Thanks. I knew if I posted something very detailed I'd likely learn
some new tricks. CTRL-I I knew about but always forget.
Chuck Norcutt
Moose wrote:
> Ok. As a now collaborative effort, should this be called the MooseChuck
> technique?
>
> How much Moose could a MooseChuck chuck if a MooseChuck could chuck Moose.?
>
> Chuck Norcutt wrote:
>> Detailed instructions for Moose's method except as modified to start with
>> the original images as raw files in ACR:
>>
>> Process the original raw image in ACR to look as your original but adjust
>> the color temperature slider to get the hair and eye color the way you want
>> it. Pass the competed image to PhotoShop which will be a 16 bit image.
>> Select that image and on its layers palette duplicate the background layer.
>> Before closing the duplicate pop-up window rename this layer "Cool" or
>> something else meaningful. Adjust the image magnification down such that
>> you have space to show two images of this
>> size about 30-50% overlapped and position the image toward the right side of
>> the screen.
>>
> I don't bother with all this sizing and positioning. Doesn't hurt,but
> doesn't matter, either.
>> Now reprocess the original raw file in ACR again but this time adjust the
>> temperature slider to give the appropriate warm tone to the skin. Don't
>> worry about the hair, eyes or teeth. Pass the ompleted image to PhotoShop
>> and select it. Your original layers palette will disappear for the moment
>> to be replaced by the one from the warm image. Slide the warm image to the
>> far left such that it's right side is overlapping the cool image. Press
>> CTRL-A on a PC or whatever you press on a Mac to "select all". The warm
>> image should now be surrounded by "marching ants" indicating that the entire
>> image has been selected.
> This is not necessary. With no selection made, the move tool will copy
> the whole image across.
>> Select the "move tool" (northwest pointing arrow beside a cross), put it on
>> the warm image and click and hold the mouse button. While holding the mouse
>> button move/slide the warm image over onto the cool image. When the move
>> tool pointer is well onto the cool image release the mouse button and then
>> reselect the cool image so you can see all of it. Then use the move tool
>> again to accurately align the warm image directly over the cool image.
> Big time saver. Hold down the shift key while using the move tool to
> pull a copy across and release the mouse button before the shift key.
> The new layer will be perfectly aligned with the image in the other
> window. No need to do any alignment.
>> If you now look at the layers palette you will see that the warm image has
>> been added as its own layer above the cool image. Click on the "eyeball" on
>> the warm layer to turn it off and see the cool layer underneath and to check
>> the alignment. Click on "Layer properties" and change the name of this layer
>> to "warm".
>>
>> Now click on the "add layer mask" icon on the bottom of the layers palette
>> (the one that looks like a camera) to add a layer mask on the warm layer.
>> Change the magnification of the image such that you can see all of the hair.
>> Select black paint at the bottom of the tool bar and then select a
>> feathered brush with a diameter about the size of the width of the eye. Set
>> the opacity and flow to about 40%. Make sure the mask is selected and then
>> start brushing the hair with black paint. The
>> silvery hair from the cool image will now start showing through. Keep
>> brushing until the warm hair layer is masked away revealing the silver hair
>> underneath. Reduce the size of the brush to about pupil size or smaller and
>> brush over the whites and pupils of the eyes in the same way.
>>
>> I think Bill Barber has suggested using the "eraser" tool for something
>> similar but painting on a mask is better. If you make a mistake painting on
>> a mask you can easily undo the mistake by changing the paint to white and
>> brushing over the mistake.
>>
>> Now to treat the wrinkles. While holding the ALT or Option key down select
>> Layers -> Merge Visible
> Shortcut. CTRL-SHIFT-E
>> and release the mouse button. This is called "stamping" and PS will merge
>> all the visible layers into a new top layer. Name this layer "sharp". Then
>> duplicate this layer and name is "Smooth". Then select Filter -> Blur ->
>> Gaussian Blur (or the blur filter of your choice) and set the radius such
>> that the blur diminishes the wrinkles to your liking. Don't pay any mind to
>> the fact that the
>> entire image is blurred. Then add a mask to the smooth layer and with mask
>> selected, take the paint bucket with black paint and pour it over the mask.
>> This will completely uncover the "sharp" layer below.
>>
> Another shortcut. When you add a mask to a layer, it is white and
> selected, a simple CRTL-I inverts it to black. Fewer steps to the same
> result.
>> Now take the paint brush with 50-60% opacity and flow and use white paint to
>> start painting over the wrinkled skin areas that need softening.
> Here it becomes a matter of style of working. I would probably use a
> quite soft, modest size brush with 100% opacity and something under 20%
> flow. Up around the bangs, I'd switch to a harder, smaller brush.
>> If you make a mistake and start reproducing that 23 year old bunny then
>> switch back to black paint and undo the mistake.
>>
>> Now you're done except for flattening the image, and resizing and sharpening
>> for a print.
>>
> In both cases of mask painting, the bangs are going to be a potential
> problem on a larger image. I might well use Select=>Color Range and
> select for the skin color range, use the Lasso tool in delete mode to
> un-select all but the bangs area, and fill the selection with white or
> gray. Well, I'd actually likely do this on another duplicate layer,
> delete the existing layer mask, create a new one using the selection,
> adjust opacity and blending. If done for color, retain the bangs layer
> to reuse the mask layer later on the smoothing layer. Later merge the
> bangs layers into the ones below them, choosing to retain the lower
> layer mask in the dialog box that pops up.
>
> You can drag and copy masks between layers. Drag while holding down the
> Alt key to duplicate a mask onto another layer.
>
> Moose
>
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