You Suck at Photoshop - Curves


Uploaded by MyDamnChannel on 21.03.2008

Transcript:

DONNIE: My name is Donnie, and you suck at Photoshop.
Because you're an effin' R-tard, and you make me sick.
Just want to throw up.
Today's lesson is about as basic as I can make it, but
you're still going to foodge it up, stupid.
And I picked as simple a composition as
possible for you.
We're going to do a still life, also known as no-life.
Let's go to bridge, and we're going to get some photos.
And for a still life, just so you know, you get something
that doesn't move, because that's what a still life is.
And we're going to start with tomatoes, two
delicious ripe tomatoes.
Round, plump tomatoes.
And we don't have a shot of them together, because you've
never actually seen them.
And you're never going to get to see them out of their
package together.

So you're going to have to use Photoshop, and your
imagination, to put them together.
So I've started a document already, and I've removed the
tomatoes from their backgrounds using paths.
But, hey, you're the smart guy, and I'm sure you use the
Quick Mask Edit mode to paint them off their backgrounds, or
better yet, the Magic Wand tool that you used while you
watched Teletubbies and rubbed diaper cream
on your fuzzy droppems.
So, hurray, for the big boy.
Whatever.
We got these two tomatoes separated, and as you begin to
put them together you're going to notice one looks different
than the other.
But you only notice that now, not then, when you might have
had a chance to see them unwrapped, in the race day
mobile fuel van.
So how do we make them look like a pair?
Well, basically, the hue, or color for you, is slightly
different, and likewise we notice a variation in the
tone, or, for you, the light and dark stuff.
So we're going--
oh, I know what you did, you went for
human saturation, right?
Yeah, sure, and when you're done run the colored pencil
filter, and render some clouds, and print it out, and
give it to your babysitter.
And then go finish your Lunchables, asswipe.
No the grown-ups are going to use Curves.
So what we're going to do, is we're going to--
I created a channel, but you don't know what that is, so
let's just--
I'm going to say a few things right now.
They're going to sound really funny.
They're going to sound like a different language.
You just hold on-- hold tight.
Go grab your eraser tool, or whatever you
did to get the tomato.
But I created a channel that separates the delicious plump
touchy part of the tomato from the green part, and we're
going to select that part of the layer.
And we're going to go up to a new adjustment layer, Curves.
And we're going to open up the Curves, and this is going to
look completely unfamiliar to you.
You've never used Curves before, because it's hard.

Basically Curves allows you to affect the tone, and build
contrast across multiple channels using anchor points
on this curve line.
So what we're going to do is, first off, we know we need to
start bringing all the tones down a little bit.
So in all of the RGB channels we're going to come down here.
The darker areas of your image are down here.
The lighter areas of your image are up here.
And we're going to put an anchor point down and we're
just going to pull down a little bit and darken up the
whole image so we start bringing a little
bit of tonal evenness.
And then we're going to go to the red.
And we're going to go in the mid tones first, and we're
going to pump the reds up a little bit.
Come down into the shadows and bring them up as well too.
Just mess around with it until they start to look like the
tasty, delicious, tomatoes you know that they are.
There's still a little bit of yellow, or in this channel the
green in here.
So we're going to go up into the mid tones and pull up some
of the green specs so that that red really pops.
And we're going to say, OK.
And now you've got two delicious tomatoes that you're
never going to touch.
And you know what?
You don't want anybody else to touch them, so maybe what
we'll do is we'll put them in a jar.
[RINGING]
MALE VOICE: [INAUDIBLE]
DONNIE: What?
MALE VOICE: Hey, man.
DONNIE: What?
No, look, I don't have time for this.
MALE VOICE: We've got talk, I mean now.
DONNIE: What's so important?
What's so important?
MALE VOICE: You're out of the guild, man.
We all decided.
You're just too surly for the horde, man.
You need to go towards the light.
You know, go find your gold, man, just not here in
the game with us.
Donnie?