Hello my name is Judy Schmidt I'm an
artist and amateur astronomer.
This video is intended to show how I
process astronomical images from the
Hubble Space Telescope. There's no single
way of doing this, and I don't want to
say this is THE way of doing it. It's
just my way. I've probably spent over a
thousand hours processing space images
by now, and it's my favorite thing to do
in the world. Some required software is
Photoshop and the FITS Liberator
FITS liberator is free and I'll put a link to
it on video and in the description.
Photoshop is not free, and if you don't
have any experience with Photoshop
this video may not be for you.
I think you need to have a reasonable
understanding of photoshop before you
can use it for processing. So, couple of
steps before we jump into Photoshop
first we have to get the data which
in this case comes in FITS format.
To convert the FITS images into something Photoshop
can read—that's where FITS Liberator
comes in. I want to start by showing you
how to use an archive. If you already
know how are you just don't care about
this I'm putting a skip button for you click.
I thought about simply giving you files
to download but I think it is important
to learn to find your own data so you
can have freedom to be creative. When I
started learning how to do this myself
there were a few tutorials I followed,
but I remember how they kind of left me
hanging at the end. I mean it really won't
be much good to know how to put the data
together and create a pretty picture if
you don't know how to find some
fresh data to work with yourself.
So, load up your web browser and to get to
the MAST archive portal type in m-a-s-t
dot s-t-s-c-i dot e-d-u. Press enter, and
it should look like this this. This is a
multi-mission archive.
It's got more than just Hubble in it, and
I'm using this instead of the Hubble
Legacy Archive which is a bit more
simple—it would've been easier to explain
but I heard they're phasing that out and
some time this year only MAST will be
available... there are some tutorials that
you can watch later if you want to know
more but i will try to show you how to
search for just Hubble data right now.
So what I like to do when I have no target
in mind and just want to find something
new to process is view archives in
chunks of time. Usually I'll view it in one
year intervals for a single instrument
and pick out something that interests me
from there. We can't really do that with
this simple search form though. If we
click this show examples link you can
see what is expected here, and it's either
wanting an object name or some
coordinates, and I usually don't have
either one of those so for now we can ignore
that. You might guess that the random
search would be useful for us since we don't
know what we want, but because it is
positional search, there may not even be
any data there. You can still try it if you like
but it may take you a few attempts before
you find some Hubble data. So let's just
click this advanced search link and
open that window and wait for a moment.
There is a lot here, but you can ignore
most of it for now. Scroll down to the
start time, select all for the left box there.
Type in 2003-09-08
Press tab
Type in 2003-09-09
press ENTER and we've got a very narrow
one-day search time. Funny thing here is
I still try to click this search button.
I don't know if it's a problem for anyone else
but it is for me.
I still try to click it. It's the wrong button.
You gotta click this one in the upper
left corner. It says "load the results of this
query in a grid" when you hover it. It's got a
green downward facing arrow. So click it,
and let's wait for our results.
So here's everything from that day which
is September 8th 2003. It's not too
many things—only 207—but we can
whittle it down even further with these
filters over here on the left. So for
product we're not doing spectroscopy so
we can just tick off image. For mission,
we only want Hubble so tick off
HST. Sorry GALEX! Instrument uh we don't
need STIS or S-T-I-S. I've never actually
said that word so I don't know if you
pronounce it, but that's the Space
Telescope Imaging Spectrograph, and it
usually does spectra so we're not going
to deal with it.WFPC2 or the
Wide Field Planetary Camera 2 and the
Planetary Camera channel we don't really...
These are a little bit more difficult to work with
so we'll just go with the Advanced
Camera for Surveys wide field channel.
This is a good one right here. Lots of
good stuff from here. Check it off. And now
let's look at the album view, and see
what we've got here. These inverted
images actually come from DADS, and I
don't want to talk about DADS right now
because it's just going to add more
complication to everything because you
have to FTP, and fill out a form, and
wait for it to happen... Anyway let's
get rid of these by checking off only HLA. Ignore
HST for now so we're only getting results
from the Hubble Legacy Archive. And
right away we see this pretty galaxy
right here
We can't really tell it's a pretty galaxy
from the thumbnail because the thumbnail is so small.
So if you want to see closer
click these three dots and view it in the
interactive display and it will open up
a new window for you and then you can view it
at 100% zoom and pan around
and see if it's something that you're
interested in.
So yeah, it's a really beautiful spiral
galaxy and I think it would be really
nice to process this, so let's close this
off and go get this data... these data.
But can we make a color image? We need at least
two observations made with different
wavelengths to do that. So take a look at
this line here: Says filter F606W.
What does that mean? The W means a wide
band filter, which means that it
collected photons from relatively wide
section of the electromagnetic spectrum
and this number—606—tells us that it
was centered at around 606 nanometers
which human eyes translates to
red. And the next one over—F814W—is
another wide band filter, but this time
it goes beyond the red into
near-infrared and humans can only see up
to about 700 nanometers in wavelength so
this is a hundred or so nanometers out
of our range, but now we can see it is a
grayscale image, so it's no problem for
Hubble. And these are two of the most
common filters used by astronomers;
I mean that they're everywhere you
almost can't avoid the F814W in
particular... it's just about in everything I
look at. Must be where all the science is.
this detection filter isn't really a
filter it's actually a summation of all
the other filters for a given
observation, and I never used that one so
you can ignore it.
So just click this checkbox and this checkbox
Add it to your basket
Wait a moment...
Something that we don't really
want here... If you click this, you got to be
careful because it zooms it up to the
top there and you can accidentally click
it twice and then you'll end up with
something like that, and you don't want
that. That's useless for you. So, just be careful
see that ... how it just moves it up kind
of stealthy. You don't even realize it happens.
If you want to make sure you don't
accidentally click these other things you
can go over here to the description, click
the show 11 more button, scroll down, and
select this HLA Simple FITS Science
Image, and that'll get you just that and
you can check that
"all" button and then... And we're ready to download it
So just click this little diskette
icon in the corner here and don't change
the filename or format. Just click download.
And we get this window here. It says that
you can close it without interrupting
the bundling process. I don't really
recommend that because you can't get
this progress bar back and you won't
know what percentage is done if you close
it off. If it's going to take a while you won't
know. So don't do that; just be patient.
Go do something else. And when it's
complete you get this pop-up. If you're
on Windows you can natively open zip
files and just drag them out... this window
pops up if you told it to open. You can go to
your desktop. Make a new folder. I went
ahead and copy and pasted the name of
that galaxy which is MCG+07-33-027
It's just a coordinate really. Get the folder here
and now you want to get
just the FITS files. That's all you
really need. So go to those individual
folders and drag them out and copy them
and you're good. You can close that out.
Now if you've got FITS Liberator already
installed you'll see this icon and it's the
Eagle Nebula, one of Hubble's famous...
Pillars of Creation image and you should
be able to just double click it and open
up the FITS Liberator. Finally we can
start having some fun. If you've opened
FITS Liberator for the first time it
probably looks more like this. So there are
some things we need to check out and make
sure they're right. Make sure flip image
is turned on. If you have it off it's
going to be a mirror of what we see on
the sky and it's going to upset the
astronomers. So keep it turned on. That will
make sure north is up and east is left.
Freeze your settings so that you can save
them the next time you start up the
program. These planes up here are just
informational. You can look at them if
you want, but they're not... if you were doing
science they'd be useful, but we're not
doing science we're just making pretty
pictures so then head down to the
Scaling and stretch (Advanced) section
here, and change the stretch function to
Arcsinh(x)... that's what, the hyperbolic sine
function—whatever. It doesn't matter.
Just use that one. I find it works best for
bringing out the details in these really dark
areas and if you if you play with it a
bit you might find one you like better.
I personally like the Arcsinh(x).
I leave background level at 0. You can change it
if you want, of course. Auto-scaling
usually gives pretty good background level
if nothing else.
To be honest, I don't really spend a lot of time in the
Liberator. These generic numbers I'm
putting in: 1 for the peak level and
100 for the
scaled peak level are just some starter
numbers they don't really do anything
this time. It's so much easier to work in
Photoshop that I don't really mess
around with it too much less it looks
really bad or unless I'm doing a big
mosaic or something.
Play around with it. It will get easier the
the more you use it.
The most important thing to look at now is
histogram which is this graph at the
bottom of the window. Because the image
is mostly dark we can see there is a pile
up here at the left side which tapers off
gradually to the right and the dark pile
which looks kind of like a pointy mountain is very
important to pay attention to. If it looks
like a 1 pixel spike then there's
something wrong with the stretch
function or the variables you've got in
here, and you need to play with it
until it gets at least a little bit
wider than that. It will be very
difficult to tease out these faint details
if it's not very wide or if it looks like a
single pixel sticking up. So the next
thing you want to do is kind of zoom in
here on the left side and move this
black arrow just right up against where the
these little gray line stop.
If it looks something—if it looks way too
white—like that—then you can you can go
past them, like, you can get go there, if
you want. For this image, right
here is good. And then, you can do the
same for the white. (show all) Move it over
there to the very end. That actually
works well for this image. If you want
you can zoom into the important featured
galaxy and just use this white level
picker tool, and click the brightest pixel you
see, and that'll (yep) that'll make it look
really good
it looks dark right now . It's going to
look dark until you get to the very end
of processing, and there's a reason for that.
You don't want to start out right away—
Well, sometimes it does this. It it does it
just close it off, and restart it. That is
why you freeze the settings
so you can just get right back to it.
Yeah so if you want to make it
brighter so you can see, the problem
is you're clipping the histogram
like crazy. (zoom in) See how the middle of
this galaxy is just a white blob now, and
you don't want that. So leave the arrow
way over there.
Leave it dark. If you're working in 16-bit is no
problem at all to change this later at
the end in Photoshop and make it look
nice and bright so everyone can see it.
If you're working in 8 bit it's going to
be a little bit tougher because it's gonna
leave a lot of ugly banding, and your
computer should be able to handle 16-bit
images. You'll be able to tell really
quick if it can't, and if Photoshop seems
really sluggish you might have to switch
it to 8 and work in 8 bit until you
get a better computer. There's no
real work around—you either have to
be very patient or just have a nice
quick computer. So save the file. It's gonna save a TIFF.
You might have to direct the save
dialog to the correct folder.
Drop it right back into this folder
that you already have no need to add
another and we want the next file
because pretty much the same things
this black spot here in the middle of
the galaxy is difficult for some pixel
became completely saturated that's just
the way to let you know they were they
were saturated you can't do science on
that it's not going to be a good
measurement same with the star come
really bright star completely saturated
can you take any measurements from that
that's why that's done so there's no
mistaking it and you just fix this later
on in Photoshop. No problem.
Time for Photoshop. Start it up.
Just a quick tip: Work in the dark or a dimly lit
room with just ambient light. If you have
a window behind you and the Sun is
shining on your back that's very bad.
Even blinds won't help with that sometimes.
If you have to wait for the
Sun to go down. And if someone calls you
weird you says you'll hurt your eyes for
sitting in the dark
just remember the Sun is like a billion
times more powerful than your computer
screen and no one tells you to stop
looking outside.
Well, that's just a suggestion.
Some people say their eyes
hurt if they do that. I work in the dark
all the time, and
I'm fine, but that's just me. so what are you
So what are you thinking right now?
How in the world is a red and
an infrared image going to turn
into an RGB picture? There's a really
simple formula for translating any set
of filters to an RGB image, and I probably
use it like ninety-five percent of the
time. Every now and then you get a
complicated data set—like
maybe you'll have to do something a little
different, but in general you just want to put the
longest wavelength in the red channel, and
the shortest in the blue channel and
anything else can go in between.
Usually, you know, just if it's longer
redder, and if it's shorter bluer. Pretty
simple. We only have two colors in this
case so we actually have to generate a green
channel, and if you can never done this
before, but you're clever you might be
thinking ahead about what I'm
about to do you might say okay so we're
just going to paste the grayscale images
directly into the channels. That's what I did
first time I did this. But that's the hard
way because you need to be able to get
at the original channel very easily so
you need to think a little bit differently about
how we're going to do this.
And I'll just show you.
So to start off go to File, Scripts, and
"Load files into stack" ... Click browse, navigate
to your folder with your data in it
and select the two TIFF files. Click ok.
Click ok again.
And it's very convenient: it's
already named your files for you so you
can see which one is the 606W and
which one is the 814W. Now convert them
into smart objects.
I've got a lot of actions that I use to
do this much more quickly. I don't have
to use the menu system,
but I'll show you the slow by using the menu so
you can actually see what I'm doing.
Definitely do make actions to save
yourself a lot of time if you notice
yourself doing something over and over
again. I mean you can see all my actions
here, and I've got a mouse with like 12
buttons on the side, and I can just press
those buttons and don't even have to look at
a keyboard if I don't want to. Now
convert the image to RGB. Don't merge and
don't rasterize. Nothing bad will happen.
The smart objects are very
convenient for saving the original data
in case we make mistakes. If you
realize you messed up you can go and remove
any filters are changes you made to get
it back. Happens sometimes; just don't
like what you did and have to do it over
again. To get a color image going,
go ahead make a couple of folders for
your two channels and name one red
and one blue. You can give them colors
if you want, so you can look at it better, and put
the (like I said) put the longer wavelength in
the red and the shorter in the blue, and now
to actually make these red and blue,
go ahead and double click—don't double
click the name—double click somewhere else
and uncheck "G", uncheck "R".
Click OK, for the blue, and now go to the
red channel and uncheck "G" and uncheck "B"
Click OK. And it's magenta! We're missing
green, obviously. Green is the most
important channel, and it's interesting
because almost nothing in space is green,
but with our images the green channel
seems to have the most dramatic effect.
It's even more important for an image
that makes use of three or more filters.
What you put in the green channel can make
or break an image. Today, though, we have
green for dummies, and it's the easiest
thing ever. To make our pseudogreen
channel, all we needed a single channel
mixer adjustment layer so go down here
to this little circular button, go up to
channel mixer, and drag it out to above
the red channel—you want to in the red
channel—or it won't have any effect.
Switch over here to ... If you've got your UI
set up similar to me I think I have a
pretty default one it just kind of puts
the properties button here you should be
able—if it's closed—just double click
it and anyway use this pull down here.
The output channel: change it to green,
delete +100 from the green and
you want to pull in half from the red, and
half from the blue in order to create a
green channel, so type in 50 for Red and 50
for Blue, and that's it!
Look you've got a green channel. It almost
looks like a complete image already. It's
very, very easy.
Anyway so rename this channel mixer to
pseudogreen and give it a green color so it
doesn't get mixed up with the red, and
let's zoom out and look at this from a distance.
Not a whole lot to do in this. I don't
know if you can see this faint streak
going across here. That's kinda weird.
Let me put a curves adjustment just to
make sure you can see it.
Yeah, maybe you can see it better now.
usually there will be, like, a single pixel—it'll
looks like a star going across and
that'll be a satellite or an asteroid—
probably an asteroid—just slowly
creeping across during one of the
exposures, but this is a really broad,
faint weird-looking orange—well it's
orange because it happened during
one of the F814 exposures, and it
kind of makes me wonder if Hubble
a close encounter with something
nearby since it's so broad and faint
maybe it was moving really fast and it
actually have had some angular diameter to it
when Hubble was looking this way.
That's weird. Anyway, we'll get rid of it.
We'll get rid of this big thing here—this is a
filter ghost—and it happens a lot around
these very bright stars, and this is
charge bleed. It happens because the
electrons are overflowing because the
star is too bright... And what I mean by the
electrons overflowing is there's only—
each pixel can only hold so many—
the photon comes, and gets
converted to an electron and kinda
try to envision them like buckets—each one is
a bucket, and once it fills up, they
just kind of overflow to the next
nearest pixel and create these long,
annoying, ugly
streaks. This down here is... I guess it's
called crosstalk. There's actually four
CCDs comprising this image, and for
whatever reason, sometimes a mirror image
of a very bright thing will show up as a
dark ghost directly opposite from that.
This orange looking thing is a glint.
It probably came from this star
traveled across... This weird-looking thing
here is also coming from this star. It's
like another optical ghost over here.
If you think the whole thing
It would look like a weird figure-eight.
It would finish up, curve around here.
This is a star that's just on the edge
of the detector.
It's not like—this one is a little bit
off so it's just a diffraction spike, but
this one is on the edge and it does this
crazy-looking fountain of the light.
It looks like a firework or something.
They call it dragon's breath. And, of course, this
dark thing here is called the chip gap.
It is my nemesis. The two detectors are right next
to each other here. Thankfully they're
butted up against—right up against each
other, but across the two pairs is a gap
and it's just always there you don't always
get data filling it. A lot of times you just
don't deal with it; just crop it off.
Because, I mean, you can't just make up
data—or you shouldn't—you could if you
wanted to. For something like this
galaxy, you really shouldn't just make
up data, because, I dunno, seems unethical
for some reason.
Another thing I like to do is, to help
set up the file, and make it easier to work
with the data is to create what I call utility
channel mixers. You could switch to the
channels tab, and click red or blue.
(hold on) Yeah. So now you can see this is
just the red channel and this is just the
blue channel, but Photoshop won't let you
keep it like that and work on the image at
the same time. If you go over here, and
yeah, see it switches back to RGB mode.
So to work around this
I use a channel mixer for each channel.
So go down to the the adjustment layers
button create a new channel mixer moving
up above everything they should always
be at the very top rename this one to
read formerly in the properties window
the output channel whatever it is it's
not red change the output from that
channel in this case it's blue change it
to 0 and if you're the red one and tell
it to pull everything from the red
channel and can switch the green change
it to green 20 and change red one
hundred percent and this isn't super
intuitive it might be confusing to you
at first but the more you work on it the
behavior will get it will start to make
sense you hopefully so if I hide this
you can see the color and now you turn
it back on
I can see the read-only and this is
useful because if you work all the RGB
image itself then this this artifact
here becomes like one thing but it's
easier if you separate isolate the image
each individual channel and work on it
all alone so you don't have to your
editing the blue one out
you don't have to edit that the orange
one out of the same time go ahead and
create another channel mixer for the
blue name blue only changes color to
blue tell the red channel 0 and the
booby 104 the red output channel which
is agreeing output channel change green
20 and blue to 100 so if you look at
each output channel here and see for
each one
it's one hundred percent blue now we can
see just the blue you can see the
difference here click back and forth red
blue red
the next thing i want to do is quickly
balance some colors this looks pretty
close to balance already but it's really
not quite
usually it will be a lot worse than it's
like let me just show you in advance for
like see this is totally orange now and
this is more typical what it will look
like when i pull it in
or maybe the blue will be too bright and
we'll look like that and your eyes are
really bad at making this determination
don't rely on your eyes use your
instruments use your jewels your eyes
can lie to you strangely that the color
sampler too although it won't lie 112
change the sample size to something
every five by five
make sure your sampling all layers and
just click him a darker areas here if
you happen to have layers selected that
it's on a layer mask and you try to use
your color sampler it only thing comes
up is this gray scale thing delete the
layer mask the fact that like the
leading all their masks the piece you
shouldn't be there if you're not using
them anyway
use your HSB color sliders so that you
can see how saturated how far away from
gray is this
its twenty percent saturated that's
pretty good you can do it better so
created a curves adjustment layer for
each channel and the way I make sure to
balance this so that my eyes don't
deceive me is useless low ellipse tool
here find a dark place it's pretty
smooth and doesn't have no it's just
blank space and put it above your
channels and change the color
double-click on the square this is 0 0
and seven percent is a number i use i
don't really have a reason for that but
I try to make this instead of totally
one hundred percent black background I
raise it up above black and my goal is
always 7% it's kind of a standard that I
came up with seems to look pretty good
across various longers some people have
really dark screens and if you have the
space be totally blank
I mean totally black I can't see it have
like the only see you say this part that
completely missed this and people love
to see these same areas get betters
better sense of what's going on with the
galaxy now you can adjust these
individually you don't even have to go
to like the red you just leave an RGB
min on this oval that I create that you
create and we can see we turn on your
adjustment layer here to the read-only
for working with red and it helps you
kind of do you focus your eyes a little
bit because of noise can be deceiving as
well and you just want to make that note
that background noise be the same color
is that whole this one doesn't want to
be then let's changing call make sure
it's still it's just below the curves
adjustment layer so that you put it
above it's going to be the wrong color
which is the blue that we need changing
yes that one is too dark so we want to
put up little kids that's about right
turn off your blue adjustments use your
color picker cool again and continue to
11 by 11 you can see now your saturation
is nowhere near what it used to be it
you should be twenty percent now it's 25
anything mix below about little
10-percent it's pretty good
hide that list now let's see about
cleaning up some of these cosmetic
issues
I'm limited to this earlier I'd like to
work on of the isolated channel instead
of both at once it does take longer and
then say lobbying over everything at
once the healing brush tool and the end
though having all of our changes isolate
it gets more freedom to adjust the
colors later and it's much more
important with a more complicated data
set that we might change your mind on
several players don't want to go back
and get stuck redoing the cosmetics
judgment so working inside the
adjustment layer and want to make sure
we do not change you need this original
data so whatever you do make sure it's a
layer above start mixing this covering
up this charge believe here it's just
the worst thing so have your mouse
cursor reporter over the about the fair
because you can get and we'll be all
button on your keyboard and shift drag
it out let go over extended past the
chip gap we're gonna color colones data
and use it to connect these two lines
across the trip caps control J to jump a
layer of above the fun we have a dual
layer and press ctrl P and hold the
shift button now and rotate the state of
90 degrees
just enter or click the checkmark your
move tool press B and just naturally is
a long until these distractions bikes
are lined up nice and even that looks
good now add it add a layer mask to this
layer mask button can work on this
already got black-and-white hear of
their color press ctrl backspace to fill
that adjustment layer alright the layer
mask with all black and here's where i
like to get my walk home tablet out and
it's just much more comfortable to paint
with the paint brush tool use start with
a white color drawing on this layer mask
it will cover up all this stuff that we
don't want to hear what's being called
an unpainted data help Fargo ok we'll
take care of this little bit layer paint
over and don't worry about it
not quite matching up so I like to do
next is create another current layer to
make this matchup will press the Alt key
to make a clicking layer here so it only
affects the layer below it and let's get
rid of this lighter area here move the
desi a point subconscious curves
adjustment layer a little bit so it sort
of matches now we feel this just this
like you go on indefinitely and those
layer mask with black lotus again and
you might have a little bit you might
take you a little bit more time with a
mouse but you can still do this i use
pressure sensitivity my walk on tablet
and it goes by really quick rushing over
until it looks like it matches the other
side doesn't need that much now make
another one to lighten it up a little
bit parts closer to the center of the
star was like again
well for painting very quickly like that
up until it matches blend almost
perfectly you can't even tell it's there
another place that needs to be darkened
right here okay people
looks pretty good make another layer
here and quickly use the healing brush
little cats
background galaxies got pulled over me
the time to get that edge
ok looks pretty good now i don't really
care to save all these things and then
selectively all press ctrl key to merge
them together and this is really easy
because it's not overlapping that
distraction I can quickly run over this
with the new impression to the route job
success against all didn't happen
well what feeling this really quickly
draw over it with some white now the
brush tool for them to a hard brush
little quarter don't look very good
people probably won't notice
tell me a little bit and I was here to
write using the burn to a lot of ever so
slightly so they're know if you want to
kind of movie that looks like candy or
something
just take the healing brush and lava
where that looks a little bit better you
can continue working on this if you want
but and it's it's a blown-out star not
going to get too much better unless you
just totally take it
and I want to get rid of filter ghost
it's probably one of the most annoying
things to deal with and there's no easy
solution
all we can really do is minimize its a
fix I sort of think of this is
camouflaged not going to be perfect
every but people it's going to bring it
down to such a level that it's not
noticeable to the average person as they
may be another image processor could
come along and see this so it uses
curves adjustment layer once again if I
love curves and I'm always using them
and I'm going to use my walk I'm tablet
again to paint on this layer mask and
because we want to darken this going to
be a point here and just starting it to
where it's a little darker than the
background noise want to have some room
to work with here and fill the layer
mask with black and press ctrl backspace
get a soft round brush and draw over it
painted over
I don't know how you would do this with
the mouth i know some people do some
pretty amazing painting work with mice
I don't know how I think it's so much
faster and it feels better with my
tablet so putting use don't really have
a suggestion for here you do use the
mouse and don't know how to don't have
any with painting on it so you're
welcome tablet or anything whatever
doesn't have to be all contact with any
kind of pen tablets like you have
pressure sensitivity
well great and the great thing about
this curves adjustment layer can see I
went a little too dark there in this
press X which the black and undo that
dark clean it up a bit
we're going to speed this up so you know
this is really you know it doesn't take
that long maybe five minutes actually
had to redo this because my camera
recording software my screen recording
software it crashed and i lost the
recording
okay so that looks pretty good
we have total often see the different
maybe maybe a little bit too dark
balance it won't check five making it
all really contrasting just see if we
can bring it out now I want to see
anything here babies dogger takes the
longest out of anything to fix these
even that is not that long
like I said it's like five maybe 10
minutes for a really really bad one
okay and just leave the curves there you
don't want to merge it with anything you
don't merge with the original data
system so you can go back and look every
now and then if you want make sure you
preserving the integrity of the original
date as much as possible i just save the
document and I don't think you need to
see that so i can help save often the
next thing we're gonna do is fill this
ship captain and I hate doing this
because there are galaxies and stars and
things in here that are forever lost to
the gap got to do something about it or
if you're not going to cut it off and
you can see here there was a start here
there's diffraction likes coming out the
gap that there was a star there but it's
gone now so the first thing I'm going to
do to get rid of to get I won't say i'm
not going to use the healing brush tool
because it likes to invent it will pull
over like a little galaxies from here
this
doing there doesn't know better I don't
like putting think galaxies in their bad
enough that I'm thinking like face
anyway so I want to take the magic wand
tool
Thank You point sample you can figure
with on select our background layer
click on the black here and you have to
select everything and I don't want I
don't want this charge please select
either or everything around thinking
something's gonna press alt + shift in
order to create an intersect selection
and go down here wrap around this
selection now we pretty much just have
the chip cap selected and really create
a new layer use mine eyedropper tool to
get a background color and press alt
well changes changes for example to the
lovable and go more accurate
representation of the background color
press alt and backspace to fill that in
the foreground color
oh you know what we maybe want the press
ctrl age to hide these marching ants see
these stops along the edge here it's
kind of rough though there are other
actually cosmic rays I don't like though
so I actually fill over those to unhide
that go in a quickmask show your
selection this just lets you quickly run
a filter over if you want and I'm gonna
run a maximum filter that the radius of
3 pixels you can see it's going to
expand class elections if you take hold
click OK actually quick mask by pressing
Q again I'm gonna refill that with that
foreground color again with all facts
safe and be selected
now we're covering up of all of the box
to kind of take care of two things that
want that for galaxy feel bad for it to
generate the noise and you could go and
use the add noise filter i find it it
looks ok but it's a little too sharp I
don't know it's not enough it's not have
options in the filter you really get it
right so what I have discovered is you
can use a camera off filter there are a
few other parameters you can adjust to
make it look almost exactly like the
Hubble noise so go into the effects tab
here and change the amount to 12 and
besides that there's 13 and the roughest
260 this maintain you a couple times to
get it right because you and you can see
you can't see a preview here and there
is no way that I could find out who make
it so you can see a preview meaning it's
not too hard to just play with it and
redo it if you need to
that's ok now you can see it aside from
it being like a little darker or a
little too bright in some places you
look just like the background noise
looking really good now using the same
technique as i did with the other things
like this filter goes here
use the curves tool again just to adjust
the brightness in places so that it
matches up just perfectly make sure once
again it only affects the layer below it
using a cooking cooking there
yes it looks pretty good well start
going to have to go over that quickly
no rush on that infant know being
distraction Sykes ok just merge this I
don't like having dozens of layers show
we don't need them to keep the ball in
one layer now I want to get rid of
streak which all go ahead and put a
curves adjustment of not that i really
need it but in order p to see you here
in the video want to bring the contrast
we won't be able to see the galaxy two
ok so you should be able to see this
drink here if you look hard to get rid
of any other curves such a look at this
time I'm going to use a vector shape
masks in order to have really simple
easy control over the shape of my curves
mask will create a new curve and press
the add vector mask button float if you
didn't have them the layer mask their
what they add layer mask but after you
press it once and present a second time
it creates a vector mask you can use
your pen tool you want to set it to pass
instead of shape so it goes into that
vector mask and you don't have to make
it perfect because of the vector shape
it you can go back and edit it really
easy not like the pixel mask or you have
it can be a pain to really get just
right didn't I can see we're doing you
never use the vector tools they can be a
little bit annoying to get rid of like
to get use of their cork they are a
little quirky you just have to give them
would you sit do not map that off by
selecting don't want to change in U of
and is black pickle mask
you see that's not that's not gonna be
affected like nothing outside of this
vector math was going to be affected and
now
hide that vector mask actually feel do
it will click that drop it down a little
bit really almost got rid of it there a
few things when you change the
effectiveness you do not need to darken
little of this galaxy that much so I can
go over it with a paintbrush sure you
don't really don't need to walk all
tablet for this love it out so it's not
that lying across the galaxy
Sophie they're really faint edges you
just a little bit more tool and tool
ok ok to use anymore okay to dark there
one more change
alright it's probably gone out again
can't see it at all
get rid of these go in town and we can
use the same just went land that we used
to get rid of this glowing thing here
just adding some more painting to the
layer mask already there so you don't
need to make another one
softly brush over these glance
now i can give it as crosstalk pattern
over here you can pretty much do the
same thing with the curves adjustment
and painting technique but you want to
lighten it instead of targeting it so
little lighter little the layer mask
with black and are painting the white
where you need it
okay good it's all gone there are a
little tops of black and I wanna stab
over with another white or you can just
select them if you use the magic wand
just cleaning solution will check the
other point person wolf sure get them
done to you see this blog here it looks
dark and that's because photoshop is
weird about things when you're at fifty
percent zoom level and it's a 16 bit
color image you get to Italy 67-66 point
seven percent it kind of goes away like
you think I should justice so it looks a
little dark doesn't
we don't really need to take care of
that i get rid of it if I need to I
would get rid of it the same way as this
filter ghosts up here but we're not
gonna show this and the end image
because of this just needs to be dropped
off we just can't show that certainly
not me but croplands going to be about
here so the most we need to take care of
now this glint here and a little bit of
this is dragon for us whatever you want
to call it here so it's a little bit
more again you want to be at 67 56.7
percent or double show you the correct
color
okay and we're done
looks like we're done right it can do
then a well- deleted we don't need any
more and save your smart object on stun
look at your main document and you can
see there's only the blue channel left
to do you want to compare with what it
looked like before you can quickly use
your history channel's compensatory did
a lot
now i'm going to do the blue channel and
i'm just going to pretty much do the
same thing I did with the red but you
don't really you see that so
for you and it's pretty close to
doubling you can start having fun with
it but there are a few little minor
things that i want to adjust that I
can't really do from the smart object
because finding the color information to
help guide me like this in a little bit
to through here and there's some orange
box here i'm just going to do that
really great
so we can finally start finishing it up
and I'm bring my lips back that I used
to guide me earlier and change this
curve which I was only using to make it
easier to see in the video I'm going to
repurpose it for my final adjustments i
want to make to the brightness of the
image what the background sky to pretty
closely match that it was up there
what want this the middle of the galaxy
be just a flat white thing so make sure
you don't make it too bright know people
love to overdo things i personally don't
that looks pretty good guys reasonably
dark matches the lives and we can see
the background galaxies very well as
well as you think
spiral extended pieces of galaxies you
want you can increase the saturation a
lot of people do i can not to but if you
do you're going to you might end up with
the splotchy background and get around
that something I like to do is first
well i'm gonna explain what I do for
sure you i create a solid color layer
that have a master only infects like the
darkest part of the image and it's set
to color mode i had it colorize it
instead of like overlaying in this cycle
home to do that I'll hold the ctrl
button here and the RGB channels window
click it that will create a selection
mask and then go here to you the
adjustments and a solid color make it
black
click the layer mask press ctrl I to
invert and way way too dark now listen
to color now i want to hold all and it's
pretty much taken away all the color
from the image because expecting too
much of the image i press alt click the
layer mask so i can take a look at it
just it's levels so that it's
most of the objects me to be pretty
black and black means it's not going to
affect them
it's ok if the background is not
completely white not going to get rid of
that color variation and noise
100-percent doesn't
don't want to please you tell us far out
here
looks pretty good
some people really like to just go crazy
with the noise reduction i'm not one of
those people
another fun way to finish this office
use the camera raw filter and then it's
really good at bringing out the angel
part about using these curves has this
clarity adjustment thing you can use so
if you want to do that
hide the curved a flattened manage press
ctrl-a press ctrl-v undo that and pace
over the top of it you have this nuclear
layer to work with and you can convert
it to a smart object that you want and
it's so now you can meet this clarity
slider you go pretty far with it or not
whatever you want whatever you like you
do have to be careful with the edges
here because it will it mr. takes them
for like an inch in your picture baby
you even should drop all this to a
rectangle before doing it a try and make
a lot of here with your saturation won't
go crazy with it we can do everything
all at once in here sharpen it reducing
noise a little bit if you want to mess
with the colors maybe that the
two-channel things can make things like
flan and orange because of the quit
green channel is generated so you can
sort of push it a little bit bluer and
we could make that Diane or blue and the
orange a little more red want looks a
little bit less artificial like that
do whatever you want to have fun and
accessible very good on the video still
finished version and the screen shot at
the end this video's took a bit longer
than I thought it would and there are
few more details i might do if it wasn't
making it but it is pretty good
representation of my process and if you
made it this far thanks for watching and
I hope you learned something
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