Segments

" Wow. This episode of pixel perfect is brought to you by square space and Netflix. "

" We hear what Ben will more and he's been on the show a few times so he's come back but. He looks a little different from the last time -- got quite a burning man and something happened then they changed a little bit. But he's still the same -- all the cool tricks that he can show us and where exactly gonna show us today. I wanna show you that if you adjusted image using Adobe camera raw. That there are three sliders in Cuba Iran. Where if you move them up quite a distance they can produce artifacts in your image. -- I wanna show you what those three sliders are -- look out for it the more importantly heavier retouched -- enhance the image so you don't see those artifacts sounds cool. And better as you remember it is a Hall of -- effect -- who inducted the same time. That's right -- back in 2004000. Buildings and remember that two some like that apps but -- this -- got. Well in this case I here's an original image this is what it looks like before it's been adjusted. In that camera -- The -- I just find that does not that excited image of an image it's this is. Doesn't you can't see enough an excellent blu in the yeah. And so here I'm shooting through an arch and there's a valley in the distance and some mountains and such he and I decide to do it justice -- cammarata see much I can bring out of it. The it's here's the end result I ended up -- And you see a run out allotted to each on the shadows brought up a lot more color in all this different areas so here's before. And here's after. But -- doing that kind of radical adjustment. It ended up producing artifacts. And so first let's go in and take a look at which slaughters can produce those artifacts. See you know we know when you might need to look for it. In them what's also wants C having it written -- so -- open this image in the UK are wrong."

" In camera -- these days support sound JPEG tiff. In to first there are wrong file in if you happen to have a JPEG or to have you're gonna have to go up to. The file menu in bridge in choose opening camera. Worst habits a raw file just double click on you'll be in here. So this what it looked like after the adjustment I'm gonna go on the upper right in and choose from this menu. -- In that way you can see the position of these sliders that are on the right side. In their default position. And all choose undo was so you can then see what it looks like afterwards and you can see how radically some of them -- moved. So here's before. Here's after. In the main thing that they did here to bring out the detail in the dark portion of the image is that I took a slider that's called fill light. Which is usually set to zero in bike cranked it up as high as ago us. Yeah and that's gonna bring out as much shattered detail businesses you know I would -- capable of but close to it. But usually when you do you doubt you end up with a problem that is that the dark prettier picture won't have any black in it. It will look job two light in the dark part you won't have -- shadows. And so there's a -- called blacks but I usually need to bring up any time I crank up fill light so to bring that down just for a moment to show you would look like without it. If I do it just feels like it's gonna hazy -- what contrast. Yeah so at any time I really need to bring out a tremendous amount of charity tell I'll consider cranking fill light up as high as it goes. But afterwards I almost always have to come in here and adjust the blacks and I'll bring it up and tell the dark part of the image seems to have some weight to it. And oftentimes would -- do is I'll glance. Up near the top of my screen in the upper right we're having mr. Graham. And I'll either be looking on this little area on the left edge of the mr. Graham. To see if this extends all the way to the edge in I would actually like it to touch the edge without creating a big spike. And spike would mean a large area solid black so if I bring this up. I'll do it and tell visually it looks as if I might have some black in the image. I can telephone have blackened image by holding down one method -- by holding down the option key alt windows. In then click in the black slaughtered it'll show me where in the image it's turning solid black and I can see that I can continue to -- assent. And I'd like -- out a small area of solid black. I'd like to small but it gives me that the weeks in the shadows that I really like it makes it more like it's gonna pop because it has the full range to it. So anyway so you need to get that deep shadow detail take your -- like slaughter crank it up as high as it goes. In then take your black slider and bring it up until you get black back in the image. And that's what you can do if you need an extreme case of shattered -- which is kind of what -- needed here. The other thing that I've done this image is and wanted to plots and color in this area. So the main thing that I did to get that to happen is down in this area I adjusted -- virus in saturation. And both of those sliders when you move towards the right will make your image more colorful. In moving towards the last left it'll make it less colorful more toward black and white. The main difference between them is saturation will treat all colors equally. In some colors might. Already be rather saturated motivator for -- something. -- if you crank up saturation it's gonna become over saturated that's Thanksgiving meals iridescent kind of yeah I'm not only that you if you really just starts blown out detail. What happens is your image is made out of three colors red green and blue is the channels and you start blowing out detail in one or two of those channels. -- it just doesn't look good. So there's only so -- saturation but five friends is going to you concentrate on the -- colors in the image the colors that are not all that colorful to begin with. It's gonna primarily boost those in it's gonna be boosting the color less and less of last is it gets into the more colorful areas. So oftentimes that'll do is I'll take the virus slider. And all crank it up so right now what I can decide to do here for bring these back closer to their defaults. Is that can look at the image. And say what what I'd like to do to the -- colors. What I like to emphasize them to make a really stand out -- become center stage. Or would I rather tone them down so they don't compete with something like a vivid flower. In this case. I know I really want to know -- to stand now Celtic vibrant and I'll crank it up I don't always bring it all the way up but the cemetery really wanted to push. In Ali adjust saturation afterwards to make it look okay -- right now looks overdone so I might bring this course a left bit. In tell it like the look at the image. Most the time removing -- saturation opposite directions. Yeah I don't with Bloomberg introduced these little purple tones and there. You couldn't see before yet they were in there but we just brought about you and then -- back from that time back so that look okay but there yeah. So it. -- ratings have done so far was bring up to fill light slaughter tremendous amount to get my shattered the -- thing bring blacks up to make sure we got -- you know. By -- depth and our shadow. In the and vibrant to bring up the color. Now the one other thing that I did with this image is I tried to exaggerate the texture that is in the stone arch that's here. Get more contrast and -- one method for dealing not is to use the slaughter called clarity. If I bring clarity all the way down. And you see an update this looks just doesn't have as much punch to. The -- in fact right now it's that negative 100 sorry let me get this to just zero. Just a quick tip anytime you're in camera Rauf who wanna reset any of the sliders back to their. Just double click on the slaughter of snapped a -- so here it is at zero. Now they bring it up all the way watch what happens to this area here in the contrast that there."

" He showed just kind of -- yet rotted out you know. -- it."

" Too bad I mean stop just for a second coming -- thank our sponsors or keep notes here. Squarespace is a publishing system for anyone looking to build a block portfolio or any kind of website. They offer uniquely flexible tool for just about anyone know coding experience is required. You could build high end complex web sites with the same functionality that you'll find that some of the highest trafficked pages on the web. Squarespace is newly launched site import tool makes things so. Easy to move over be sure to -- to promotion -- pixel perfect that's one word when you sign up for a discount on the life of you'll order. Thanks to Netflix for sponsoring this episode of pixel perfect. With Netflix you can rent over 90000 titles online including lots of Blu-ray titles with free shipping both ways to your home. They now have over forty shipping centers almost all deliveries happen in just one business day. Netflix plans start from as little as four dollars and 99 cents and as a new member in getting no risk two week free trial membership. Check it out at www. Netflix.com. Forward slash pixel perfect remember you do that the type in net WWW when used in this code. -- to a back that's picking up where we were."

" So this is an extreme image and the problem is when you make an extreme adjustment like I've done here you can easily get. Artifacts in your image. In there's three specific -- in here you really need to look out for which you move the slider just a small amount you're fine. But if you move them to their maximum or close to it -- want to get like three quarters of the way there you really need to start inspecting your image in looking for artifacts. So just to get this image back to how I handed as a result I'm gonna click cancel and reopen it. Because we've messed with the sliders. And might not have ended up exactly -- it started. And let's look at the three sliders and then I'll show you how to get rid of those artifacts. So the sliders are recovering. Fill light. In clarity. Those letters are finding use them but if you end up pushing them really to their limits then you wanna zoom in on your image and inspect it for artifacts. Because recovery and fill light means to isolate an area you that the brighter the dark part of the image. In there's always a transition involved between the dark part of the image or whatever it's not adjusting. In in there you can get smart -- so on an open this image into Photoshop. In once and -- we're just gonna zoom up on the image in see if we can find those artifacts. I just typed letter have to get a full screen mode. Let's zoom operated here. Yeah. So in this case when I ended up. Trying to brighten up the dark part of the image it had to isolate the dark here the image that can -- wanna use the fill light slaughter. And somehow somewhere it had to stop that right in fact in leave this area largely unchanged. In what it did the transition just isn't very good one. In that's very typical if you have something like a mountain range or treat. Against something like this guy. So what I wanna do is -- that out. The problem is if I use the clone stamp tool which is what I will end up using. I could copy from an area in here maybe option clicking here alt click you from windows. And then coming over to apply it. But I'm gonna get over spray under the stone arch. In order do this accurately I might need to choose are harder -- brush get really small brush and really get in their precisely. Take a long time yeah. I'm way too lazy for that. So in -- I mean he's a quick selection tool. The what I'm gonna do this try to isolate the sky from the stone arch so that any changes I make I can't get over sprayed onto the stone arch as I will only be able to. Affect the area that select. So click here just drag across. See what we get. You notice that this -- we get though if you look close -- it does not include double -- out. I could get a smaller brush here in paint on that edge and see if I can get quick selection to include it. Problem there is it only does a small section in so because it only does a small section again I'm gonna have to end up paying unit for around the whole thing I'm too lazy for that. Switches and do. In what I'm gonna do is just like the selection larger if I got the selector menu. She's modify. -- address called expand. And I just need to visually guestimate. Column. Much larger this needs to be in order to make it through that little edge that's there and I'm just -- by looking maybe three pixels or some. So go for three. Just visually looking up -- looks like it on for jumped -- the war but that's perfect yeah well just visually when you're zoomed in this far you can tell. We'll zoom out a little bit in and so now what I'm gonna do is is -- mind. Clone stamp tool I'm -- Option click all clicking in windows where read like a copy from. And now I'm able to move over here. In and put that in without having to worry about getting over spray on the stone arch. The only thing I have to worry about is if there any clouds are things that need to perfectly continue. Over not being overly careful at the moment but. If I were to do the entire arch I might have to change warm clothing from frequently to make sure that the right material -- white lines -- Of the sky -- that was so clouds. It that they are continuous. But the main thing is that selection gives you the protection that allows you to go in in -- touch up yet relatively quickly. That's good so that's the kind of -- that I would get wind. I bring up fill light. -- But they add another slaughter that I ended up cranking up really high is the clarity slaughter in the clarity slider. Is very common effort yet to produce halos. Big glows around the edges of things few and I can see it right here where the stone arch -- a slightly different. Brightness level. In right -- wrong here I see this kind of glow. And that just looks a little too artificial. I think there might also be some of it at the top of the stone arch I don't know how noticeable that'll be -- usually right around here it's like that there yet. In the probable that as I see it all the time so whenever I see it I'm like okay somebody loves clarity. They cranked it up that. I would rather not look at somebody's image in think about the technique they used to get there I'd rather just enjoy the image so I need to get rid of that. To accomplish not what I'm gonna do is use an adjustment layer. So using Photoshop CS four here but that's not essential. To do my adjustment I'm just gonna go down to the adjustment layer icon the bottom of my layers palate because you can also do that previous versions that way -- want. Use the justice and also much. And I'm gonna use curbs because that's what I'm most comfortable way but. If you're not. Comfortable curves you're welcome his levels brightness or contrast anything that dark it's so these curves. In Photoshop CS four -- click on this little hints of bullets appear. And then I can move my mouse on my image and I click within the area that's too bright here where the glow is and just click and drag straight down. And -- darken the image -- just visually guestimate how much darker it would need to be. Say about there the problem with this in the darkened the whole thing. In I need to do something to make it only darken it where the glow it's. To accomplish about what I wanna do is first the mask that's attached to my layer and layers palate is white. Anywhere where its white its gonna affect the image so it's affecting the whole thing. So -- and invert the mask I usually just type command dot control line windows. So now it's not applying anywhere at all. On go to my paintbrush tool. In -- paint with white because white -- paint the adjustment into the image. In a get a large enough brush with a soft edge. What happens is this the larger your brush as the softer the edges because it just has more space to fade out so this is a really soft. -- really big brush. The problem is how they gonna paint this and work only shows up where the glow is. Without getting over spray on to the stone arch right now for just paint. It goes both under the stone arch and onto the of valley. So I'm gonna choose a deal in before I paint and is gonna go over to the quick selection tool. -- and I'm gonna pain across this area to try to isolate the area where the qualities."

" Might mean yes slightly smaller brush. Here in this tight area. In this area here. I don't need to be concerned with just because I'm not gonna -- not that hard. But if I needed to make sure that that was not selected I would go to the top of my screen in the upper left. In up there are you gonna find three icons. In one of them has a minus sign on it department click on the icon what minus sign. Then when I paint with the quick selection tool it would take away from my selection and I just paint over that area. To get it out of my selection. So would be that big problem. But now that I have this election it will be impossible for me to get over spray into. The stone arch. So what I'm gonna do is grab my paintbrush tool in I'm gonna start -- actually on top of the stone arch because the circle you see. Does not represent the edge of your brush when you have a softest brush it's halfway through that the soft part. In so I'm gonna start painting here and just slowly moved towards this -- until I see the darkened effect that I want. And let's see what happens on -- right now. And -- a little hard to see even if -- choose -- do should you'll see the difference before. After. In if I get rid of this election just type command. -- and you twice again. -- Mess up my keyboard shortcuts here. But anyway it's allows needed to go in the area and easily get rid of the halos without spending too much time let the quick selection tool to a lot of the work for -- In then you can end up. You're able to push camera raw little further than used to it. You still need to be careful with it can sometimes the images can be a little overdone this one might be on the edge of that but I think. If you looked at the original that we had and you look at this and resolve. It can sometimes what you salvage an image that would otherwise be unusable."

" it's good to me. As very good. But as a lot of steps there and it's a question of you taking your particular -- to see what it could do and just play around and that's the best way to learn this stuff. And I'm glad you came on again and hope you -- gets better and everything looks really good good to have you back we'll see you again -- You guys next week."

" Wow. This episode of pixel perfect is brought to you by square space and Netflix. "

" We hear what Ben will more and he's been on the show a few times so he's come back but. He looks a little different from the last time -- got quite a burning man and something happened then they changed a little bit. But he's still the same -- all the cool tricks that he can show us and where exactly gonna show us today. I wanna show you that if you adjusted image using Adobe camera raw. That there are three sliders in Cuba Iran. Where if you move them up quite a distance they can produce artifacts in your image. -- I wanna show you what those three sliders are -- look out for it the more importantly heavier retouched -- enhance the image so you don't see those artifacts sounds cool. And better as you remember it is a Hall of -- effect -- who inducted the same time. That's right -- back in 2004000. Buildings and remember that two some like that apps but -- this -- got. Well in this case I here's an original image this is what it looks like before it's been adjusted. In that camera -- The -- I just find that does not that excited image of an image it's this is. Doesn't you can't see enough an excellent blu in the yeah. And so here I'm shooting through an arch and there's a valley in the distance and some mountains and such he and I decide to do it justice -- cammarata see much I can bring out of it. The it's here's the end result I ended up -- And you see a run out allotted to each on the shadows brought up a lot more color in all this different areas so here's before. And here's after. But -- doing that kind of radical adjustment. It ended up producing artifacts. And so first let's go in and take a look at which slaughters can produce those artifacts. See you know we know when you might need to look for it. In them what's also wants C having it written -- so -- open this image in the UK are wrong."

" In camera -- these days support sound JPEG tiff. In to first there are wrong file in if you happen to have a JPEG or to have you're gonna have to go up to. The file menu in bridge in choose opening camera. Worst habits a raw file just double click on you'll be in here. So this what it looked like after the adjustment I'm gonna go on the upper right in and choose from this menu. -- In that way you can see the position of these sliders that are on the right side. In their default position. And all choose undo was so you can then see what it looks like afterwards and you can see how radically some of them -- moved. So here's before. Here's after. In the main thing that they did here to bring out the detail in the dark portion of the image is that I took a slider that's called fill light. Which is usually set to zero in bike cranked it up as high as ago us. Yeah and that's gonna bring out as much shattered detail businesses you know I would -- capable of but close to it. But usually when you do you doubt you end up with a problem that is that the dark prettier picture won't have any black in it. It will look job two light in the dark part you won't have -- shadows. And so there's a -- called blacks but I usually need to bring up any time I crank up fill light so to bring that down just for a moment to show you would look like without it. If I do it just feels like it's gonna hazy -- what contrast. Yeah so at any time I really need to bring out a tremendous amount of charity tell I'll consider cranking fill light up as high as it goes. But afterwards I almost always have to come in here and adjust the blacks and I'll bring it up and tell the dark part of the image seems to have some weight to it. And oftentimes would -- do is I'll glance. Up near the top of my screen in the upper right we're having mr. Graham. And I'll either be looking on this little area on the left edge of the mr. Graham. To see if this extends all the way to the edge in I would actually like it to touch the edge without creating a big spike. And spike would mean a large area solid black so if I bring this up. I'll do it and tell visually it looks as if I might have some black in the image. I can telephone have blackened image by holding down one method -- by holding down the option key alt windows. In then click in the black slaughtered it'll show me where in the image it's turning solid black and I can see that I can continue to -- assent. And I'd like -- out a small area of solid black. I'd like to small but it gives me that the weeks in the shadows that I really like it makes it more like it's gonna pop because it has the full range to it. So anyway so you need to get that deep shadow detail take your -- like slaughter crank it up as high as it goes. In then take your black slider and bring it up until you get black back in the image. And that's what you can do if you need an extreme case of shattered -- which is kind of what -- needed here. The other thing that I've done this image is and wanted to plots and color in this area. So the main thing that I did to get that to happen is down in this area I adjusted -- virus in saturation. And both of those sliders when you move towards the right will make your image more colorful. In moving towards the last left it'll make it less colorful more toward black and white. The main difference between them is saturation will treat all colors equally. In some colors might. Already be rather saturated motivator for -- something. -- if you crank up saturation it's gonna become over saturated that's Thanksgiving meals iridescent kind of yeah I'm not only that you if you really just starts blown out detail. What happens is your image is made out of three colors red green and blue is the channels and you start blowing out detail in one or two of those channels. -- it just doesn't look good. So there's only so -- saturation but five friends is going to you concentrate on the -- colors in the image the colors that are not all that colorful to begin with. It's gonna primarily boost those in it's gonna be boosting the color less and less of last is it gets into the more colorful areas. So oftentimes that'll do is I'll take the virus slider. And all crank it up so right now what I can decide to do here for bring these back closer to their defaults. Is that can look at the image. And say what what I'd like to do to the -- colors. What I like to emphasize them to make a really stand out -- become center stage. Or would I rather tone them down so they don't compete with something like a vivid flower. In this case. I know I really want to know -- to stand now Celtic vibrant and I'll crank it up I don't always bring it all the way up but the cemetery really wanted to push. In Ali adjust saturation afterwards to make it look okay -- right now looks overdone so I might bring this course a left bit. In tell it like the look at the image. Most the time removing -- saturation opposite directions. Yeah I don't with Bloomberg introduced these little purple tones and there. You couldn't see before yet they were in there but we just brought about you and then -- back from that time back so that look okay but there yeah. So it. -- ratings have done so far was bring up to fill light slaughter tremendous amount to get my shattered the -- thing bring blacks up to make sure we got -- you know. By -- depth and our shadow. In the and vibrant to bring up the color. Now the one other thing that I did with this image is I tried to exaggerate the texture that is in the stone arch that's here. Get more contrast and -- one method for dealing not is to use the slaughter called clarity. If I bring clarity all the way down. And you see an update this looks just doesn't have as much punch to. The -- in fact right now it's that negative 100 sorry let me get this to just zero. Just a quick tip anytime you're in camera Rauf who wanna reset any of the sliders back to their. Just double click on the slaughter of snapped a -- so here it is at zero. Now they bring it up all the way watch what happens to this area here in the contrast that there."

" He showed just kind of -- yet rotted out you know. -- it."

" Too bad I mean stop just for a second coming -- thank our sponsors or keep notes here. Squarespace is a publishing system for anyone looking to build a block portfolio or any kind of website. They offer uniquely flexible tool for just about anyone know coding experience is required. You could build high end complex web sites with the same functionality that you'll find that some of the highest trafficked pages on the web. Squarespace is newly launched site import tool makes things so. Easy to move over be sure to -- to promotion -- pixel perfect that's one word when you sign up for a discount on the life of you'll order. Thanks to Netflix for sponsoring this episode of pixel perfect. With Netflix you can rent over 90000 titles online including lots of Blu-ray titles with free shipping both ways to your home. They now have over forty shipping centers almost all deliveries happen in just one business day. Netflix plans start from as little as four dollars and 99 cents and as a new member in getting no risk two week free trial membership. Check it out at www. Netflix.com. Forward slash pixel perfect remember you do that the type in net WWW when used in this code. -- to a back that's picking up where we were."

" So this is an extreme image and the problem is when you make an extreme adjustment like I've done here you can easily get. Artifacts in your image. In there's three specific -- in here you really need to look out for which you move the slider just a small amount you're fine. But if you move them to their maximum or close to it -- want to get like three quarters of the way there you really need to start inspecting your image in looking for artifacts. So just to get this image back to how I handed as a result I'm gonna click cancel and reopen it. Because we've messed with the sliders. And might not have ended up exactly -- it started. And let's look at the three sliders and then I'll show you how to get rid of those artifacts. So the sliders are recovering. Fill light. In clarity. Those letters are finding use them but if you end up pushing them really to their limits then you wanna zoom in on your image and inspect it for artifacts. Because recovery and fill light means to isolate an area you that the brighter the dark part of the image. In there's always a transition involved between the dark part of the image or whatever it's not adjusting. In in there you can get smart -- so on an open this image into Photoshop. In once and -- we're just gonna zoom up on the image in see if we can find those artifacts. I just typed letter have to get a full screen mode. Let's zoom operated here. Yeah. So in this case when I ended up. Trying to brighten up the dark part of the image it had to isolate the dark here the image that can -- wanna use the fill light slaughter. And somehow somewhere it had to stop that right in fact in leave this area largely unchanged. In what it did the transition just isn't very good one. In that's very typical if you have something like a mountain range or treat. Against something like this guy. So what I wanna do is -- that out. The problem is if I use the clone stamp tool which is what I will end up using. I could copy from an area in here maybe option clicking here alt click you from windows. And then coming over to apply it. But I'm gonna get over spray under the stone arch. In order do this accurately I might need to choose are harder -- brush get really small brush and really get in their precisely. Take a long time yeah. I'm way too lazy for that. So in -- I mean he's a quick selection tool. The what I'm gonna do this try to isolate the sky from the stone arch so that any changes I make I can't get over sprayed onto the stone arch as I will only be able to. Affect the area that select. So click here just drag across. See what we get. You notice that this -- we get though if you look close -- it does not include double -- out. I could get a smaller brush here in paint on that edge and see if I can get quick selection to include it. Problem there is it only does a small section in so because it only does a small section again I'm gonna have to end up paying unit for around the whole thing I'm too lazy for that. Switches and do. In what I'm gonna do is just like the selection larger if I got the selector menu. She's modify. -- address called expand. And I just need to visually guestimate. Column. Much larger this needs to be in order to make it through that little edge that's there and I'm just -- by looking maybe three pixels or some. So go for three. Just visually looking up -- looks like it on for jumped -- the war but that's perfect yeah well just visually when you're zoomed in this far you can tell. We'll zoom out a little bit in and so now what I'm gonna do is is -- mind. Clone stamp tool I'm -- Option click all clicking in windows where read like a copy from. And now I'm able to move over here. In and put that in without having to worry about getting over spray on the stone arch. The only thing I have to worry about is if there any clouds are things that need to perfectly continue. Over not being overly careful at the moment but. If I were to do the entire arch I might have to change warm clothing from frequently to make sure that the right material -- white lines -- Of the sky -- that was so clouds. It that they are continuous. But the main thing is that selection gives you the protection that allows you to go in in -- touch up yet relatively quickly. That's good so that's the kind of -- that I would get wind. I bring up fill light. -- But they add another slaughter that I ended up cranking up really high is the clarity slaughter in the clarity slider. Is very common effort yet to produce halos. Big glows around the edges of things few and I can see it right here where the stone arch -- a slightly different. Brightness level. In right -- wrong here I see this kind of glow. And that just looks a little too artificial. I think there might also be some of it at the top of the stone arch I don't know how noticeable that'll be -- usually right around here it's like that there yet. In the probable that as I see it all the time so whenever I see it I'm like okay somebody loves clarity. They cranked it up that. I would rather not look at somebody's image in think about the technique they used to get there I'd rather just enjoy the image so I need to get rid of that. To accomplish not what I'm gonna do is use an adjustment layer. So using Photoshop CS four here but that's not essential. To do my adjustment I'm just gonna go down to the adjustment layer icon the bottom of my layers palate because you can also do that previous versions that way -- want. Use the justice and also much. And I'm gonna use curbs because that's what I'm most comfortable way but. If you're not. Comfortable curves you're welcome his levels brightness or contrast anything that dark it's so these curves. In Photoshop CS four -- click on this little hints of bullets appear. And then I can move my mouse on my image and I click within the area that's too bright here where the glow is and just click and drag straight down. And -- darken the image -- just visually guestimate how much darker it would need to be. Say about there the problem with this in the darkened the whole thing. In I need to do something to make it only darken it where the glow it's. To accomplish about what I wanna do is first the mask that's attached to my layer and layers palate is white. Anywhere where its white its gonna affect the image so it's affecting the whole thing. So -- and invert the mask I usually just type command dot control line windows. So now it's not applying anywhere at all. On go to my paintbrush tool. In -- paint with white because white -- paint the adjustment into the image. In a get a large enough brush with a soft edge. What happens is this the larger your brush as the softer the edges because it just has more space to fade out so this is a really soft. -- really big brush. The problem is how they gonna paint this and work only shows up where the glow is. Without getting over spray on to the stone arch right now for just paint. It goes both under the stone arch and onto the of valley. So I'm gonna choose a deal in before I paint and is gonna go over to the quick selection tool. -- and I'm gonna pain across this area to try to isolate the area where the qualities."

" Might mean yes slightly smaller brush. Here in this tight area. In this area here. I don't need to be concerned with just because I'm not gonna -- not that hard. But if I needed to make sure that that was not selected I would go to the top of my screen in the upper left. In up there are you gonna find three icons. In one of them has a minus sign on it department click on the icon what minus sign. Then when I paint with the quick selection tool it would take away from my selection and I just paint over that area. To get it out of my selection. So would be that big problem. But now that I have this election it will be impossible for me to get over spray into. The stone arch. So what I'm gonna do is grab my paintbrush tool in I'm gonna start -- actually on top of the stone arch because the circle you see. Does not represent the edge of your brush when you have a softest brush it's halfway through that the soft part. In so I'm gonna start painting here and just slowly moved towards this -- until I see the darkened effect that I want. And let's see what happens on -- right now. And -- a little hard to see even if -- choose -- do should you'll see the difference before. After. In if I get rid of this election just type command. -- and you twice again. -- Mess up my keyboard shortcuts here. But anyway it's allows needed to go in the area and easily get rid of the halos without spending too much time let the quick selection tool to a lot of the work for -- In then you can end up. You're able to push camera raw little further than used to it. You still need to be careful with it can sometimes the images can be a little overdone this one might be on the edge of that but I think. If you looked at the original that we had and you look at this and resolve. It can sometimes what you salvage an image that would otherwise be unusable."

" it's good to me. As very good. But as a lot of steps there and it's a question of you taking your particular -- to see what it could do and just play around and that's the best way to learn this stuff. And I'm glad you came on again and hope you -- gets better and everything looks really good good to have you back we'll see you again -- You guys next week."