Photoshop Old Photo Restoration (Live Streamed)

So hello and welcome everyone to Noble Desktop's first YouTube live stream my name is Dan Rodney and I'm a course developer and an instructor here at Noble Desktop for the past 26 years we've been teaching all sorts of design and code related technologies so we teach things like web design and various Adobe applications so we teach you how to create web pages how to retouch photos so we teach Photoshop Illustrator InDesign all sorts of the adobe apps as well as how to create websites with HTML CSS and JavaScript this is the kind of things that we teach and you can take courses in person in New York City or you can attend them live online as well and you could do a screen share in and watch the instructor computer is there demonstrating and kind of join the class virtually we also have wonderful work books which are step-by-step learning guides and that's a great way to learn in addition to our classes today we're going to be doing a demonstration on old photoshop restoration of old photo restoration using photoshop so we're gonna take a look at an old photo and we're gonna restore it we're going to color correct it and make it look better so that's going to be the goal for today we have some written instructions so that you can practice this later on you don't have to do this during the live stream i'm not expecting you to follow along as i'm demonstrating because we already have the instructions are written down for you so into the chat we have posted the link to the goodies page and that is also in the course or in the am video description below the video as well and so you can go to the goodies page at any points and scroll down to the old photo restoration and download the handout as well as the class files and let me actually i'll do a screen share here switch over to my screen and show you that so we switch over so let's say you go to that page mobile desktop calm / goodies to scroll down here and you can get the instructions for CC 2015 which is basically the same as cs6 if you're still using cs6 it should pretty much be similar and we also have separate cs6 instructions just in case they were different so download your set of instructions which is a PDF as well as the class files and in those instructions are every step of doing what we're going to be showing today so that said i've already downloaded the class files and I'm ready to go so let's get started but that I'll screen there alright so let's take a look at the final example of what we're gonna do today in the files you download we have two versions the starter image and the finished image so let's open those two things up i'm going to open those up in photoshop alright so this is the original image that we're starting with just going to go to put this on screen and same thing with this one put that one on screen as well get these as large as possible for you so this is the before and after so we still want it to feel like an old photo we still want to respect the age we don't want to necessarily feel like a brand new photo we want people to know that it's an older photo but we wanted to look better than what we're starting with here so we're going to need to do some clearing out of these block blobs and blotches in various places and we're also going to need to color correct it as well so the contrast is kind of lacking we want to boost the contrast and there's lots of dust and scratches this is a really beat-up old image so we want to improve a lot of those dust and scratches and also if you notice in the final we have given a nicer color as well so it's kind of got a little bit of a brownish tone but we wanted to give it a nice you're warmer Richard Brown nice sepia tone so so we like that that color a little bit better than the original so so we touch it color corrected adjust the contrast and overall make it look better but while still respecting the heritage of this original old photo so that's the goal of what we're going to do so i'm going to go ahead and close that and to get started with this the first thing that we want to do is is to not work on the background directly we want to work on a separate copy of the layer because it's important to see the before and the after to see our progress and make sure that we're going in the right direction and the best way I find to do that is to work on a copy and be able to hide and show the work that you've done so you can quickly compare the work you've done to the original so instead of working on the background we're going to work on a copy of that you can do that by going up to layer new layer via copy or the keystroke for that is command J or on Windows that's controlled Jay and I think of jay is jump a copy to a new layer so that's going to jump a copy to a new layer now that we have that new layer we can give that a better name something like remove blobs and we're going to start by retouching away the major blobs kind of these three this top part this one which is the biggest one and there's a little blue on down here on the bottom left on this guy's cheek so we get rid of those first and then we'll do the color and getting rid of kind of the rest of the stuff so so we're going to see a variety of ways that you can tackle these blobs so we're going to zoom in up on this one first and the first way we're going to do is is by selecting it and letting photoshop get rid of it photoshop is pretty amazing it getting rid of stuff for you and we'll see a photoshop can do our work for us so we just have to select this area first and then we can tell Photoshop to get rid of it when you're doing the selection for this oh and now in the latest photoshop 2015 they're really pushing their new select and mask feature I don't really want to do that right now so I'm going to say close that so that it doesn't bother me again that was their way of saying hey there is a new feature in 2015 so now that that's out of the way I have this lasso selection here and I don't have to be super super close you know you don't have to be very very tight and accurate you want to when making the selection be a little bit away from the edge you want to make sure that you have all of the stuff that you want to remove and just overlap the kind of good stuff by just a little bit but you want to make sure that you have entirely selected the bad stuff and then photoshop is going to look around and take the surrounding stuff and kind of fill in this space with surrounding stuff so we're going to fill using edit fill now I know in the menu here they show this key stroke which has been around for a long time shift f5 and the thing about 85 is who's gonna remember f 5 verses f64 step 4 it's kind of hard to remember that but there's a better keyboard shortcut that they don't actually mention here we mentioned this in our hand out for you but it's shift delete or if you're on Windows shift backspace so you can hit shift delete or shift backspace to get to this dialogue or of course if you don't remember that quiche oak you can say edit fill so we're gonna let photoshop fill this area for us the default here should be content aware but if it wasn't with something else we want to make sure that we choose content aware and so this is going to be aware of the content is going to figure out hey what should be there based on surrounding stuff and it often works well if there's a kind of similar stuff all the way around that it can kind of absorb in and pull into this and it's actually pretty darn genius so i'm gonna click ok and when I deselect we see that did really darn amazing job it is quite amazing how well this often works so when you want to get rid of things you can go in and say your edit fill just click ok and it just magically kind of looks around sucks it in mixes it up a little bit and really does a tremendous job actually a lot of the time so for example over here this is a huge blob that we can go in and get rid of running shoes this and because you do this quite a bit that's why I mentioned that keyboard shortcut of using shift delete to bring up the film dialogue because you can just hit shift delete or on Windows shift backspace and just hit your return or Enter key and photoshop will go in and figure out what to put their now let's say it didn't give you the best result right away it will make multiple guesses that are different so if you do it again shift delete again or Windows shift backspace they return again it will make a second guess so you can keep doing that multiple times if at first you don't succeed try try again until you get something that you like and a lot of times I have to say it is just utterly amazing and works really really well but let's say it just isn't doing it for you let's say it's not doing your job in this case it actually does an amazing job but I'm going to back up to when I just had my lasso here if it's not doing a good job there's other ways we can help out photoshop and tell it what to do so let's see other ways because this is a great example of when you might want to do other things and with you we don't know what your old photos going to be like it could be having totally different issues than this particular image so we want you to have a variety of techniques that you can employ for your imagery we don't know what's going to work well in your imagery so down here where we have the healing tools hidden here behind the Spot Healing Brush there's a patch tool and the patch tool will take a selection and you can go somewhere else and use some other content to come back and patch this it's kind of like copy paste blend is kind of the way that it works so you select the source of the problem so right up here notice it's set to source now the patch up here right now is set to normal but that content aware type of technology that Photoshop has is actually better kind of surprised that the patch tool doesn't default to content where many versions ago photoshop only had a normal patch tool then became content where and in every other case photoshop defaults to being content aware because normally that technology is just much smarter than the older technologies but for whatever reason they don't default to content we're not exactly sure so why they're doing that so when you choose content where it's going to do generally better quality for you so if you drag this selection somewhere else the cool thing about this is it unlike the content aware fill you get to choose what goes in there so you can choose hey I want some of the darker stuff or I want some of the lighter stuff now it's still going to do a blending so you don't know until you let go exactly how this is going to look but you're getting a pretty darn good idea of you know somewhat how it's going to look in terms of the textural quality and you know you have control over what's going to be put there so if I let go it's going to blend in the edges and make sure that you don't see those but it takes the texture of what you are putting into there and kind of blend it in so let me undo that again so if I come and I take some of this stuff watch the texture that i'm going to get and it's going to blend that texture in but it's going to keep the edges kind of soft and fuzzy even though I didn't have an actual feathered selection even though this was a crisp edge selection the goal of the patch tool is to not see edges it's going to try to blend it in and make it look natural in that space so let's go back so you get to choose so the time that i will use this is when the content aware fill doesn't guess properly if I want more control this is going to give me more control I can choose better what's going to go into that space but content aware fill is so quick and easy to use that i will typically choose that first just to see how well it works and if it doesn't work well then I'll go to the patch tool but it's just so quick to choose count the content-aware fill and see if it works so you can just choose it shift delete or edit fill it okay and it typically does a pretty darn amazing job we can also get rid of this little guy right here shift delete it returned so quick and easy to do those kind of things let's get rid of this one last blog right here select that shift delete it okay gets rid of it I mean that's just an amazing job right there so good the what is doing there so content aware fill generally probably the best at getting into the things but it's not always perfect and so it's nice to know that you have a backup in the patch tool if you need that alright so if I show or if I hide and show this layer we can see that before and after so we just removed a couple of those things if there's an area that you don't like when you see that you're thinking and it's not exactly what i want you can go back in and try it again so for example if I want to select this area and lets the content aware fill work going to hit my shift delete and hit OK and see if it does a better job i think i like that a little bit better this time alright so i just want to take care of those first kind of big blobs the biggest ones first and then we're going to come back and take care of all the little stuff in a moment but before we do that i'd like to see a bit better contrast and the improved color so the next thing we're going to do is to remove the current color and then apply my own color instead so for that I don't want to destructively change the color of one of these layers I want to use adjustment layers instead so instead of using image adjustments for which you have to select the layer and to image adjustments and then run these destructively we're going to do later adjustments and you can do layer adjustments up here through the layer menu choose adjustment layer and do it this way or you can also do that in the layers menu down here at the bottom right you can go to this little button down at the bottom middle click on that button and choose your adjustment layers there as well so the main difference is when you choose the adjustment layer through the bottom menu that it just creates the adjustment layer and it doesn't ask you any questions by default if I undo that and go in and do it through the menu up here the difference of doing it here through the menu is it when I choose it through the menu it says hey let me show you the options first before i go ahead and create it so it gives you the chance to name it ahead of time instead of afterwards so we want to actually do this adjustment layer called a gradient map so a gradient map is going to map the gradient of colors to the existing light to dark so let's see what's going on with the gradient map this is going to convert to black and white so it creates my converter black-and-white layer and you can choose different gradients to map to your existing tonal range so what happens is they'll take one color and map it to your darks and the other color and map it to your highlights so in this case if you're doing the red to green the red is going to the shadows and the green is going to the highlights that's kind of funky it inverts it because we've gone from kind of a light to a dark color if we do violet to orange the violets being put into the shadows and the orange is being put into the highlights in this case we're just using it to go from black to white so the difference is that it's mapping pure neutral black and a neutral white whereas before it was not a neutral black it was a little bit off was a little bit warm kind of a brown so Knightly just convert the black and white and there are various different ways of covering the black and white this one doesn't really change anything about the image except kind of take away the color and there's other ways you can also create an hue saturation layer and just pull out the saturation is a variety of ways that you could do this with different layers any of them can work just fine now that we have a black and white image I now want to apply my own new color so layer new adjustment layer and again there's a lot of ways you can adjust color in this case I like color balance because it's straightforward to use and it's easy to kind of visualize what you're going to get you can get some more results with things like curves or levels but color balance in this case is just a little more straightforward kind of obvious of how it works so we're going to choose color balance Oh actually I forgot before we change the color i realize i want to change contrast first because now that I have it is black and whites I want to bump up the contrast because the contrast isn't so good now why do I want to do contrast before color well because when you adjust contrast it could potentially change your color when you boost contrast you boost color saturation when you decrease contrast you decrease color saturation so ideally it's a good idea to do your contrast first and then do color correction there are some tricks you can use to avoid that shift but we're not going to get into those today so first I'm going to do a curves adjustment to do the contrast and then we'll do the color ok so each time i do a new adjustment layer I'm making sure that my current layer is selected so that the new one gets put on top so i'm going to choose curves and that's going to go on top of the convert to black-and-white layer so i'm going to say adjust contrast so within curves let's make this bigger so we can all see it a little bit better there you get what's called a histogram and the histogram is an illustration of where tones are in your image so where you have peaks that means you have pixels within that tonal range so at the bottom we see a black . on the left and a white . on the Rights so we go from shadows - highlights as we go across the bottom of the curve where we don't see Peaks that means we don't have pixels so up here in the highlights that we trail off close to the highlights but we kind of have some peaks very very close to the highlights and that would be things like these kind of like greys and there's a pretty big peak which means a lot of pixels right here in a fairly bright area not white because that would be all the way over on the right but fairly bright things there's a pretty big peak and that's because there's a lot of light areas probably around here and that's what's causing that peak and then we have some other Peaks down here in kind of the mid range of like fifty percent grade would write be right in the middle and we have a lot of those tones here but with no peaks down here in the shadows and that's what we want to fix we want to pull this black . over and change what is black because right now potential pixels that we could have over here are black but we don't have any pixels there we have pixels over here this is this is the brightness of our current pixels and right now that current brightness is set to this kind of like seventy-five percent gray as I pull this over we're changing the definition and now a different set of pixels are forced into blackness so now our total range from highlight the shadow is now spread across the pixels we actually have instead of some of that total range being wasted on pixels that don't exist in our particular image so I'm gonna pull this over and as soon as you kind of hit some of those pixels general that's when you want to stop so if you think about this is like your beach as soon as you hit the beach you want to stop you don't want to beat yourself too high up on the beach if you go too far too much of your image is going to be forced into black and you're going to destroy detail because now anything from this black point to the left is now all forced into black and there's no detail whatsoever anything is to the right of the black . is going to be later than black and therefore is going to have some detail it's going to go from between the black to the white so once you have a good white and black . and i think the white point is pretty good in this case if I did bring it over here and forced some things to go white it would brighten up the image but i think that for the most part I kind of like the where the highlights are for the most part in terms of the brightest white so I'm going to leave that alone what comes in between though like I have a good white and a good black but what comes in between I think could use a little adjustment some of the mid-tones or maybe a little bit darkish now I have some good blacks but some of the other mid-tones and come in between the white and the black could be changed I think I want to make them lighter so if you put a point on the mid the middle part of the curve if you drag down you're going to make the mid tones darker and if you pull up you're going to make the mid-tones lighter so i'm going to drag up to make them brighter now where you put that . you can put it technically any place between the white and the black . but if you put it more towards the shadows you're gonna be affecting those more now you can put multiple points here so you could for example you could affect the highlights here and the shadows and kind of deal with those separately but what you want to be very careful of is flatlining your curve you never want that to be flat straight across because you're going to get these big gray areas that don't look good certainly don't want to invert your curve and you also want to be careful about doing - - straight up of a curve because you'll get too much contrast so I'm gonna put my point up here a little bit more towards the highlights and I'm gonna pull them a bit brighter and just a little bit brighter I can see that before and after by hiding and showing that layer and for the most part the main change that I've done here is not to bring up the whole photo but it's really too dark in the dark areas and that was my goal I kind of like the mid-tones for the most part i just wanted to give a punch to the shadows so I think that works well ok so now now i can do the color change that I wanted to do so we can go back to layer adjustment layers and just to give you a little tip here the layer menu up here when you're choosing things this way it gives you this new layer dialog gives you these options if you prefer to use the button down here at the bottom of the layers panel and you'd like to get the options to name ahead of time you can do that normally when you go into this menu and you choose something like color balance it's just going to create it and then you could name it or choose options later but if you want to get that dialogue while you're creating it just hold the option key on the Mac or alt on Windows and then when you choose it from this menu you will also get those options but you have to choose it before you go into the menu when I just did it there I I held it after I opened up the menu if I hold it first so i'm holding option on the Mac or alt on Windows and then I go into the menu and I choose it then i will get this dialogue of these various options that i can choose ahead of time but if you forget to set a bedtime that's okay you can still create it and do it afterwards I can still go in here and call this a sepia tone and make the change alright so the reason I chose color balance is because here you literally see the color change right in front of you you see going more blue or more red and when you think of a brown Browns have the warmth so they have a red color and they also have some yellow warmth as well think about the Sun sons orange that's yellow and red so I think that will grip kind of create a nice feeling to this so i'll start by pushing over towards the red a little bit but then it's does have like a little bit of a pinkish tinge to it so we can counteract that by going in with some yellow and you get to choose what your balance is here so how do you want to go really yellow or do you want to go more towards the red and the further you go with this color shift the more pronounced the color is going to be I want to keep this just subtle so I'm going to stay towards the middle here so it's a subtle change I like a little bit more the red in here let's see the before and the after I don't wanna majorly change the color but if you wanted to have that kind of nice warm sepia maybe a little more yellow maybe teeny bit more red give it a little bit more color there I think that's kind of nice ok still a nice kind of old photo feeling to it so we're starting to get more layers here and we want to keep ourselves organized as we're working so we're gonna start to group are layers together into logical sections so we can hide and show them all at the same time so I'm going to shift click to select all of these layers so the important part of that was that top one was selected or the bottom one doesn't matter which one but you want one of the end layer is selected and then shift click the other end and all the in between layers are going to be selected and we can group all those layers together by going to layer group layers the keyboard shortcut is the same as other adobe apps if you're used to illustrator or indesign command G on Mac or ctrl G on windows gee isn't group so we can still total open that group to see what's inside of it or we can close it up but the nice thing about having a group is that we can hide it with one eyeball and show it with one eyeball so now we can see the converting the black and white the contrast and sepia tone all with one click we just double click on that group to give it a name and i'm going to call this color and contrast we go I'd also like to group all of my retouching together even though I like the color and contrast to be separate so i'm going to select that group and then shift click the Remove blobs and i'm going to group that together because they're removing the blobs is part of my retouching that I've done so again we can choose from the menu group layers or we can simply hit the keyboard shortcut command G or Windows ctrl G and i'm going to call this photo restoration ok so now we can hide everything that we've done and show everything we've done all with one click what we're doing this just a couple tips about hiding and showing I totally like to use groups and i use groups to manage my files they make it easy to hide and show things but some cool tips if you dragged through the eyeballs you can hide and show multiple layers by dragging through the eyeballs for the longest time i thought i had to click each and every one of these individual eyeballs and I could not believe when somebody finally said you know you can just drag through that right like no I did not know that I could just drag through there I don't know why I didn't think of that and that's actually that's a tip for all the adobe apps whether its eyeballs or locking like if you have illustrator indesign and there's locks you can drag through the locks or you can drag through the eyeballs and it's just a great way to quickly hide and show a bunch of layers even if they're not grouped doesn't matter what they are that's cool tip another good tip as well if you want to hide and show a bunch of things is is option click on the mac or alt click on windows so if I option click or alt click on the labor is going to hide all the other layers if I option or alt click again it's going to review all the other layers so it's basically a toggle to hide or show just the one layer that you're clicking on so if I alt or option click on this is gonna hide all the other layers or show them by doing it for that layer so that's it I still like to use my groups because it's just a little quicker to do no keyboard shortcuts or anything and it's only one button so great tips to know but but you still want to use folders ok so next we have more blobs to remove more improvements to make on this photo so we could keep working on this remove blobs layer keep doing our be touching and you know if you feel confident of what you're doing you could certainly do that but sometimes you like to keep a history with in your documents and i don't mean the history panel because the history panel only remember is the last certain number of things that you've done you can check out how many things it's we're going to remember for you and believe that's under performance yep so here by default photoshop remembers the last 50 things that you've done used to only remember the last 20 but they up that eventually you can increase that from 50 will take up more room those so if you don't have a whole lot of ram then you might not want to keep that super high especially if you're working with large files the bigger your files the more ram they take up and the more history states you have the more ram those take up so but you could increase that if you want to so remember the last 50 things but only remembers those while you have the file open when you close it history goes away so for example i'm going to save this document as a Photoshop file so this is my old photo dan retouched gonna save it as a Photoshop file so it saves all the layers and edibility into the file - save that I always maximize compatibility because that's going to make it more compatible with other Adobe applications or older versions of photoshop so it's a good thing to always leave on I just say don't show again so i don't see this dialogue ever again because i always want to do it click ok so let's say I close that file and then I want to reopen that back up so let me open it back up notice my history is gone my layers are still there all of that stuff is good so i can go back in and tweak any of the settings here for my adjustment layers that's why we use an adjustment layer it so that we can go back in and make changes that's why we do adjustment layers instead of image adjustments if you do image adjustments through the image adjustments menu those are destructive they permanently change the layer that you are editing and you you can't go back and change your mind later on adjustment layers let you change your mind later on so since we're not having a history that saved in our file and and also history is linear so even if you did have it you have to undo all the things you did you can't just go back and undo one thing so we use layers as much as possible to keep a nonlinear history if you will so I'm going to duplicate the remove blobs layer so they can do some of my retouching on that and we're going to do the duplicate the same way we did it before I layer new layer via copy command J just get used to that command J keystroke or on windows control J you just want to jump a copy to a new layer pretty frequently whenever you're doing something that you maybe want to be able to restore back to an earlier version of the image and so i'm going to say remove more blobs now do I technically have to do this not necessarily technically speaking but if i do work and then I decide they don't like it I could always just delete or or just temporarily hide that layer and I'd still have all the old work that I've done on this remove blobs layer and so I'm kind of building that history into my file if i do want to go back to an earlier version i can i'm gonna make sure that this layer selected so i'm working on that layer and actually i'm going to call this remove dust and scratches because we are going to remove some of those blobs but we're going to do some of the dust and scratches first because there's just a lot little scratches and everything all over that so there is a filter called dust and scratches it's under noise because they kind of consider it to be noise over the image and we can remove those dust and scratches now depending on the image you may or may not have good success with this filter and don't think of this is being your final thing that you're going to do that's going to just fix your photo completely perfectly and you don't have to do any work you can use it to help you out but don't rely on it on it to do everything so what does this do well there's a radius amount which is basically how much dust and scratches is going to remove and you can see the immediate problem is if you go too high you have no detail you're like look great no dust and scratches you like but also look I have no photo left so you've gone too much so you got to be careful it's kind of like a blur that respects edges right it's not a like a gaussian blur which will blur out everything smoothly that's kind of the interesting thing about it is it does try to keep some crisp edges was trying to blur out the non important details so you want to be careful and go with a fairly low radius because you don't want to obliterate all your detail but let's just say I go with a radius a little too high because it is as we're moving too much my detail but let's just say for right now that I keep that we want to show i want to show you what threshold does so threshold is the question of does this actually affect everything or just certain parts of the image threshold is like when you go into a door there's something called the threshold when you cross the threshold you were either outside or you are inside in the case of dust and scratches you're either removing the dust and scratches from a part of the image or you're not so when does it meet the threshold of remove dust and scratches from this area or not so when you say 20 levels what were these things called levels if you think about tonality you think from white to black there's all these steps or levels from white through all the shades of grey ultimately to black well by default there are 255 levels of difference from white to black so when you say 20 levels anything that has any level of difference it says that's a dustin scratch let's remove it so there's a very low threshold for what is a dust and scratch basically thinks everything is a dozen scratch and it tries to remove everything if you up the threshold now things need at least 11 levels of difference so from one pixel to another you've kind of up to the threshold so now some things are not going to meet that threshold and that means it won't apply dust and scratches to everything some things won't get the dust and scratch removal which means you're going to keep some details the higher the threshold the more you need to meet that threshold for it to work that means fewer and fewer things are going to get dust and scratches so here everything gets it and as you go up fewer and fewer things are getting that it's still doing the amount to your image still the amount of blur that you're doing but how much of your image do you see it so you want to be really careful about doing a super low threshold because that's just going to obliterate tons of detail you want to pop this up a little bit so that you're keeping some of the finer details again with radius you don't wanna go too much because it is going to obliterate a lot of details so you want to keep a fairly low radius generally and you want to have the threshold definitely higher than 0 you want to bump that up and so you just have to play around with this a little bit depending on your particular image a museum and so you guys can see this a bit better so now if I'm hiding and showing the results with the preview checkbox here the goal of this is that I want to see that for the most part i'm keeping a lot of the finer details but i'm losing a lot of dust and scratches that's the goal here so if you're losing too many of the fine details you want to adjust things maybe you want to boost up the threshold so less stuff is being affected or if there's too much blur you might need to bump the radius down so it's not doing as much of a blur also keep in mind that right now I don't have any selection so it's doing this to the entire image you might have some parts which can withstand a lot of dust and scratches like the background is already very artificially blurred and soft so there's really no detail that I need to keep their i can apply a much heavier hand the dust and scratches to the backgrounds then I can the face which has more detail so right now i'm doing an overall dust and scratches but that doesn't mean that I have to always do it to the whole image i can make a selection before I do this so let's keep this kind of low I'm just doing this as a light initial pass over the image just to remove the first wave and i'm going to click ok now the next time maybe i can go in with something a little bit heavier handed so I'm going to start by selecting all but then d selecting certain parts that I think have detail that I want to keep so using my lasso and I want to have a soft edge here so i'm going to go up to my feather amount in my lasso tool so it's actually going to change the last so that each time I make a lasso is going to have a soft feathered edge so I'll set something like 10 pixels gives me kind of a nice little bit of softness here i'm going to hold option as I drag around the eye this would be fault if you're on Windows so you hold option or alt to subtract from your selection and what I'm thinking about is d selecting areas that have sharp detail that I want to keep so anything that's kind of important like maybe like the mouth this this guy's face over down here and I want to keep details that are there the the background here of the chair you know that's kind of got some interesting sharp details that I don't want to lose so I'm d selecting those so basically everything is selected except that particular those particular areas and I'm d selecting eye candy select the buttons maybe I don't want to remove the the button detail because i like the buttons that are here I'm still doing most of the image I'm just thinking about hey what don't I want to do I don't want to do this stuff that's why I'm removing it from the selection ok so I've got most of the image selected except for those few little parts and then it can go back into dust and scratches and maybe do a little bit more zoom in so we can take a closer look now notice as I do this I'm going to crank up the settings kind of a lot here just so we can really see that is going to have kind of a big change but notice it doesn't do it to some areas those areas that I d selected right so that's a good thing so it's not affecting the eyes is not affecting the mouth affecting the other parts so maybe we could do a little bit more in this case but you still want to do a time because you don't want to lose the detail of the too much detail of the original but it is helping to some extent get rid of some of the stuff gets rid of some of those white parts they're helping me out a little bit for anything else beyond that really your gonna want to go in and do selective areas of just a couple areas so let's say for example the backgrounds I could take a whole area like this that's my feather is still 10 pixels so i have a nice soft edge so it doesn't create a crisp edge selection and then I can go back in and I can do a dust and scratches just on that area in this case i can afford to do more application I don't want to have a really low threshold because that is going to obliterate texture so I still do want to have the threshold up but i can get away with a bigger radius to fill in those white spaces so you just want to play around don't have a too low or else it loses too much texture and hopefully this is coming through in the screencast in terms of the quality there hopefully you can see that that kind of obliterates the texture if you keep it up you get too high now you're not applying dust and scratches to those areas so you have to find just the right amount for your particular image what's the right threshold that fills in those gaps for you without eliminating your texture we can do that on an area by area basis so i can select an area and apply more or less depending on that area now when you go up to the top of the filter menu notice it doesn't scratches is there if you want to reapply the last amount you just did you can just choose that and just reapply the same amount that you just did but you might not like the exact same amount so let me undo that so a neat little trick is instead of having to go all the way back into noise dust and scratches every single time and of course that's going to give you the ability to customize the settings since we just saw that right there be kind of cool if we could make that pop open the filter but with the settings so once again that option or Alt key is going to come in handy on the mac is appropriately called option because it shows options on Windows is called all because you see the alternate settings so i can hold option or alt when choosing that and then i get to see the options and then I can tweak it and get just the right amount for this particular area of the image keep in mind that there's any big areas like this that you may want to use the content aware fill to fill in those areas so going into edit fill or hitting shift delete or on windows that would shift backspace and filling that in might help now be careful I had the 10 pixel feather on and you got to be careful with the feather because the feather softens the edge and actually kind of feathered into the object and I didn't entirely select the object so do keep in mind that if you ever apply that feather to your tool you have to go back and get rid of that so I'm going to go back to get rid of that and try that again shift delete fill that in that's nice so we can go in and grab areas shift delete and just get rid of those now an area like this where it's coming in to hear that you might think that's kind of tricky because you've got to extend that line across I think this is a place where that content or phil is going to really work nicely shift delete to bring up the film dialogue and just click ok that's pretty darn pretty darn good now it did give a little bit of a hump there sometimes you can give it a second shot shift delete again same thing again maybe you can hit it one more time to see if it gets a good and I think that's pretty good in this case but let's just say it didn't work it does often work but let's just say it didn't what's another option remember that patch tool so once you have your selection the other alternative is to use your patch tool you can go to your patch tool set it to content aware but instead of the content aware fill which is it entirely judging what it thinks should be there you're giving it some help in this case you're going to drag this to some other area and you're going to tell it hey this stuff should be put there or this stuff should be put there and you can line it up and get it set when you think it looks good let go and it's going to go come back in and put what you thought it should be in there and it's still going to blend it in but you have a little bit more say so if the total content aware doesn't do what you need to do in terms of the content aware fill give this a shot and try it out it could be a nice alternative but like is that content aware fill is just so quick i do typically choose that first shift delete and because you do it so quickly by doing that shift early that's where that key stroke really comes in handy just sitting shift delete so quickly now there's a lot of little streaks along here that we want to start to minimize and some of those can be helped by the content aware fill to some extent but it's kind of hard to select the long streak and in the dust and scratches didn't entirely get rid of that so we have the content aware fill but we can also use content where in other cases like for example the patch tool is content aware but also the Spot Healing Brush is also a Content Aware as well the Spot Healing Brush is nice for just hitting little spots very quickly instead of having to lasso a spot and then having to bring up the film dialogue we can just click on it with the Spot Healing Brush so there's a little spot that you want to get rid of just drag over it and it will be healed just drag over it and will be healed it's pretty amazing drag over let go drag over let go we see it go dark because it wants you to know whether you've highlighted something or not as soon as you let go it looks around the surrounding areas and says let me suck in some good stuff and mix it up so that looks nice in these areas so Spot Healing Brush you do want to set the size appropriately to the area that you're covering you don't want to cover over too much of the area and remove original pixels so you can adjust your brush size there and the trick is you do want to cover over the entire area that you want to remove ideally all in one kind of shot so that you can look around and pull in good stuff you kind of went away like a little bit here and a little bit there it's sometimes pulls some of the stuff you don't want back into that area by the time you have highlighted this whole area when photoshop looks around it should see only good stuff all the way around and know that everything inside this area that you highlighted is all bad and it knows to entirely remove it with surrounding stuff so it's better to do it in one shot then whittle away piece by piece by piece so here again you can just drag over an area and when you let go it will pull the surroundings in and he'll it for you and can often work really really well and in this case is probably faster to brush that then it is to select it with the lasso especially when you're doing kind of straight lines like this especially when it comes to these these little lines that are really straight me show you a cool trick with the Spot Healing i'm going to create a new document to show you this actually it's going to create a half by eleven that'll be good good size ok so whenever you have a brush tool and let me just make my brush for you here so you click with the brush you click with a brush so click click just makes that's our if you click and you shift click shift click will connect those dots so instead of click click hold shift shift click shift click shift click that works with any of the brushing tools including the Spot Healing so if you want to remove a straight line you can size your brush to the size of the stuff you can do that up here using the size or you can use your square bracket keys on your keyboard left square bracket right square bracket future left square bracket it gets a little smaller the right square bracket key makes it a little bit bigger I make this a little bit smaller and i'm going to click the one end and then shift-click at the other end and it makes a straight line to heal that so you can click at one end shift-click the other makes a straight line in between and heels that so here's a nice strong a long straight line click shift click click shift click so it could be a way to do straight lines without having to drag through the entire line ok now also don't forget that you know you have your dust and scratches so in certain areas you want to make sure you may be hit with the maximum dust and scratches you can get away with so you do the dust and scratches first no i didnt feather that so let me just go in and feather that real quick i'll put on a feather of like 10 pixels then I'll go back in and do my dust and scratches I'll see how much I can get away with in this case be a little bit less keep a little bit more texture there you go so it's really using a combination of these to improve your image let's just see how far we've been getting here I'm going to hide and show and so we're getting there you know the background is looking pretty nice i could still run some more dust and scratches in some of these areas the jacket though this is still needing some work so how are we going to do that so I would certainly go through and maybe do some more dust and scratches in some of these areas like some of these kind of mid areas that don't really have a lot of detail feather out my selection there and then do my dust and scratches for that try to get that as good as I can i would use things like my spot healing brush to get rid of the stuff that I don't want see how much I can finish up that way but even even after doing all that they're still going to be a lack of detail it's just not quite there to make this may be as punchy as you'd like it to be because there's just some softness to this image and so the route one of the things that's nice to do on a black and white image or it can also work on a color image to but especially like black and white or sepia tones you can do this very easily on is to go in there which is light and darkness and define an edge and the way that you adjust your brightness by painting is using your dodge and burn tools so dodging and burning is a traditional darkroom techniques of lightning and darkening burning is making things darker and dodging is making things later if you never did this in a dark room don't worry you don't have to understand how it worked in a dark room just know that dodging is going to lighten and burning is going to make things darker an easy way to remember if you can remember dodge and burn go together which one makes things dark well when you burn toast what do you get dark toast so when you burn something you make it black or dark so I'm gonna start by darkening some stuff using the burn tool now you want to go in with a very small brush so I'm gonna have my left square bracket make this really nice and small because i want to find brush to work with and now the default exposure is fifty percent that might be a little too much it might go black really fast and yep well look at how dark that goes way too much they want these tools to be set to a high amount initially so it's obvious what they're doing but a lot of times to make them usable you have to lower the exposure down a lot I'd rather go over it multiple times the build-up to the right amount then going over at once and realizing it's too much having to go down and oh that's still too much let me undo and let me go down so I use often small little amounts and then you can go in there and even that I think is too much you know sometimes I get into like the two and three percent here just to slowly build this up and you can actually use this to get rid of some of the light areas but you can use it to define the edges more and it's going to be a combination of the darkness as well as the lightness as well so if you go through and you drag a sharp line you want to do some shading here so think of this is like you're an illustrator and your shading here so you've got to get the nice fall off you know the nice kind of blending so you want to create now if you want to create a sharp straight line remember click shift click just click shift click shift click and it might be subtle but you're slowly making it a change if you don't see it enough of course you can go with a slightly higher exposure maybe I go to like four percent so i can see this just a little bit more and the more that I let's go back down to three the more than I make the sharp edge with the black and then go back in with the Dodge tool to lighten up the other side let's go like four percent on that again with a small brush if you start to lighten one side and darken the other side you're going to create the appearance of sharpness look at the difference here as I hide and show that we're starting to get better clarity I'm literally creating detail so you want to go into the shadows and sharpen up the shadows I'm just shift clicking back and forth here and then you want to do some shading here to kind of feather it out when i go back in with the Dodge tool so on one side you want some darkness on the other side you want some highlights like here I don't really have much of a defined edge but i can start to define the edge by lightning that up and so I kind of think of yourself as an illustrator your photo illustrator creating detail where detail may not have existed so you know going back here you know you can entirely create a line that may not have existed before and you need to define it now this is where having a wacom tablet can a pressure-sensitive tablet can definitely help because the fluid nature of your hands it's easier to to paint using a tablet let me turn on the camera here so using a pressure sensitive tablet like a wacom tablet you've got to a pen that you can use and using that pen just the motion of your your fit your hand painting on your screen is going to be a more natural movement than using a mouse the other really important thing that's different about using a tablet than a mouse is that there's a portion on your tablet how much you guys can see this here notice there's a rectangle here that rectangle actually represents your screen and when you go to one corner of that that's going to one corner of your screen and when you go to the other corner it's going to the other corner of your screen when you go to the bottom is going to the bottom of your screen when you go to the top it's going to the top of the screen and that means that as you actually start to paint digitally pains like going over the same spot you are literally going to go over the same spot in your image so that means you can pass over it very quickly and keep painting the same area so here if I go back in with my brush using my tablet i can very quickly paint over this and I don't know if you can see the speed of my brush going back and forth but I'm going back very fast and and really like I feel like I'm painting in a way that I could never do with my mouse that speed I can never achieve that speed using a mouse i'm good with the mouse but I'm not that good at going in there at that speed the main difference is when you use a mouse the mouse every time you push it it's going relative to where you came from you can't just place it on a spot and keep going back over that same spot without it kind of slowly shifting so you keep having to counteract for that shift because the tablet has an exact relationship to your screen that the same place on the tablet is the same place on your screen that makes a huge difference because there's an exact spot you can keep going back over and back over and so you can do it really fast because you know you're hitting the same spot you don't have to like make sure that as you're going that you're still like hitting the same exact spot you can also get Wacom tablets that are actually screens that you can actually paint directly on the screen which is amazing but you don't have to spend a super big amounts of money to get a tablet you get even the cheapest tablets say we go here onto amazon and we check out some tablets the interest line which is the one that I have is more expensive those run around 300 hours but you can get cheaper ones so they care for example it's got pen and touch you can actually do some touch on this one as well but the pen is the thing you mainly want you get a 484 bucks so you can get them in a variety of prices but they can be as cheap as $84 so they don't have to be super expensive here's one with a pen $69 so you can certainly get affordable ones where you can get this ability so you can be faster working and you don't have to spend a ton of money to get that ability so let me open up my original finished version so you can see the done i just want to show you that if you spend some time going in there and I could have done even more detail but again I wanted to kind of feel still like an old leathery kind of feeling with with some more detail though just went in there and give it more detail and if you compare now you look in this area here versus this that there are whole areas here where I just had to go in and completely just make up the detail because there was just there was just no detail there you know I figured hey there be a based on the look of this I figured there'd be a button there now so I I accentuated that button because I noticed that it kind of it kind of went around so so I figured that that's probably button there and you know that it can it came up and then went back down so figure that's probably button there and so there was the kind of the hint of those lines but but you had to make it up so i had to go in there and i did a little bit of lightness and a little bit of darkness and you end up creating detail because photographs are just light and shade what creates detail is something light next to something dark that's how you notice it detail exists so I would say it took me a total when i first did this image probably about an hour to decide everything of how I wanted to look in to finish everything prob about an hour total to do all the work without explaining it to somebody so it wasn't a tremendous time investment but it was about an hour's worth of work i would say to do the final stuff using all the techniques that have shown now the final thing because you probably notice it overall there is also a little bit more sharpness to this image than than mine I have lost a little bit of sharpness the final thing would be to end up doing a little bit of sharpness at the very end so when you're doing that you want to apply your sharpness to the entire final image now the thing about sharpness is it's often specific to output are you gonna put this on the web are you going to put it on in print if you're going to print you often can get away with more sharpening because the printing process is going to lose some sharpness so you can / sharpen something so I typically don't like to apply sharpening destructively to any particular layer now since I have all these different layers here how do i apply sharpening you could put them all together into a smart object and apply your sharpening that way so be non destructive but that increases your file size a lot as an alternative I like to do it this way i like to just select everything and copy emerged version of it so it's going to be so we flatten it and copy it so that when i pasted just going to go here to the top layer here and i'm going to paste is going to paste emerged version of everything that I have done ok so that's a layer now that i can apply my sharpening - and I could call this sharpening for prints for example if i'm going to do sharpening for prints and then i can go up and do my sharpening using smart sharpen here you want to pay attention to your big version in the background decide your amount your radius and your removal type now this is what I'm gonna start with first you want to be set to lens blur it used to when it first came out be set to college and blur but then they eventually switch to the lens blur which is going to give you a better results and the main thing is it the way that the sharpening filter works or the way that any sharpening filter works is it finds an edge and cranks up the contrast add an edge to create the appearance of sharpness so the amount is the amount of contrast how much contrast is it adding the more contrast you add the more sharp it looks the radius is how far away from an edge is it going to make that contrast noticeable a low radius keeps it really tight to the edge a high radius moves it very far so you start to see halos like here you literally see ugly halos because you're going so far away 10 pixels away from the edge and it looks undesirable even if you have a low amount it's still typically is going to be kind of undesirable because you're seeing a big radius a big halo around the edges so generally radius should be as low as you can get away with reduced noise if you have a digital photo can be very useful but even with an old photo like this with lots of little details that maybe you don't want a little bit of noise reduction might be able to remove some unwanted texture just be careful that if you go to high with reduced noise that you're going to lose detail that you want to keep so I'm going to keep this pretty low the main thing here they were setting is the amount of contrast and the radius so getting back to the remove lensblr if you do remove lensblr the way that it creates the Halos for lens blur is better than gaussian blur what I found is that God and blur the halos are going to be more noticeable then with lens blur video lens blur look at how much smaller oh no sorry thank you for reminding me to turn off my camera sorry about that i thought i'd turn that one off thank you ok so going back here to the amount of the radius and the reduced noise so the lens blur makes smaller halos then gaussian blur look at how big they are with collagen blur and then look at how small they are with lens blur now normally you're not doing this amount you're going to be much less but still at the same amount you notice the big halos with gaussian blur and you don't want to see them with lens blur so keep your ad slow use Lens Blur and then play with your amount to decide how much sharpening you want and you can use the preview to turn this on and off to see how much of a change you're making now my case I should have spent more time removing some of these scratches and stuff that I don't want so I'm going to be sharpening some things that I don't really want to sharpen in this case but you'll start to get a sharper results when you apply the sharpening so if I hide the sharpening and then show it I don't know if the screencast video quality is going to be good enough hopefully you guys can see that there is a quality change don't expect amazing things out of the sharpening filters you're going to see a little bit of improvement mainly when you're really trying to create clarity it's your original is going to determine how sharp something is and in this particular case going me going back in and painting in detail is really how i got a lot of the clarity that I wanted to have in my image alright so questions does anybody have any questions here while i'm waiting for people to ask questions into the into the chat i just want to mention that the once again that you have exercised waiting for you to download at the on the goodies page I'm going to place this one more time into the chat if you go to the goodies page scroll down we got the instructions class files you can download this the the images in the class files you can download the instructions printed out for yourself or or keep it on screen and go through all the instructions of what I've done today is all written down for you step by step it's all written down for you can practice yourself using those instructions they work on mac and pc also for those of you who are new to mobile desktop or or not familiar with us as i said before we do offer classes in new york city in a lot of the different adobe programs also a web design web development so if you're interested in more photoshop training we have some photoshop classes these classes you can attend live online or in person in New York City and so you can check out the different classes that we offer like if you want to create animated gifts and learn how to do that like three hours if you want to learn how to retouch here we've got a two-hour seminar for that as well not a free seminar for the hair but not expensive at all things like fifty dollars yeah fifty bucks also in addition to our classes you can also check out our workbooks we have great step by step workbooks you want to learn more check out the ones we have you just want to look at photoshop i can click on photo shop and check out the books these are the same books that we use in the classes as well but you can buy those either in print or as ebook so that's another great source of learning if you want to learn more about photoshop right so any questions in the chat before we in for the day a lot of times the online seminars go two hours this one was a little bit of a shorter topic a bit of an easier image to retouch this one didn't take as long to do all right well since I don't see any questions popping up into the chat I will assume that you guys are all doing well so yeah at any point just download the handout and the class files and you can go through it if you want the URL is going to be in the court in the video description so you can check it out the video description as well as in the chat and this video will be posted on our website as well as on youtube as well if you ever go to our free seminars page down here at the bottom you can watch past seminars that we've offered just click click the watch now and so these are the recordings of our previous seminars for youtube be sure to subscribe to our Channel and and we will be hopefully posting other videos in addition to these live streams as well alright well thank you so much for tuning in every day everybody and hope you have a great day and a great weekend and we'll see you in the next next online seminar thanks everybody

Channel: Noble Desktop

Views: 68,331

Rating: 4.7416267 out of 5

Keywords: photoshop, adobe, photoshop cc, photoshop cc 2015, old photo restoration, photo retouching, Noble Desktop

Id: 0V8XLhNbLDI

Length: 72min 26sec (4346 seconds)

Published: Tue Jul 12 2016