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Hello, and welcome to another episode of the Adobe Creative Suite Podcast.
My name is Terry White, and in this episode
we're going to take a look at photo retouching,
specifically with eyes or photo retouching eyes in Photoshop CS6.
Eyes are very important to me.
If you look at any of my work, any of my portraits,
I'm usually concentrating mostly on eyes or people with unusual eyes
or beautiful eyes or just eyes in general.
I just have a thing for great looking eyes.
When it comes to Photoshop, I actually want to
enhance the eyes just a bit to make them look even better.
Now, of course, very few people--I would say no one--has perfect eyes,
so there's always going to be something going on, whether it's red in the eyes,
lines under the eyes, the way the shot was lit.
It could be making it darker under the eyes than it really is,
so we do things in Photoshop to make the eyes look better
but not too unrealistically better, and that's where you have to draw the line.
Now, if you're into this whole "I hate photo retouching,
and people should look the way they look," then you should probably
stop watching this tutorial because
photo retouching is a part of life.
You'll see it in every magazine on the shelves today.
Everyone gets retouched, and unless you're doing something
journalistic where you're trying to portray a scene or a mug shot
or something where that person has to look exactly like they shot
with a camera then by all means don't do this.
Just take the shot right out of the camera.
But for everyone else, this one is about retouching eyes.
Let's go ahead and jump right in.
Now, I have actually a stock photo here.
This is an eye stock photo, and it was basically
doing a search for red eyes.
Now, this is not to be confused with red eye from the camera,
like where the camera flash creates it.
That's a whole different story. That's a whole different tutorial.
This is specifically for looking--
or getting red out of the eyes, like bloodshot eyes, I guess is the best way to put it.
I have tried just about everything.
I have tried cloning. I've tried using Patch Tool.
I've tried healing brushes.
I've tried all kinds of techniques to get red out of the eyes,
and it just depends on the eye itself
as to which one will work better.
Sometimes if it's just a little bit, maybe very distinct
with lots of space around it, you can patch it out or clone it out
or use the healing brushes to get it out, but in many cases
when it's kind of blending in like this it's more work
than it's worth to do it other methods, which we're about to take a look at.
Here's the last thing I want to tell you is that
you'll be tempted to use white as a color
because of the whites of the eyes, and really technically
no one's eye is 100% white.
No one on the planet has white eyes.
They're always a little darker than white.
They could be a little grayer, a little beige, but you can see
going into the corner here this is not white, even without the red.
If you make someone's eyes white,
it will look like you made someone's eyes white.
We don't ever want to do that.
Here's what we're going to do.
We're going to--first of all I'll show you some of the other methods that may not work so well,
so for example, let's use one of my favorite tools, the Patch Tool.
Now, in the case where I want to take out maybe this particular one
I'll just go ahead and circle it with the Patch Tool,
and let's say we go down to about there and move it over to an area
that doesn't have the red, and again, it will be okay.
You can kind of do that, kind of patch out the red,
and you're replacing it with the exact same color in the eye,
so that will work okay.
But you're going to get to a point to where you're going to be doing
so much patching that the Patch Tool is just not going to be
an effective tool or a time-saving tool, so to speak.
And let's say we try and patch that over here, and then you start
ending up with weird colors in the wrong spots because
you didn't have enough white to pull from.
Patch Tool, use it sparingly in red eye situations like this.
When it's something--maybe it's one little object in the eye
you're trying to get rid of, the Patch Tool may work okay.
Let's try the next one.
Let's switch over to another one of my favorites, the Spot Healing Brush.
Now, the Spot Healing Brush in CS5 and CS6 is now content aware,
so it can do a much better job
than previous versions.
I'll go ahead and make my brush a little bit bigger, and by the way,
if you're not using a Wacom tablet or graphics tablet
to do this you're doing it the hard way.
If you're using a mouse, you're using a track pad,
your mouse or track pad could either be on or off.
The purpose of a tablet or a pen is that you have
various levels of pressure, so you press a little harder, it does a little harder.
You press a little lighter, it does a little lighter.
If you're doing retouching without a tablet
it's not going to be fun.
You're not going to get the best results.
You definitely want a tablet, any tablet.
If you went with one of the cheapest ones, like the $50 Graphire tablet,
or Bamboo tablet, I should say, those are better than
$100 mouse all day long, so go with any tablet.
Any tablet is better than a mouse.
I prefer Wacom tablets. I'm using an Intuos5 here.
Okay, with that said, let's say I try and use the Spot Healing Brush
with content aware, so I'll go ahead and just
try and content aware that out, and again,
it will do a much better job than years past with the previous Spot Healing tools.
But you're going to spend a lot of time trying to paint this stuff out of here
using this method, so again, this is going to be challenging
depending on how much red is in the eye, but you can do a lot more with it today
than you could have before, and the problem is you're going to start leaving
all these little spots, so you're going to have to do a lot more work to use this tool.
Let me show you a method that I think will work best for most situations,
and that is we're going to go ahead and create a new layer,
so we'll just go to our new layer icon here
and with our new layer icon--which is basically a blank layer, nothing on it,
and now we're going to switch over to the paint brush,
just the regular old-fashioned 1986 paint brush.
Okay, so we've got our paint brush here, but the difference is
your opacity normally is at 100%,
meaning you're using 100% of that color on that tool,
and I'm going to slow you down.
I don't want you to use 100% because 100%, again, will look unnatural.
It will also look like you did it.
It will look blotchy in certain spots.
We're going to take it way down.
We're going to take the opacity of this brush way down
to about 20%.
Now, why 20%?
Because you'll have to work in layers, so to speak,
putting on layers of color,
and that will build it up more naturally than putting down
100% of the color all at once, so with that said
now we're going to hold down our Option and--here, let's enter that--
we're going to hold down our Option or Alt key,
and that will bring up the little eyedropper so that
you can sample the exact color.
We don't want to choose white.
We don't want to choose a color off the color palette.
We want to actually use the color that's in the eye that's not red,
so I'm just going to go right about here and sample that color,
and when I bring that up you can see that's not white.
That's not a white ring inside that gray ring.
It's kind of a grayish ring inside of that gray ring.
Now that I've got that color, we can go ahead,
and I'm lifting up my brush each time, lifting it up,
paint a little more, lift it up, paint a little more,
because what that's doing is it's gradually building up
the color and gradually painting out the white.
Now, if I keep painting right now and don't lift the brush up
it's just going to continue to paint that 20%.
When I want another 20% I lift the brush up
and paint some more, so again, this is where your tablet comes in handy
because you can also do this with pressure.
You can get a much cleaner look out of that,
and also using the tablet it's easier to adjust the brush size.
Come over here and pick a different white, and again,
we'll just continue to paint out the bloodshot eye
and continue working until we get it all out.
Now, and I said all.
We don't really want it all out because, again, that will look too white,
too unnatural, so I'm leaving a little bit of red around the edges here,
and I'm doing that on purpose because that's the way real eyes look.
Again, sampling this color in the corner here is better
because it's not white, so we don't want to paint white in that corner,
so we'll just start painting this 20%,
kind of reducing the amount of red
and putting back in the natural eye color,
and note I said the natural eye color, not white.
Okay, good, good, and again, we're going to leave some of that red in there
because everyone has a little red in there.
We just wanted to reduce the amount that we saw initially,
and I'd probably stop right about there.
You use your own judgment for when you want to stop,
and really you want to zoom out to 100%, and I'm zooming way out
because, of course, that eye was just cropped to the eye,
because that will really show you what that eye looks like.
If you're zoomed in constantly you're not getting a real representation,
and I can also see when I do zoom in
I've got a little more work to do around this edge here, but you get the idea.
You want to zoom in when you need to work.
You want to zoom out to check it to make sure
that you're not making it too unrealistically white,
and you can always check it by simply doing a before and after
by turning that layer on and off.
Turning that layer on and off, and I can start to see
the reduction of red, and again, if we zoom out to a normal eye size
that would be fine for this particular portrait because
no one is going to be looking at it that closely or that zoomed in
when it's printed or otherwise.
Okay, so that's the red--reducing the bloodshot in the eye kind of effect.
The next thing we're going to do is we're going to take a look at
a common practice, and that's reducing the amount of darkness under the eyes,
and again, the darkness under the eyes comes from actual lines with age,
lack of sleep, bad lighting, all of the above.
Everything can create that shadow under the eye
and make that a little bit unnatural.
What we don't want to do as retouchers is completely remove it
because if you completely remove it then no one's eye looks like that
except for maybe an infant, and you end up making an eye that doesn't look right.
The easiest way to do it--and I know this is exactly opposite of what I just said--
but the easiest way to do it is duplicate the layer
and completely remove it so that you can then dial it back in
to be as much as you want, so in that case
I'm going to take this person, who is a friend of mine.
I'm going to just basically completely remove it because her eyes look great.
It's just that with the lighting of this particular shot that I took
it's emphasizing a little darkness here that probably you wouldn't notice in real life.
Let's go ahead, and what we're going to do is we're going to duplicate
this layer so it's just the background.
I'm going to hit Command J, or you can just simply drag it down
to the new layer icon to duplicate it.
Now we've got the duplicate on top, and this is where we're going to completely
get rid of all of the darkness because that way
we can dial back in as much as we want.
There are various ways for doing this.
My two preferred methods are using either the Patch Tool
or using the Clone Stamp Tool set to lighten.
Let's try the Patch Tool because the spot under the eye looks pretty good here.
Let's go ahead--or spot under the darkness, I should say,
and we'll just go ahead and patch this completely out,
making it completely unnatural.
Okay, there it is, completely unnatural eye,
basically no darkness under the eye whatsoever,
and again, that's the part where we know it's fake.
We know it looks bad.
We know you didn't do it right, so forth and so on.
Same thing here.
We'll just select this same area and completely remove it
so that we can dial it back in.
Just drag it down to another area, and you can only drag it down to another area
if that other area looks good.
If the other area doesn't look good, then you've got to use other methods,
which like I said, in my case would be using the Clone Stamp Tool
set to lighten mode and about 40%.
I usually start lightening using the lighter spot underneath,
painting on the darker spot to clone that in,
but her eyes look great so it was easy enough to do it--
or her skin looks great, so it was easy enough to do it down at the bottom here.
Okay, so now unrealistic, nobody looks like that, nobody's eye looks that light,
and I can see a little bit more here that probably should go.
Now that we've got it completely unrealistic now let's dial back in
the amount that we want and the way we dial it back in--
and it looks like I am going to use the Clone Stamp here.
Let's go ahead and do that.
Let's grab our Clone Stamp Tool, set the mode to lighten,
and let's drop the percentage down to around 40%.
Now that I've done that, what I can do is when I sample this lighter area
under the eye--and again, 40% means I'm not blasting 100% of that lightness in.
I'm just lightening anything darker than that by 40%.
I can really lighten that spot under the eye.
And you've got to be careful with women and makeup because
you might end up taking off some of the mascara or some of the part under the eye
that was there on purpose, so we just really want to lighten that up
and make that, again, totally unnatural.
But you're going to see why we did that in a minute.
Okay, so now that we've got it gone--it's completely gone--
remember the original eye is underneath that layer,
so we just took it all out with this layer.
Now, the reason we do that is because now that we have this layer
with it completely gone we can just use opacity
to dial down that layer, which will show the layer underneath
or the background underneath, so we can dial back in a little bit of that line
that everyone has to make it look a little bit more natural.
And again, you're going to do this for the age of your subject.
If your subject is older, you're going to dial more back in.
If your subject is younger, you can get away with dialing in less.
It will be to your taste and to your client's requirements.
But if I dial it all the way down, we bring it all the way back,
I dial it up some more, just kind of reduce it, not getting rid of it completely.
And again, it's to your taste,
and I'll leave that up to you to decide what your taste is.
That is a quick tutorial, a quick way of looking at
adjusting eyes, and I hope you enjoyed it.
I hope you got something out of it.
Once again, my name is Terry White.
Thank you for watching this episode of the Adobe Creative Suite Podcast.
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