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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