even if you click near an afflicted pupil, the tool more often than
not finds the pupil and turns it black. If the tool has difficulty
finding a pupil (as seldom but sometimes happens), you can
help it by drawing a rectangular marquee around the redness.
- Undo the edit and try it again. The red eye tool made the pupil
black, but it left a grayish, slightly red corona around the inside
of the iris. We can do better. Press Ctrl+Z (or �-Z) to restore the
red pupil. Then go up to the options bar and change the Pupil
Size value to 100 percent, which will ensure that the blackness
extends to the outermost perimeter of the pupil.
- Retouch each of the pupils. Click next to each of the two pu-
pils to set them both to black. Zoomed in, you can still make
out slight halos. But the effect looks great at full resolution, as
shown in Figure 4-18. And to think, Adobe once considered
withholding this tool from Photoshop, fearing that it might
be regarded as too basic for professionals—as if professionals
somehow enjoy performing complex, protracted, 30-step pro-
cedures. (Uh, speaking of which: Only one more step to go.)
- Continue to adjust details as needed. Don’t expect to be able
to retouch an image in one pass. After all, a change made with
one tool might beg you to take up another. As you work back
and forth in your image, bear in mind these techniques and
words of advice:
- The dodge and burn tools are
interchangeable. Just press the Alt
(or Option) key to darken with dodge
or lighten with burn.
- The dodge, burn, sponge, and history
tools work best with a soft brush.
- Feel free to cheat by selecting an area
before using one of the editing tools.
If the dodge and burn tools don’t do
the trick, use the Levels command. If
the sponge disappoints, use the Hue/
Saturation or Vibrance command to
adjust saturation instead. How you
get there doesn’t matter; it’s the re-
sults that count.
Figure 4-18.
Figure 4-17.
