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Overexposure issue


mateo

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Hi,
First post, and no question is a dumb one. Can anyone direct me as to how to correct a photo that was taken by one of those throw away cameras where the faces are almost whited out and everthing else is very murky?
I develop on the KodakCD fyi
Somewhat familiar with PS6 but go easy on me..
 
Hi Mateo, welcome to the board :righton:

Can you post an example, so that we can show you step by step how to correct a shot like that.

My attachment shows how to add an image to your post.
 
Welcome mateo! :)

Yep, an example would help us to see exactly where the areas of difficulty lay in an over exposed image. ;) And, 'rest assured' that you'll receive some good advice/tips on how to correct the deficiencies of such an image. ;)
 
hey welcome to the board MATEO :righton: :righton:
 
Hi guys
Thanks for entertaining the idea. attached you can see extreme darks in the shadow and anything that wasnt directly flashed. On the other hand, the face is very bright, devoid of any rich color etc..

forgive me Annie
 
The best tool to use for this is the curves tool (image/adjustments/curves). With this tool you can directly target the dark and/or light areas.

If you have a hard time with the curves tool; this is probably the best one of the best tutorials: http://www.gurusnetwork.com/tutorials/photoshop/curves1.html

The curves tool is considered to be one of the most significant tools in Photoshop. You won't regret it if you know more about it ;)
 
In this example I added a curved adjustment layer in combination with its mask.
I only applied the curves correction to the face.

Keep that in mind that areas that are extremely bright or dark don't have enough tonal information to expect wonders.
 
Very Impressive! Now I am going to spend all night using this tool. Exactly what I was looking for!~
Thanks all
 
Great direction and results there with the "curves" adjustment, Gauss!
 
The same thing as Gauss, except I added HSB on top of the Curves to bring out the colours a bit more (she looks a bit flushed, eh?). Ended up with a little extra green, but I painted most of the ugly green out real quick.

Curves rock!
 
I love curves, but I also love channels, so I present an alternative method:

The blue channel had the best contrast, so I copied it to a new layer (via the clipboard) and set it to Multiply blending.

Then I added a new layer, filled it with RGB183, 96, 43, set to soft light blending mode with opacity 41%
and there you are.

I know, curves give more tweak options, but to show that this method also works:
 
Very interesting technique Erik ;)

A few questions though:
  • You wrote "The blue channel had the best contrast, so I copied it to a new layer (via the clipboard) and set it to Multiply blending"
    If I do that I get a b/w image on top of the background layer and what do I do then?
  • How did you come up with that specific RGB value
  • Might the blending of this brownish layer affect color tones that shouldn't be effected, like the colour of her hair or coat? So my question is; why did you target the whole shot and not only her face?[/list:u] I really do like the skin tone in her face; looks very natural and that's why I want to know more about this promising approach.

    I had planned to do something with channels after after reading a Pete Bauer article a few months ago http://www.planetphotoshop.com/PeteBauer59.html

    Until today I wasn't able to find again today.
 
"Like a long-legged fly his mind moved upon silence..." (WBYeats)

I tend to skip several steps, and I will explain a bit more here.

An RGB-mode image is built up from all possible interactions of the three basic colours Red, Green and Blue, each one having 256 different intensities, or shades between pure light or white and total absence of light or black.

In the Channels Palette, you can click on each channel separately, and what you see is a greyscale image that shows how much red, or green, or blue is used for every pixel. (pixels are the mosaic building blocks of an image that puters can store in their memory).
I noticed in this partticular photograph of this pretty girl that the blue channel had the more detail and contrast. So I chose that one.

I hit Ctrl+A to select all, Ctrl+C to copy it to the clipboard, and then Ctrl+D to deselect. Then I clicked back on the top "channel" which restored the general view.

Back to the layers panel and with Ctrl+V I pasted the copy of the blue channel unto a layer. When I set this layer to Color Burn blending mode (in my first post I wrote Multiply, but that was a mistake. I often use multiply, but here it has to be CB), The face was a lot better, but the rest was wayyy too dark. So I added a layer mask to this layer (second icon from the left at the bottom of the layers palette), pressed Alt and clicked on the mask icon. This shows the empty mask: a white rectangle. Once again I pasted the channel copy, and this time on the mask. The intention is that the darker the colour in the original, the less it will be influenced.

By clicking on the eye icon left from the layer, the layer itself became back visible.

Much better, but the overall image was a bit too blue (like the original). That's also why the blue channel was the best in contrast. (here you must feel an aha experience, if not: reread these last phrases).

Being a painter, I have experience with what colours must look like for transparant washes of skin. So I chose the one I mentioned as foreground colour. I added another layer and Alt+Del filled it with that colour. Then I lowered the opacity with the slider on the layers palette.

The face got really ok, and but this is personal, the other colours also got much better. Leather is a bit more greyish than the blue of the original, and the brownish orange tempered the blue a bit. So I left that.

In case I would not have liked it, I could have used a layer mask here to cover everything but the face.

Of course, you can still add a tad of curves on the photographs to enhance the dynamic range and tonal balance.

Sorry for the Multiply mistake, and also for forgetting I was on the new users forum. I often skip details to make people think and find it out themselves. That way the pleasure rate is much higher and it is more easily remembered. [:I

Hope this makes things clearer...
 
Erik, thanks for the detailed explanation :righton:

I did all your steps, did it even twice, but always I come up with the same result, which doesn't look like your example.

What am I missing?

I checked; layer-1 is set to color burn, layer-1 and mask are both a copy of the blue channel and it's opacity is 100%. Everything else is shown in my attachment.
 
Great result & follow-up explanation, Erik! :righton: And one that, admittedly, I don't have the experience to have ventured upon on my own! :\ Just another one of your techniques/lessons that I appreciate learning from! ;)
 
Here's the PSD that goes with my 2nd try (I had to resize it to keep the filesize within the limits of this board)
 
Right. OK. I'll check.
Problem is that I have to write from memory as I did not think someone would be trying out my labyrinth roads through the marshes. [saywhat]

Some options:

1/ I certainly added some unsharp masking to it. And, as far as I know myself, some sharpen tool round the eyes as that is the point of focus.

2/ I may well have used some levels or curves on either the mask or the channel copy.

3/ I may have added some extra with the burn tool on the face.


??? Not that I don't want to explain it, but once I'm busy, I don't really take notice of what I do in detail. What I do happens while i'm concentrated on what I see. So this was more meant as a general direction (as usual) than as a detailed tut.


Right. I quickly redid it, and indeed, adding the three items I mentioned above, I got this result. Not identical, I know...
If I find the time, I'll make a really good copy and try to keep the PSD file with layers etc. But I know that the result is in my opinion better than the result I ever got with curves only.
 
No problem Erik, it happens to me many times that I forget certain steps myself. It's important to you showed us something that's worth some further experiments after seeing the results.

I agree, one general curves correction is not going to solve this.
I have the Photoshop 6 Artistry book (a jewel!) and it's shows more approaches one could ever imagine and also made it clear to me that in some cases a selective correction is the only way to go.
 
In fact, when I think of it...remember a daylight and an artificial light film? How one placed a filter in front of the camera lens to compensate?
It's a bit like that. Perhaps that set of tools you discoverd can do a very good job here too???
See, I love curves. But from the very moment I started to scratch the surface of Photoshop, I went down to the basics. An image is like a mosaic, and every element is called a pixel. Every image is built up with channels. Right. Into the cellar, and start with channels.
I just love 'em, and use 'em all the time (see the post on CMYK and duotone). If one uses any kind of filter or tool on a composite image, the result is different that might be expected. Say you want to burn. You take the tool, and that pale yellow doesn't become deeper yellow. No: it becomes blueish. NAAAHHHHH!!!!!!!!
Dive it in channels, and you can see why and what can be done.
The colours are correct, but the image is too dark? Change to LAB mode and use the lightness channel.
Too much yellow? Try LAB or CM YELLOW(channel) K
Even sharpening or blurring can be better when applied to only one channel.

Thanks for mentioning that book: I'll try to take a peek at the local bookshop. But they usually have books like Photoshop in 24 hours. I needed at least a tousand to am where I am now. And I'm still in the hall of this castle called Photoshop...
 
Well, I really got more than I bargained for.. Apparently this is the site I have been looking for. I am now determined to be the curves king, and will astound you all in the future with my contributions. I have read the tutorials suggested and all of the string,( if there is more, bring it on!) and I also have the Photoshop Artistry book, it is very technical, but with this intro thanks to you all, I beleive I have the understanding to proceed. Thanks to all
 

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