it and brought it over to the right so it made a much better surface for him to be standing on I then did the same thing where I created a layer mask and I painted out the area where he was standing and then left the pavement reproduced from the left side over on the right side and then I used my darkening by using a Dodge and burn tool to darken the pavement underneath the car that's the the burn tool it just takes whatever the pigment is that you're working with whether whether it's color or black and white and simply darkens that it keeps all the details are great tool especially for photo restoration and you'll see that I can I can change the opacity and darken create some shadow and now I'm starting to create the shadow under the car that allows it to look like it's got a presence do the same thing under him so he's casting a little bit of a shadow giving him some presents as well and it just really adds to the rest Ness to the the other the other thing I'm gonna do on this as I look at it is I like to vignette the picture which means I'm just gonna take and use that darkening tool after I've done a little bit of detail work and I'm going to start to darken just the edges around the picture and you'll see here I'm adding some darkening on the very edges of the picture which gives it a little bit of a presence a little bit of a focus so that your your edges aren't quite as stark and bright as they as they would be if you didn't have some kind of a someone through and I'm cycling through to see what the changes are what needs to be done to kind of clean things up and I'm gonna put a little darkening around the edges around the sky around the building and bringing it in to the end of the rest of the drawing you'll notice also that it's not a perfect clean up and the reason is is that I didn't want this to look like a painting or a pencil drawing I wanted to look like an old photograph and the other thing is when this is printed at 5 by 7 which is what I was asked to do really most of these details go away they don't look bad at all so here on cycling through all the changes they were made and showing the final details so the restoration is completed it did come out pretty well and I was very pleased I was able to print these on a archival printer with aqua archival inks on archival paper and made that made a set of 5 by 7 prints they came out really nice and I was very pleased with the final product especially considering the initial condition of the photograph the photograph literally was 2 inches by 3 inches my restoration was printed at 5 by 7 roughly so I hope this video was instructive and informative and Russell the next time I see you you'll I'll be able to say here's how I did it and you'll say ok that's that's what I was wondering because the last one I did for you you were you were not able to not able to explain it and I hope this gives you a pretty good idea and I just want to thank you and Saleem for allowing me the privilege of working on this restoration of Celine's dead so I hope that you have a wonderful wonderful birthday party you'll have fun you

Channel: George G. Hoffman

Views: 115,631

Rating: 4.8636827 out of 5

Keywords: 2017 Celine's Dad Restoration, photoshop, restoration, retouching, vintage photo, tutorial, color correction, cloning, layers

Id: 071BM7l1jlQ

Length: 48min 18sec (2898 seconds)

Published: Fri Mar 02 2018