" Wow. This episode of pixel perfect is brought to you by Netflix and godaddy.com. Hello and welcome to -- it would be very monitor to show where I assure you whatever comes up. First I want to thank during the past that is background look at this thing. -- Jeremy tells me that that plane there. You see it there it's a submarine hunter is gonna storm chasers just destroy the submarine down there and it's too so that storm over there. On today show I'm gonna have been back to take this one step further on his -- DR. But before we start this thank us bouncers first godaddy.com. We can get reliable secure web posting without the long term contract like that part. Go -- hosting plans are bigger and better than ever wouldn't that mean 9% up time free 247 support and no annual commitment. Also want to thank Netflix would not fix you can read 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 so almost all deliveries happening just one business day. The -- what -- plans to start at four dollars and 99 cents as a new member you can get a no risk two week free trial membership. Check it out at www. Netflix dot com pixel perfect. That's remember you gotta put in that WWW. Using this code. So now. Last week. Then will war Lewis here Andy shows some stuff about HCR and you know you can check out and then his work. He's got three web sites I don't got one he's got three he's got the best of Ben dot com which is seeing right here to -- their. Digital master he dot com and got a third won't call where is -- dot com. Why what where is -- what then happens of the mob boss. Okay an incredible bus that's his home so where is -- just about anywhere you want to -- right now is deserving. Few blocks away from here and he lives wherever he feels like it's is constantly change as you could have been back over our event. Stick to different values and again lets you would you got now."

" You don't know what we did with automatics and HD on the last episode. The problem with that is oftentimes -- end up with results that don't look overly smooth you can have areas that look too dark. Too bright or just some problems that it would inject malicious some of the techniques I used to refine the image from what -- give me two more than a result telecast saw as an example in this photograph here. I if you look at and you compare to this one which is more my final result look at the guy's face. In this one ACL brightest face is everything you see it nicely whereas this is what automatics gave me. Right it's a automatics has no idea what the subject matter any photo is so it doesn't know that his face is important and should brightness. Also if you look out the door that here in things committee kind of stand out a little bit. On -- on this one compared to here where. The brighter areas in -- here yeah really yeah come out yeah so -- how I go through some amount to finish you have more extreme example of this. Here's a single shot about particular scene. In this is before it went through HD -- anything this one photographed. In man after going through photo mountains. Do you know if you are that we talked about last episode in the end going to an extreme version of the refinement of trade today I turned it into. An -- opened here Photoshop. Cyclic all right back on okay right here. If you take a look at this one and how refined can be. I'm can -- a kind of an antique feeling to it sure doesn't really made areas come out pro want to deteriorated very nice yeah them inside any deviation testing no idea that not only here because. This particular image is -- much -- images which is one of those you spend hours and hours and hours on if you look at my layers -- check this out. A few years yet we don't have time to go through all yeah. But I'll give you a sense for what most of these players are doing the overall concepts -- So let's get in here and take a look the first thing that I do. Is let's say we just came out of photo masks in fact this is the image that we made the last episode room the first thing I want to do this. As I mentioned the end of our last episode doesn't need to convert the -- sixteen. Well I end up converting to sixteen that right after coming out of photo met this is how we ended the last session which is where we ended up choosing this if you choose sixteen bit. Then you're gonna maintain. Is much information as you can to further just in Photoshop and then what on -- doing it is I'll save this out as a tiff file. -- using standard settings default settings and I'll go over to bridge and I selected. So here however notice saved isn't here and I'm in Britain. Yeah I'll go up to the file menu here in use. Opening camera. Because can't Barack offers what you usually find in about nine different dialog boxes within Photoshop. So instead of having -- hunt and -- Photoshop to get -- these commands we can instead just work with these sliders and do much more quickly. All look so there's some settings in here that simply are available for. My guy clarity and -- that -- so let's take a look. So first off in here. We have exposure and blacks. Air and exposure controls how bright the brightest part of the images of I don't like how bright the brightest areas on just that. Now I'm not looking at image as a whole and look at it only the greatest area. Blacks does the same thing for the darkest part of the image inside look at the -- and darkest area decide I want to be darker or not in this case I don't think so. Then feel like this one that I use a lot. Fill light is gonna bring opportunity -- again. If you remember or not but in federal mechanics we had a slider I think it was calm -- announce to the ears and the right that they control the brighter sop our -- where. But it had a limit how -- in here we could end -- boosted even further. So watch this. You bring up fill light and -- the dark part of the image. You just right there right. This move faster than -- so yes market Barack is a lot less data and resisting this I'm changing dramatic yet as well it and sort of control that. -- couple other things that I often do is downhill with clarity and again that's going to exaggerate more than find subtle details in the image. -- want the stirring well what the edge of it to be more pronounced in on the edge of all these. Little items -- might bring up clarity of death. It's feeling like -- and contrast to the edge contrast detect. And then down here we have a combination of -- saturation. -- both of those if you bring them up higher it's gonna become more powerful. If you bring them down it's going to be -- less colorful. But the difference between the two. Is that saturation. We'll think about the image as a whole entry all colors equally everything gets the same kind of boost. But if I work with vibrant this. Then it's going to concentrate only on the subtle colors the colors that are not all that colorful to begin. So the combination of these team gets me a lot of power. So I look in here and I want these subtle colors oftentimes the colors and -- and other things that are in here and I want to exaggerate them. I can bring up virus. To make it overly colorful though this is something people overdo every day with this. -- if you -- browse the Internet for HDR images is going to Google I finished the art gallery or something like that you'll see images that have this thing cranked -- the so -- ridiculous you mainly have to you practice a little bit restraint. Doesn't mean you can increase it just means to go to that. Now it's really the combination of both of these though I can take down saturation. Weighed down can bring up virus. In that means exaggerate the subtle colors. Acceded moved to queens did but then that other colors like Dakota this guy in the trees they don't go overboard -- could do the emphasis. I -- vibrant down. Way down the -- saturation up what that's going to do. Is make it's other subtle colors are really hard to see mrs. -- subtle colors are almost black and white in the atmosphere it's only the dominant colors that are coming -- Moves it depends on the image as far as what you like to do but oftentimes all end up swinging needs in opposite directions. Okay we'll go. It's good time to click open image and we can do some more of Photoshop. I don't care update. All right. Now. See here. It's CEO we got this one. Do we got another one behind it. Which is I believe -- when we worked on earlier. -- be this one. And that now let's just do further enhancements now what I ended up doing is I try to direct BI through the image. Because if you just present something like this to the person that's -- viewing your iPod around. You're walking in them to look anywhere whereas when you shot this image something emotionally drew you listen. Me was stirring well maybe it was the gauges may -- it was a scene outside the windows while I want to control where there -- ghetto and I want their I don't wear reminded. The other thing is when you look at the -- for shooting it. Usually you ignore distractions. Because you're really interest in in the steering wheel or the pages or something else in the image in so I want to take any distractions until now. That way your hero look at the same Mary you're attracted to you and they're not gonna end up looking. I whatever you didn't. So in this case what I want to do. I guess I just look at the image I look for something that might bother me in this case the steering wheel kind of bothers me as kind of blending in with the dashboard hadn't and over here. And most you know get my son to brighten up. If so what I'm gonna do is go to my layers palate. It in my layers palate over on the right side will make a little shorter here for. -- okay John. I'm -- choose any kind of adjustment I'm comfortable. So I usually is. Curves but with enough time to really get in the carrots it would be a whole other episode and we'll do so undersea going to use the simplest adjusts -- to go. The symposium. Now a lot of people would say that brightness and contrast is not a good adjustment but. That's kind of old knowledge when they came up with -- it was Photoshop CS two we're CS three they revise this in this a perfectly fine adjustment to use. Somebody's gonna look at a topic that's during whale in look at how bright it is then I'm gonna bring this up. Right now that top edge of ignoring the rest of the image and just looking at the top edge of the stirring well. So I like how bright it is going to click okay. Now I did this easy adjustment layer meant it and soon adjustment layer recreate the go to the bottom your layers palate and clicking on this little kind of Yang Yang symbol. In part of the adjustment layer that you -- here's the end result. Does this -- exactly the answer now I can paint and that amounts to control where this effect happens on the boot. Yeah and white means is gonna affect the whole the whole image of this whole thing is why. Did I usually like starting off with it not affecting anything at all and then I can come in and paint it -- where I want -- back. Is so what I end up doing to get this -- to turn black is I use a keyboard shortcut which is command -- and -- windows and that invert it. Makes -- a negative. Yep that I can come in and grab my brush tool. And make sure that opinion with why. Can't come in here in peace. The adjustment in so in essence I'm gonna paint in the bright in effect but zoom up a little bit. To see what we're doing. You won't come in here. He did and wearing one now you get too much about it. Then that you go beyond the -- that have things all you need to do is switch your foreground color to black. You can either do that by clicking on the little curved arrow above your foreground and background colors. Or press a -- acts. And then I -- a little too far can always come in here hand. Trying to get rid of some of them. Let's see what that's doing the image to see what it's doing I'm just gonna drop the I'm -- And there's before. Here's after view from I usually be a little bit more careful with where repeatedly cure kind of ended abruptly and -- have a thing but you get the sense way. Now another thing they'll end up doing is oftentimes will darken the surrounding image. So I really want the -- will pop out anything it's bright his surrounding it it's a -- that way troubling. It's so if I happen to notice anything surrounding it that's a little bit bright that might pull my -- there. -- they do it similar adjustment layer to darken the image. Iran indicated in there and back in this case I think the surroundings are pretty dark so I don't think it's gonna help that much to darken although I could do a little bit down here. Let's just try it. -- for occurs that's money. Preference but I'm gonna stick to brightness and contrast. That far away so I'm just looking at the area in between the spokes of the steering -- on -- brightness down a bit. Out there are still want to CD tell there I just don't want to be two prominent. Click okay and then they invert limits movement and that was control I on windows command I'm a Mac. And now I can come in here and paint with white. Wherever I paint with white on -- bring that change in Miami and sought come in here. Darken this area. -- And now if fine show or hide that mask with C. For the adjustment actions and PC that is darkening in between spokesman stern with the details so live with justice. Don't know yet so if -- already do that around most of the steering wheel you've really funny how pop -- in so I'll end up looking at the areas from my I was strong in the Senate. And I'll make sure that those are bright and colorful. Anything I wasn't drawn to that might pull viewers silently from. I'm going to end up on toning down darken it make -- less colorful but it looks and and by doing so I can really control where the guy goes in the image. That's going to be pulled the right things and colorful things okay. So the other adjustment I've primarily apply. Is hue and saturation. So I go to my layers palate. Click here do you hue and saturation. The main concept here is to isolate. Colors. Isolate the color I go to menu at the top. -- I choose the color I'd like work but in all honesty I ignore the names of the colors and I just use -- first one. Then to tell it which color -- like to work on -- in the image I just move my mouse onto the image and I click so -- on the blue Scott. And what happens is in hue and saturation. Right down here and this tells you what you're going to work on. So even though I might have chosen from the menu breads Mac the -- that you click on -- image it thinks about whatever color it is and then you clip and generous thing that it changed blues -- So I don't really care with this question I wish it would just say color number one color number two and -- And now I can adjust these three sliders so lightness is gonna control how bright it is it's I can adjust how bright that sky is now. Saturation is gonna control colorful it is. And Hugh was going to control what colors socket shift Dakota Scott -- right like. So let's just look at some common adjustments I dealing here oftentimes I go to the greens soft click on the green trees. Which are really dark yellow. The most green stuff this is dark yellow when it comes to photo Chung and the candidates themselves yeah crater -- center right now and that's after clicking an entry. So oftentimes what I like to do not everybody like this but it's just a personally for me is -- shift the hue over towards the right that usually makes screens more pure green. If you watch the tree on the left side. Let's get rid of that little software update there. Okay if you wash -- the left side. You'll notice that changing them. -- a little more dream but the problem is once you make it truly green it looks -- natural. It just usually becomes too colorful -- usually bring the saturation down it. -- doing so I finally get Vista. A green next more of what's sometimes sometimes people imagine -- expect to have there. Or can also just sometimes look a little different if you look at the tree in the left. You see a difference yet the real problem with that -- is since trees are really kind of a dark green burnout dark green dark yellow. I'm anything else it's yellow in the image also shifted from and so in this case what I'm gonna do is again paint on the mask so I'll invert that mask. With command I. Then I'll grab my brush. Get a bigger brush. And I'll just paint over here. That you. It's ongoing here do not all sorts of areas within the image so if I look at the image of anything -- went on there it's usually because it's either bright ports colorful. The end so in this case my eyes are being pulled down here the floor where I can see some -- things. Well if I don't want your eyes to go there because I don't find there's much of a payoff when you get there. Damn I'm gonna decide where that pay office which I think this is stirring well -- gauges and what IP outside the windows yeah so anything else I want to tone down. So I can either reuse the adjustment layers -- already made -- just click on them incoming -- paint. Darkened -- up. -- create brand new adjustment layers and all depends how you like to manage your layers -- And judging by era. Previous file you have a lot of -- that we -- a lot of adjustment layers I want to adjust them separately because then what happens is if I end up making a print to this image. And in making a print. I noticed one area that is like. If I do it all is a single adjustment layer then oftentimes the mask gets so complex that it's hard to take up that part. Whereas if their own separate only got to do is figure out which later it is that house that change in it and turn off. Trying to stress many times about that putting everything into -- layer so that gives you control and that's it and do so anyway let's see what that did. All Hyde. Yeah. Toning it down. It'll do the same thing what color I would just be saturated that are a little bit from the human saturation bring it down. In punitive. Yeah I'll try one little trick with if I do a hue and saturation adjustment layer. So what color to work on. And -- within my image. Bring the saturation down. Then I want to use the same mask. There are used our previous player all need to do is find the maps with my layers palate -- want. If I hold down the option key that's Bolton windows often means. A copy -- I can click on this mask. -- an option in drag it to here. When I do it does it want to replace it with. The mask you're dragging they have now she's in the same there it is that we can silicon. So anyway this is all it did refine my images and so that's in general what you'll find on this complex image. If you look through the layers -- you'll find that are primarily count. Curves adjustment layers what you -- case you step brightness and contrast is a substitute. Dan -- saturation adjustment layers. In the vast majority not all of them but the vast majority. Are those kinds of -- working just on individual areas and those masks if you look at the names it will tell you what they're doing. The greens on this station prompts the blues on the pumps and so on and sometimes they don't put in -- the -- Yeah mechanisms bed and very good sense so just a matter how much time you want to spend some images you end up throwing in three adjustment layers won the -- one and Americans when that maybe. In -- on their masks and and other ones you just go crazy and keep going until you can't find an area the image that bothers you. Scott makes sense yeah."

" This sure doesn't you know if you guys wanna learn more you gotta pick up guns dvd here it's -- will -- Hyde dynamic range HD our mastery. From extreme. It's very important remember the name because I am also got his maximum discount. Number that's -- we saw the -- the -- for automatic plug and so if you go to be HD are soft dot com. And type in digital mastering your gonna get 50% off on it. So it's good well thing about that is it's not -- web addresses there's a coupon code so when you're ordering the product you'll find a little space to type in a code including digital mastery one word lower case. Sounds good and I'm glad you came buying these sorts of Latin and elderly these guys -- use it and put to good use and who has a lot of beautiful stuff on the web when you type in. If you are art because he's in good stuff from now on -- lucky yet I hope you guys aren't something from this a lot of stuff that went on there. Look at it remember little adjustments on your wrong its just changes things just technique that involved here how to use it is up yeah. And than anything else you'd like to see and show. Send me an email sent to the revision3.com. -- the check out the -- from pixel perfect got revision3.com. Forward slash form. Join discussions about the show and influence a future episode. Also all. Number your artwork could be backing it. Every week we're gonna have a whole new piece of artwork back there send your backgrounds to me at. At the very revision3.com. And Richard backgrounds or JPEG files and a 1280 by 720 pixels. Now members play best way to learn is to sit there and play this is where this is playing around this is having fun. Hope to see you next week."

" Wow. This episode of pixel perfect is brought to you by Netflix and godaddy.com. Hello and welcome to -- it would be very monitor to show where I assure you whatever comes up. First I want to thank during the past that is background look at this thing. -- Jeremy tells me that that plane there. You see it there it's a submarine hunter is gonna storm chasers just destroy the submarine down there and it's too so that storm over there. On today show I'm gonna have been back to take this one step further on his -- DR. But before we start this thank us bouncers first godaddy.com. We can get reliable secure web posting without the long term contract like that part. Go -- hosting plans are bigger and better than ever wouldn't that mean 9% up time free 247 support and no annual commitment. Also want to thank Netflix would not fix you can read 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 so almost all deliveries happening just one business day. The -- what -- plans to start at four dollars and 99 cents as a new member you can get a no risk two week free trial membership. Check it out at www. Netflix dot com pixel perfect. That's remember you gotta put in that WWW. Using this code. So now. Last week. Then will war Lewis here Andy shows some stuff about HCR and you know you can check out and then his work. He's got three web sites I don't got one he's got three he's got the best of Ben dot com which is seeing right here to -- their. Digital master he dot com and got a third won't call where is -- dot com. Why what where is -- what then happens of the mob boss. Okay an incredible bus that's his home so where is -- just about anywhere you want to -- right now is deserving. Few blocks away from here and he lives wherever he feels like it's is constantly change as you could have been back over our event. Stick to different values and again lets you would you got now."

" You don't know what we did with automatics and HD on the last episode. The problem with that is oftentimes -- end up with results that don't look overly smooth you can have areas that look too dark. Too bright or just some problems that it would inject malicious some of the techniques I used to refine the image from what -- give me two more than a result telecast saw as an example in this photograph here. I if you look at and you compare to this one which is more my final result look at the guy's face. In this one ACL brightest face is everything you see it nicely whereas this is what automatics gave me. Right it's a automatics has no idea what the subject matter any photo is so it doesn't know that his face is important and should brightness. Also if you look out the door that here in things committee kind of stand out a little bit. On -- on this one compared to here where. The brighter areas in -- here yeah really yeah come out yeah so -- how I go through some amount to finish you have more extreme example of this. Here's a single shot about particular scene. In this is before it went through HD -- anything this one photographed. In man after going through photo mountains. Do you know if you are that we talked about last episode in the end going to an extreme version of the refinement of trade today I turned it into. An -- opened here Photoshop. Cyclic all right back on okay right here. If you take a look at this one and how refined can be. I'm can -- a kind of an antique feeling to it sure doesn't really made areas come out pro want to deteriorated very nice yeah them inside any deviation testing no idea that not only here because. This particular image is -- much -- images which is one of those you spend hours and hours and hours on if you look at my layers -- check this out. A few years yet we don't have time to go through all yeah. But I'll give you a sense for what most of these players are doing the overall concepts -- So let's get in here and take a look the first thing that I do. Is let's say we just came out of photo masks in fact this is the image that we made the last episode room the first thing I want to do this. As I mentioned the end of our last episode doesn't need to convert the -- sixteen. Well I end up converting to sixteen that right after coming out of photo met this is how we ended the last session which is where we ended up choosing this if you choose sixteen bit. Then you're gonna maintain. Is much information as you can to further just in Photoshop and then what on -- doing it is I'll save this out as a tiff file. -- using standard settings default settings and I'll go over to bridge and I selected. So here however notice saved isn't here and I'm in Britain. Yeah I'll go up to the file menu here in use. Opening camera. Because can't Barack offers what you usually find in about nine different dialog boxes within Photoshop. So instead of having -- hunt and -- Photoshop to get -- these commands we can instead just work with these sliders and do much more quickly. All look so there's some settings in here that simply are available for. My guy clarity and -- that -- so let's take a look. So first off in here. We have exposure and blacks. Air and exposure controls how bright the brightest part of the images of I don't like how bright the brightest areas on just that. Now I'm not looking at image as a whole and look at it only the greatest area. Blacks does the same thing for the darkest part of the image inside look at the -- and darkest area decide I want to be darker or not in this case I don't think so. Then feel like this one that I use a lot. Fill light is gonna bring opportunity -- again. If you remember or not but in federal mechanics we had a slider I think it was calm -- announce to the ears and the right that they control the brighter sop our -- where. But it had a limit how -- in here we could end -- boosted even further. So watch this. You bring up fill light and -- the dark part of the image. You just right there right. This move faster than -- so yes market Barack is a lot less data and resisting this I'm changing dramatic yet as well it and sort of control that. -- couple other things that I often do is downhill with clarity and again that's going to exaggerate more than find subtle details in the image. -- want the stirring well what the edge of it to be more pronounced in on the edge of all these. Little items -- might bring up clarity of death. It's feeling like -- and contrast to the edge contrast detect. And then down here we have a combination of -- saturation. -- both of those if you bring them up higher it's gonna become more powerful. If you bring them down it's going to be -- less colorful. But the difference between the two. Is that saturation. We'll think about the image as a whole entry all colors equally everything gets the same kind of boost. But if I work with vibrant this. Then it's going to concentrate only on the subtle colors the colors that are not all that colorful to begin. So the combination of these team gets me a lot of power. So I look in here and I want these subtle colors oftentimes the colors and -- and other things that are in here and I want to exaggerate them. I can bring up virus. To make it overly colorful though this is something people overdo every day with this. -- if you -- browse the Internet for HDR images is going to Google I finished the art gallery or something like that you'll see images that have this thing cranked -- the so -- ridiculous you mainly have to you practice a little bit restraint. Doesn't mean you can increase it just means to go to that. Now it's really the combination of both of these though I can take down saturation. Weighed down can bring up virus. In that means exaggerate the subtle colors. Acceded moved to queens did but then that other colors like Dakota this guy in the trees they don't go overboard -- could do the emphasis. I -- vibrant down. Way down the -- saturation up what that's going to do. Is make it's other subtle colors are really hard to see mrs. -- subtle colors are almost black and white in the atmosphere it's only the dominant colors that are coming -- Moves it depends on the image as far as what you like to do but oftentimes all end up swinging needs in opposite directions. Okay we'll go. It's good time to click open image and we can do some more of Photoshop. I don't care update. All right. Now. See here. It's CEO we got this one. Do we got another one behind it. Which is I believe -- when we worked on earlier. -- be this one. And that now let's just do further enhancements now what I ended up doing is I try to direct BI through the image. Because if you just present something like this to the person that's -- viewing your iPod around. You're walking in them to look anywhere whereas when you shot this image something emotionally drew you listen. Me was stirring well maybe it was the gauges may -- it was a scene outside the windows while I want to control where there -- ghetto and I want their I don't wear reminded. The other thing is when you look at the -- for shooting it. Usually you ignore distractions. Because you're really interest in in the steering wheel or the pages or something else in the image in so I want to take any distractions until now. That way your hero look at the same Mary you're attracted to you and they're not gonna end up looking. I whatever you didn't. So in this case what I want to do. I guess I just look at the image I look for something that might bother me in this case the steering wheel kind of bothers me as kind of blending in with the dashboard hadn't and over here. And most you know get my son to brighten up. If so what I'm gonna do is go to my layers palate. It in my layers palate over on the right side will make a little shorter here for. -- okay John. I'm -- choose any kind of adjustment I'm comfortable. So I usually is. Curves but with enough time to really get in the carrots it would be a whole other episode and we'll do so undersea going to use the simplest adjusts -- to go. The symposium. Now a lot of people would say that brightness and contrast is not a good adjustment but. That's kind of old knowledge when they came up with -- it was Photoshop CS two we're CS three they revise this in this a perfectly fine adjustment to use. Somebody's gonna look at a topic that's during whale in look at how bright it is then I'm gonna bring this up. Right now that top edge of ignoring the rest of the image and just looking at the top edge of the stirring well. So I like how bright it is going to click okay. Now I did this easy adjustment layer meant it and soon adjustment layer recreate the go to the bottom your layers palate and clicking on this little kind of Yang Yang symbol. In part of the adjustment layer that you -- here's the end result. Does this -- exactly the answer now I can paint and that amounts to control where this effect happens on the boot. Yeah and white means is gonna affect the whole the whole image of this whole thing is why. Did I usually like starting off with it not affecting anything at all and then I can come in and paint it -- where I want -- back. Is so what I end up doing to get this -- to turn black is I use a keyboard shortcut which is command -- and -- windows and that invert it. Makes -- a negative. Yep that I can come in and grab my brush tool. And make sure that opinion with why. Can't come in here in peace. The adjustment in so in essence I'm gonna paint in the bright in effect but zoom up a little bit. To see what we're doing. You won't come in here. He did and wearing one now you get too much about it. Then that you go beyond the -- that have things all you need to do is switch your foreground color to black. You can either do that by clicking on the little curved arrow above your foreground and background colors. Or press a -- acts. And then I -- a little too far can always come in here hand. Trying to get rid of some of them. Let's see what that's doing the image to see what it's doing I'm just gonna drop the I'm -- And there's before. Here's after view from I usually be a little bit more careful with where repeatedly cure kind of ended abruptly and -- have a thing but you get the sense way. Now another thing they'll end up doing is oftentimes will darken the surrounding image. So I really want the -- will pop out anything it's bright his surrounding it it's a -- that way troubling. It's so if I happen to notice anything surrounding it that's a little bit bright that might pull my -- there. -- they do it similar adjustment layer to darken the image. Iran indicated in there and back in this case I think the surroundings are pretty dark so I don't think it's gonna help that much to darken although I could do a little bit down here. Let's just try it. -- for occurs that's money. Preference but I'm gonna stick to brightness and contrast. That far away so I'm just looking at the area in between the spokes of the steering -- on -- brightness down a bit. Out there are still want to CD tell there I just don't want to be two prominent. Click okay and then they invert limits movement and that was control I on windows command I'm a Mac. And now I can come in here and paint with white. Wherever I paint with white on -- bring that change in Miami and sought come in here. Darken this area. -- And now if fine show or hide that mask with C. For the adjustment actions and PC that is darkening in between spokesman stern with the details so live with justice. Don't know yet so if -- already do that around most of the steering wheel you've really funny how pop -- in so I'll end up looking at the areas from my I was strong in the Senate. And I'll make sure that those are bright and colorful. Anything I wasn't drawn to that might pull viewers silently from. I'm going to end up on toning down darken it make -- less colorful but it looks and and by doing so I can really control where the guy goes in the image. That's going to be pulled the right things and colorful things okay. So the other adjustment I've primarily apply. Is hue and saturation. So I go to my layers palate. Click here do you hue and saturation. The main concept here is to isolate. Colors. Isolate the color I go to menu at the top. -- I choose the color I'd like work but in all honesty I ignore the names of the colors and I just use -- first one. Then to tell it which color -- like to work on -- in the image I just move my mouse onto the image and I click so -- on the blue Scott. And what happens is in hue and saturation. Right down here and this tells you what you're going to work on. So even though I might have chosen from the menu breads Mac the -- that you click on -- image it thinks about whatever color it is and then you clip and generous thing that it changed blues -- So I don't really care with this question I wish it would just say color number one color number two and -- And now I can adjust these three sliders so lightness is gonna control how bright it is it's I can adjust how bright that sky is now. Saturation is gonna control colorful it is. And Hugh was going to control what colors socket shift Dakota Scott -- right like. So let's just look at some common adjustments I dealing here oftentimes I go to the greens soft click on the green trees. Which are really dark yellow. The most green stuff this is dark yellow when it comes to photo Chung and the candidates themselves yeah crater -- center right now and that's after clicking an entry. So oftentimes what I like to do not everybody like this but it's just a personally for me is -- shift the hue over towards the right that usually makes screens more pure green. If you watch the tree on the left side. Let's get rid of that little software update there. Okay if you wash -- the left side. You'll notice that changing them. -- a little more dream but the problem is once you make it truly green it looks -- natural. It just usually becomes too colorful -- usually bring the saturation down it. -- doing so I finally get Vista. A green next more of what's sometimes sometimes people imagine -- expect to have there. Or can also just sometimes look a little different if you look at the tree in the left. You see a difference yet the real problem with that -- is since trees are really kind of a dark green burnout dark green dark yellow. I'm anything else it's yellow in the image also shifted from and so in this case what I'm gonna do is again paint on the mask so I'll invert that mask. With command I. Then I'll grab my brush. Get a bigger brush. And I'll just paint over here. That you. It's ongoing here do not all sorts of areas within the image so if I look at the image of anything -- went on there it's usually because it's either bright ports colorful. The end so in this case my eyes are being pulled down here the floor where I can see some -- things. Well if I don't want your eyes to go there because I don't find there's much of a payoff when you get there. Damn I'm gonna decide where that pay office which I think this is stirring well -- gauges and what IP outside the windows yeah so anything else I want to tone down. So I can either reuse the adjustment layers -- already made -- just click on them incoming -- paint. Darkened -- up. -- create brand new adjustment layers and all depends how you like to manage your layers -- And judging by era. Previous file you have a lot of -- that we -- a lot of adjustment layers I want to adjust them separately because then what happens is if I end up making a print to this image. And in making a print. I noticed one area that is like. If I do it all is a single adjustment layer then oftentimes the mask gets so complex that it's hard to take up that part. Whereas if their own separate only got to do is figure out which later it is that house that change in it and turn off. Trying to stress many times about that putting everything into -- layer so that gives you control and that's it and do so anyway let's see what that did. All Hyde. Yeah. Toning it down. It'll do the same thing what color I would just be saturated that are a little bit from the human saturation bring it down. In punitive. Yeah I'll try one little trick with if I do a hue and saturation adjustment layer. So what color to work on. And -- within my image. Bring the saturation down. Then I want to use the same mask. There are used our previous player all need to do is find the maps with my layers palate -- want. If I hold down the option key that's Bolton windows often means. A copy -- I can click on this mask. -- an option in drag it to here. When I do it does it want to replace it with. The mask you're dragging they have now she's in the same there it is that we can silicon. So anyway this is all it did refine my images and so that's in general what you'll find on this complex image. If you look through the layers -- you'll find that are primarily count. Curves adjustment layers what you -- case you step brightness and contrast is a substitute. Dan -- saturation adjustment layers. In the vast majority not all of them but the vast majority. Are those kinds of -- working just on individual areas and those masks if you look at the names it will tell you what they're doing. The greens on this station prompts the blues on the pumps and so on and sometimes they don't put in -- the -- Yeah mechanisms bed and very good sense so just a matter how much time you want to spend some images you end up throwing in three adjustment layers won the -- one and Americans when that maybe. In -- on their masks and and other ones you just go crazy and keep going until you can't find an area the image that bothers you. Scott makes sense yeah."

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