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Lesson Info

Color Adjustments in Adobe Photoshop

Photoshop offers a wide variety of color adjustments, but most of them are based on two general concepts. Either they're what I would call a warm cool adjustment where moving a slider or other control is either gonna make your image look warmer, which means more yellowish orangish or reddish or look cooler, which means more bluish cyan ish or greenish and you move a slider one direction, you make it warmer, move it the other direction and it same slider makes it cooler. You'll see that when I get into certain adjustments and then other ones work with something that's known as hue saturation and brightness and that works in a different way. We'll explore it, but we're only going to explore a few of the adjustments. So you get the core concepts and once you do those core concepts can apply to a wider range of adjustments. So let's look at adjusting color in Photoshop just know that I do not ignore the color adjustments that are available in Adobe camera raw. These are things that I would...

usually do after doing my initial optimization of an image there, but sometimes you need more control than what's available there. And sometimes you just think of the change after you've left there and you've started to work in Photoshop. The first adjustment I'd like to talk about is hue and saturation. I'm gonna go to the adjustment layer icon and we'll choose hue and saturation and it's not that I would really want to do anything to this image. But this image will give us a better idea of what this does in here. We have the terms of hue saturation and lightness hue means basic color. If you would ignore how bright or dark something is and you would ignore how colorful it is and just describe the basic color. So you could say something as red, even if it's a dark red or a bright red. So that would be ignoring the lightness. You could also say something as red even if it only has a hint of red in it and otherwise has no color other than that little tiny hint of red or something could be mega vivid uh red, but red is the underlying color or hue saturation is how colorful is the area. And having no saturation means it has no color. And then lightness is just another word for brightness and that's how brighter dark things are. Let's see what happens when I move these sliders around. If I adjust lightness, it's just gonna make the image brighter and brighter and brighter and it's gonna get closer to white. If I move it the opposite direction, it's gonna get darker, darker, darker and eventually make it black. This is not the best brightness adjustment. I'd much prefer to use any of the other brightness adjustments. But this becomes useful once you learn how to isolate a color, so you're not working on the whole image, then that's useful saturation again is how colorful things are. So if I bring it towards the left becomes less and less colorful, eventually going to black and white. And if we bring it higher, it gets more and more colorful and eventually it might become more kind of generic or in this case, we already reached the max. So you don't really see much of a difference, then we have hue and that's gonna be the odd one because it's going to kind of spin this color wheel. If I move it, you'll just see all those colors rotating well to really see what's going on there. Look at the two bars found at the bottom, the top bar represents what we're started with. The bottom bar is what we're ending up with. And you notice the bars line up where the same color is found at the top and bottom of the bars. But when I move the hue slider, watch these bars, if I move it to, let's say here now, things that used to be blue have become green and simultaneously things that used to be red have become blue, things that used to be yellow or more pinkish and so on. And that's what's happening. Well, that looks kind of weird unless you've isolated a color. So how can we isolate a color? But what you do is you choose from this menu? And in here, six colors are listed. If I choose reds, now you see something showed up down here. So now when I end up making a change to one of these sliders, it's only gonna affect the area that is found underneath that. That means blues will not be affected at all. Greens will not be affected at all. Only the hues that are found under here and notice that there are two different shades in these bars, there's a brighter shade and then these darker shades surrounding it. Well, whatever's below the brighter shade that's gonna get the full force of the adjustment. And then once it gets to this little straight line and across that darker area, that's where it's gonna fade out and apply less and less and less and less until it gets to this thing. And then it's gonna completely stop applying beyond that same thing on the other side gets full strength up to here, then it starts fading out less and less and less until it gets to there. And then nothing happens beyond. So I can try to isolate color in this case, the reds and then I could change the brightness of those reds or I could make them less saturated or just a little less saturated or I can change their basic color to any other color. And so this becomes very useful once you learn how to isolate colors, but what's cool about it is you can actually move these to reposition them. These showed up only when I chose something from my peer, I chose reds. And that's why they're directly above red or below red. I should say I could choose yellows and they'd move over there or greens, that kind of stuff. You'll also notice the color that is on the end here is identical to what's on this end. And that's because this is just like this wheel of color, it's just been straightened out. So what that means is if I choose some of these colors like cyan's, it might even go across that chasm over here and bend around the other side so that can happen as well. So we can just switch between these colors, but then there's a way to be more accurate about it, but that's not gonna help us with this image. So let's get rid of this image and work on a more and work on a more real world image. So here, what I'd like to do is make all of these flowers look as if they're red and I want to keep the green that's at the bottom uh the same. So let's come in here and do a hue and saturation adjustment layer And let's see if that's possible. Well, I mentioned we could click up here to choose various colors and when we do, we attempt to isolate those colors. That's when those little bars showed up down here. But there's another way of doing that. You see this little hand icon if you click on that. So it's got a dark background like I have, then you can move your mouse over to your image. And if I click right here, it's gonna try to figure out what color this is and it's gonna choose it from that menu. I showed you a second ago. So when I click here, you're gonna find it chooses yellows or if I click over here on the red area, it's gonna choose reds and I don't know what it's gonna choose when I choose purples. Magenta is OK. Yet all that's doing is figuring out what's the closest choice in here and it's choosing it. So that's something you could use. But let's see how we could do this. I'm gonna click here on the yellow thing now, I want to change that, but I need to be careful because if you look at these bars, do you notice that the fade out region extends here into the greens? And I didn't want to change the greens. Well, I can grab these little ends and just pull on them like this and say, I don't want to affect any greens. Maybe I just wanna go to there and I don't want to affect any red, so I could pull that over here and just end up ending somewhere near the oranges. And so now we're gonna isolate a more narrow range and let's see if we can change it. Well, if I want to change yellow to red, then we need to move this slider and sometimes it's hard to figure out exactly which direction and how or move it. But here's how you can think about it. Just find the color you're attempting to change from this bar and I see the yellows right there, then find the color you're trying to change it to. And I see it over here and just ask yourself how, what direction would you need to move in from the color you're attempting to change to the color you're attempting to change it to and by how far, well, I need to move left and by that far. So that's exactly what I need to do that. This, I just grab it and I move it to the left approximately that far. But I look at the image to judge it and I'm gonna think somewhere maybe over and there, but it doesn't quite look right because yellow is a lot brighter than red. So I'm gonna take my lightness and bring it down to try to darken up what used to be those yellow areas. But by the time I get the darkness where I like it, it just doesn't look colorful enough. Well, what does the middle slider do? It digests how colorful things are? So, let's bring that up and now let's see what I've done to the image. I'm gonna turn off this eyeball. I'm just gonna click to turn it off and now you can see all the yellow areas. Then I'll click and turn it back on and you'll notice that they become red and all right, that's what I wanted. But now we also have the purple uh areas in there. And so I need to adjust another color. Well, I can either choose another color from here or if that hand is turned in, just move my mouse on top of the image. And as long as the color is quite a bit different than yellow, when I click, it should choose another color, you can adjust up to six colors total in a single human saturation adjustment. But when I choose that, what I see in here is, do you see it extends into the reds and I don't want it to. So I might pull this over a little bit and I see it extends into the blues. Well, we don't have any blue flowers, so I'm not all that concerned about that. And now let's see if we can change it. So I look up here and I say, where are purple things? Well, I don't see anything as dark enough to be purple, but I'm guessing it's somewhere in there and then where's red in what direction would I need to move in? And by how far to get there? Well, there's two reds, there's a red here on this end and there's a red on that end. So just pick whatever the shortest distance is. So if this is purplish, I need to move to the right and by about that much, so I grab this and I move it to the right and about that much. So then I look at my picture, I move around a little bit once it looks reddish. Then I think about do I need to make it brighter or darker or more colorful or less? And I think I'm gonna need to make it a little more colorful in there, man, I might adjust the brightness a little bit maybe, but I don't think it is adjusting a wide enough range because I can see kind of a transition where I might still see a hint of purple. So I might need to spread some of this out to make sure I get all those purples included and then it might look OK. It just looks a little dark, I think, but I'm not trying to make this perfect. I'm just trying to show you that you can isolate colors using this stuff. Let's see what happens when I turn off the eyeball. We used to have yellow and purple flowers or I don't know, might have a fancier word for purple and now they're mainly red. Now I see a white flower on the left side, I cannot change that because hue and saturation can only isolate colors based on hue, which means one of these things found in this bar. Where do you see white in here? There isn't any white, black and shades of gray are not found in there. And therefore this cannot isolate them and or adjust those. So that white flower I'm stuck with unless I use a different adjustment. So let's move on to another image. I ran into these guys sleeping on a park bench in Russia and they got sunburn. So let's see if we might be able to use human saturation to reduce or eliminate their sunburn. So I'm gonna make sure this hand is turned on. And by the way, my hand has been turned on every single time I've gone to hue and saturation. And that's because in a previous lesson, I talked about an adjustment called curves and it had a similar hand icon and I went to the side menu within the curves panel and I turned this on. And if you do it also turns it on for human saturation. And if you choose that, it means every single time I go to human saturation, make sure the hand tool is active, which is not a bad thing. So I'm gonna move over here and click on their face, but I wanna be more precise than I was before. So after I click on the face or choose something from this menu, because that's all clicking on the face did is I'm gonna go to these and I'm gonna slam them together and therefore I'm gonna work on the narrowest color range I possibly could. But the problem now is this is no longer pointing out the color of their skin. Well, that's where these three eyedroppers come in. The one on the far left. All it's gonna do is when I click on my picture, it's gonna move these to center it on whatever color I click on. So if I click on green up here, it'll pull it over to the greens. If I click on his blue jeans over here, it'll pull it to the blues and I'm gonna click right here on his sunburn. So it pulls it to the base color or hue of what's there. But I don't know that that's gonna be a wide enough range because the reds extend further than that. So I just wanna see what is this isolating and to do. So I'm gonna make a radical change to any one of these sliders and it doesn't really matter which one, but my default is saturation and I turn it all the way down, that's gonna cause the image to look black and white wherever these sliders are isolating the image. So then if that's not isolating enough of the image then we have the eyedropper with the plus sign and what it does is it's gonna spread apart those middle two sliders. That's where you get the full force of the adjustment. And so I can come over here and look for other areas where I see blatant sunburn, I see a little bit right here. That's not black and white. So I'm gonna click when I clicked, it just spread apart those little sliders to also include that. I also see a blatant amount of sunburn right there and it also included that let's go on his nose and see if we can get that. And now I think we have the blatant areas of sunburn, but we have something that has a transition that's pretty abrupt and I need it instead to be gentle and fade out. So I ask myself, what is in the surrounding area? Is it what's on this side of those sliders or is it, what's over here? I think it's, uh, what's over here? The non sunburnt skin is more like that. And so that's when I'm gonna grab this little handle, which means fade out and I'm just gonna pull it sometimes the tiniest amount until that fades out. So you don't see a abrupt edge. You can always go back to the thing with the plus sign. I see a little bit on the tip of his nose that doesn't look like it's getting it. I'll click that pulled this way. Over there, but that's fine. And now let's see if we can make an adjustment to lessen the sunburn now that we've isolated that range. Well, when it comes to these sliders up here, you can double click on a slider and reset it to its default, just like it would in camera raw. Then I just ask myself what's the biggest difference between the sunburn and the non sunburnt area? And I need to choose between basic color, how colorful and how bright I would say that that area is more colorful. So I'm gonna bring my saturation down a little bit and that's gonna make it less colorful. I'm gonna say that that area was a little bit darker. So I'm gonna bring my brightness up just a little bit and then I'm gonna adjust the hue and because sunburn is reddish and non sunburnt skin is more orange and yellowish, that means I need to move towards the right a little bit. So I grab this slitter and I move it towards the right a little bit. And when I do, I don't see the redness in the skin anymore. I can always fine tune the other slaters. Maybe I need it to be a little bit more colorful to bring some life into their skin or a little bit brighter or darker. Just be careful with the brighter or darker because when you adjust it, you'll always have to adjust saturation afterwards because it messes with that. And so I could fine tune these and tell, I think it's just right and right about there, I'm not mining their skin. So let's turn off the eyeball. Here's with sunburn. Here is without. So that's one type of adjustment. That's where it separates your image into three components, hue, saturation and lightness or sometimes called brightness. And you will find that there are other choices in your color adjustments that will work in a similar way. And the difference will be how does it isolate an area we isolated things based on hue, which means basic color. There'll be others that might isolate things based on brightness, that kind of thing, but they'll have the same kind of adjustments. So therefore what you learned here could apply to it as well. But let's now talk about the second type of color adjustment and that's what I would call a warm cool adjustment. This image, I just don't like the look of it. It looks like an old faded photo and let's go here and do an adjustment layer. And this time, let's use one called color balance because it will demonstrate the concept of a warm cool adjustment. Notice that we have three sliders in here and on one side of a slider will be a warm color like red and on the opposite side will be a cool color. So down here, this side's warm, that side's cool. This side here is warm, that side's cool in those colors you see on the opposite sides are exact opposites of each other you've seen before that in Photoshop, your images are in R GB mode that's red, green and blue light. And then when you print your image on an ink jet printer or a printing press, you use cyan magenta yellow ink to reproduce it. Well, these are exact opposites. And so let's see what happens here. If I move this slider towards the right, the image is going to become way too red. If I move it towards the left, too far, at least it's gonna become way too cyan ish. And the same will be true with those other sliders, but it'll go between green and magenta and yellow and blue. Well, all I need to do is look at this picture and say, is there too much red in the image or is there too much Cyan? Well, if I look down here where the the black top is here, I don't see any Cyan, I think if anything is too much red. So I'm gonna move this if I move it too far to the right and then too far to the left and then find the in between where it's not too much of either one, it's as close as you can get to the right amount maybe somewhere in there. But then when I look down here, I to me, this looks greenish. Well, the next slider down and between green and magenta. So I don't want to move it towards green because we already had too much of that. Well, I can see what it looks like though. Then I can move it too far into magenta, but somewhere in between will be just the right amount. And I'm trying to find that moving it too far this way. That's too far green, that's too far in magenta. Somewhere in the between. Maybe there, then we have one more slider might as well use it to me. This looks kind of yellowish. So I might move that away from yellow. But if I move too far and look too blue, so I might as well go to yellow to blue and then try to find balance in between. Once I've found where I think it is, I might need to go back to the others and fine tune them. So this one, I'll push it towards red till it's too much, push it the other way till it's too much and then find the nicest balance, same thing with the middle once again and just make sure I got that. Well, the problem with this adjustment is it's adjusting the mid toes, which means the middle brightness areas. And I could click here then and work on the shadows, the dark areas and therefore maybe look inside these windows and stuff and I could go through the same process and just look at the dark areas. So let's see what does it look like? If I make the dark areas too red or the dark areas too Cyan? Well, somewhere in between should be just about right. And I'm thinking somewhere about there I just looked in here and look for when it didn't look overly red or overly Cyan. Then I go to the next one and I see what does too much green look like? What does too much magenta look like and try to find the balance that doesn't make it look like you have too much of either one and this takes some practice. Then I can go down here to the bottom one. What does it look like with too much blue or too much yellow? And where in between does it look just about right? Maybe somewhere in there and again, usually you'd have to fine tune the others because it wasn't obvious when you had the other two out of whack where these should be. But I could try to dial that in. It's starting to not look so bad. Well, we can also adjust the highlights so that's probably up near the sky, let's say. And what would the sky look like? Too red or too cyan and somewhere in between should make that look. Ok. It's gonna be hard to get though with just that because we have two other colors. Let's try that. Too much of this. Oh, I like it better that way. Yeah. More like that. Uh, let's try this one. OK. Anyway, something like that, let's say if you didn't want to change the brightness of the image while you're doing that, there is a choice called Preserve luminosity. You can turn that on as well. And I think I might like it with that, with that turned on. But let's see what I've done to this image. I'm gonna turn this eyeball off and that's gonna show me the before version, then I'm gonna turn this on and that's the after version and I like it better. I wouldn't say the sky looks so great, but we do have a feature and under the edit menu called sky replacement and it wouldn't be a problem to replace that. But I think before this image wasn't all that usable and now it's a little closer, but I was trusting my eyes and I was just moving around until I thought I got it. There are other ways to be more effective at this. The only thing I wanted to demonstrate here is that there are some adjustments that are warm, cool adjustments where the slider you're moving. If you move it one direction, you make something warm, move it the opposite direction you make something cool. Also, every color has an opposite and the opposite of red, green and blue happens to be cyan magenta and yellow. And it's nice if you remember that I got those memorized in my head, but it would take you a while to do it. But it is useful when you work in Photoshop. So let's close that up. And now let's try to apply some of this to an image. This one, this is Laura and Laura looks like she went out and got a tan using a bathing suit. And then when she came out for a photo shoot, she decided to wear something other than a bathing suit. So right here, we can see a tan line. Let's see if somehow we can use a warm, cool adjustment to try to make this look like it's a little more tan, not so pale. Well, how can we do that? Well, if we want to do it and get it when we're not guessing as much as we did on the last one, I would go to the window menu and I would choose a choice called info in the info panel, you're gonna find a readout for red, green and blue. And if you move your mouse on top of the image, it's gonna tell you the exact amount of red, green and blue for the area under your mouse. I can look up here. It'll be different down here, it'll be different. Now, I know those numbers don't mean anything at all to you but know that they are an exact description of the color that's underneath your mouse. So if you wanted somebody else to see this exact color on their copy of Photoshop, you could call them on the telephone and you could just read off those numbers and you could tell them to click on your foreground color on their computer and type them in right here, red, green and blue. And they would see the exact same color. You wouldn't need to type it in. If you're doing it on your computer, just use the eyedropper tool and just click there and then go to your foreground color. It's gonna be the exact same numbers that were showing up up there in the info panel and that formula right there makes this color. OK. So how can we use those numbers to help us adjust our pictures? Well, first, I'm gonna go to that eyedropper tool and up here at the top, there's a choice for how big of an area does it look at when we hover over an image? And I'm gonna change it to five by five average. And therefore, if I happen to get one of the little hairs on her arm or something, and that happens to be where the tip of my mouse is that it's not gonna measure the hair, it's gonna instead average that in to an area that is five pixels wide and five pixels tall. You could use a higher setting. It just depends on how big your picture is 11 by 11 would probably work fine. In fact, though, go ahead and use that, that setting is used not just by your eyedropper tool. It's used by just about anything where when you click on your image, you're picking a color out of it or measuring a color it uses whatever the eyedropper tool is set to. So I'm not actually going to be using that for my adjustment. I'll go down to the hand tool just so when I click, I'm not really changing the image. All right, let's use those numbers in the info panel. Here's what we're gonna do. I'm gonna put my mouse right here where I really want to adjust the image and I'm gonna glance into the info panel and I'm gonna write down the numbers that I see for red, green and blue. What I see is 2 21 2 13 and 207. And I'm gonna label those above. I'm gonna call it before because that's what we're starting with. And then to the right of that, I'm gonna write after I just got a sheet of paper, I'm doing this on and I need to now choose from the surrounding image where she doesn't look pale. What color would I like to have in there? If I choose this color here, I don't think it's gonna quite look right because it's not gonna blend in with what's right there. I think what I'm gonna choose is what's over in here because if this color were to extend over, sure, it wouldn't look right here, but I could have it fade out. So it applies less and less by the time it gets there. So I'm just gonna go, let's say right there and all I'm gonna do is write down the numbers once again from the info panel, I'm gonna write down in this case, 1 79 1 61 and 157. And if you want to, you could label those RG. Oops, I messed up and put in A B uh R GB if you wanted to. Now, I'm gonna take my sheet of paper and this is all I'm gonna use. That's the before numbers and the after numbers. And I'm gonna somehow get where we used to have this amount of red to have that amount and where we used to have this amount of green to have that amount and so on. That's our goal. Now, we just need to find an adjustment that will allow us to dial that in and the adjustment that allow us to do it. There's only one that can truly do this and that's curves. So let's use curs, I'm gonna come up here and if this is set to R GB, then when you adjust the curve, you're trying to just change the brightness and you're not gonna be shifting the colors around. Well, I need to shift the colors as well as the brightness and that's when you go to these three. So let's go to red and in here, I'm gonna add a dot Anywhere on this line, I'm just gonna click on the line and then down here it says input and output and input means what do we want to change? What part of our picture do I want to change? And I'm just gonna look down on this sheet of paper. I have the number for how much red there was in the pale part of our skin. And the number I have is 221. I'm gonna type it in. Ignore the picture because I haven't typed in how much I want yet. That's what output is. I'll select that and then I'm gonna type in the number that I wrote down for the part of her skin that was nicely tanned. I'm gonna type in 179. Those are just the numbers I had written down. Now, I think the image looks terrible and that's simply because we've only adjusted one out of three colors. That area that was pale needs to get a lot darker in order to look tan and it's just we need to darken all three of these, the proper amount. We've only done one so far. And if you remember when we used color balance, what was on the opposite side of the red slider? I doubt you remember it was cyan and reducing red makes your image more cyanne. So right now we reduced red and the image looks overly cyan. Let's go to green. I'm gonna click on this line anywhere. I don't care where the dot is gonna get moved to the proper location. If I type in the right numbers down here, input is what do I want to change from the image? And that's where I'm gonna write down the number that was from the pale skin, which is 213. And then output is the number from the tan skin which I also wrote down. It's 161. Then I'm gonna come down here to blue and I'm gonna add a dot Somewhere on the curve so we can move it. And then for input, the amount we had in the pale skin was 207 and the amount we need to make it look like tan skin is 157. All right. So now the image looks more like it did before. It's just dark. Well, it's hard to really tell what this is doing because it's applying it to the entire picture. So now let's come down here to the mask that's on this adjustment layer. It's active right now. And what I'm gonna do is make it black. I can do that by choosing image adjustments, invert and that makes it a negative of itself gives you the opposite of what you had. So watch the layers panel, you'll see the mask is white. Now it's black that removed the adjustment. So now I can grab the paintbrush tool. And if I paint with white, what I have is tan on a brush. If I come in here with a small brush and I just click right here. You see how she looks a little more tan. What I'm gonna do is I'm gonna paint in here. I have a soft edge brush and it's gonna be hard to paint this in just right. What I'm gonna do is do it in two parts. The first thing is I'm just gonna try to get this edge right here. So I'll click like this and I'll paint up to that edge and just kind of paint down along like that. Not caring if I go too far at the bottom and I'll go all the way down this way, kind of like that, make sure I got all the middle there evenly. Then I'm gonna try to take it away from here. So I'll paint with black and when I paint with black, I'll just paint here to take it away. Now I'm trying to define the other edge and it's not gonna look right when I first get it in like that. But now what I would do is just get a larger brush as you get a larger brush, it also becomes softer and I'm just gonna start painting kind of across here and that's gonna cause this to fade out where it gets less and less, but it's gonna do it over a wide area. So I'm just gonna kind of paint like this. There we go. I might do, do need to do a little bit of that on the other side and your brush extends beyond the circle. By the way, it, that circle is where it's halfway done fading out. And that's why I'm not actually positioning this right up against that edge anymore because with a big brush, I need it to be soft and I don't know if I'm gonna get this perfect as far as that goes, but I'm gonna get close. Now. I think the adjustment might be a little too much. I could come over here and adjust the opacity, bring the opacity down to zero and you have no adjustment and then bring it up and decide how much of this should be in there. And I just think that's a little much I might back off to about there. And then the main thing is uh getting the masking to be more precise. I'd need to paint a little bit more. But if you look at it before versus after we're getting that to start to blend in. There are other tricks you can do to completely blend it in. Uh I'll show you just an example, you could create an empty layer and you could use a uh retouching tool like a healing brush and the healing brush can be used to blend things. So we'll talk about this when we talk about retouching, but I could go over here and blend across that. Although up here, I need to change this to current and below. Otherwise it doesn't work on an empty layer. So now I'll try, OK, that blend a little better. I can do the same thing on the other side, I can come over here and say, hey, let's just kind of blend that in, blend that across and so you can get much better at doing this to blend everything in. But you need to have studied how to do, not just adjustments but also do uh retouching to blend everything. But I don't think that's too bad. So I doubt you're gonna master that. Your very first time. You're gonna have to practice on it and do it maybe on six or seven images before you start getting the hang of it and start getting comfortable with it. But the general concept was I took a sheet of paper and I wrote down the amount of red green and blue that was in the area that I wanted to change. And I also wrote down the amount of red, green and blue that was in the area I wanted to match that. I thought that that's the color I wanted. And when I was in curves, we adjusted the red green and blue curves individually on each and every one of them, we clicked somewhere on the curve to add a dot That's what made those numbers at the bottom active where I could type in an input and an output number and I typed in this number for input and that number for output for red, for green and for blue, then we just needed to mask it into the image. So it didn't affect the whole image. I only wanted a small area to change and that wasn't the easiest thing to do. But with a little bit of practice with your brushing, you can get it in there. And if it really doesn't look right where the transition is. Once you get to the lesson that is on retouching, you'll learn how to smooth out transitions with a little hint of retouching. Put on top.