In this tutorial, we’ll cover how to whiten teeth in Photoshop. Whether it’s a natural yellow tooth color or caused by overly yellow lighting, teeth can appear yellow for a number of different reasons. So learning how to whiten teeth in Photoshop is a must for photographers, photo retouchers, or even casual social media users. Luckily it’s as easy as using a few adjustment layers and layer masks to remove the yellow tint from teeth.
We will also cover how to remove extra dark spots from teeth using similar tools, but with different settings. Let’s get started!
How to Whiten Teeth in Photoshop
Step 1: Create a Hue/Saturation Adjustment Layer
First, create a Hue/Saturation adjustment layer above the original image. You can do this by looking in the Layers panel, clicking the “New Fill or Adjustment Layer” icon, and choosing the Hue/Saturation adjustment layer.
With the Hue/Saturation layer selected, open the Properties panel. Change the Edit option from Master to Yellows.
We are going to move the Saturation Slider to +100. Setting the saturation to +100 will show us all the yellow areas in an image by over saturating those areas.
Now, we want to dial into the exact shade of yellow in the teeth. We can do that using the rainbow slider found below the Lightness setting. Slide the slider and its left and right toggles until all the teeth are highlighted, not the gums or lips. It’s okay if other parts of the image are highlighted.
Step 2: Remove the Yellows From the Image
Next, we can remove the yellow from the image by bringing the saturation to -85. The amount will depend on how yellow your subject’s teeth are and how white you want them to be.
When looking at how to make teeth white in Photoshop, try to avoid removing 100% of the yellow from the teeth, or they will look overly retouched.
Step 3: Select the Teeth
We’ve removed the yellow from the teeth, but we’ve also removed the yellow tones from other parts of the image. We can bring them back using layer masks.
Choose the Lasso tool and create a rough selection around the teeth. Since we selected a specific shade of yellow using the Hue/Saturation slider, we don’t have to make an exact selection.
Step 4: Add a Layer Mask
Let’s delete the default Layer Mask from our Hue/Saturation adjustment layer and then add a new Layer Mask.
You can add a new Layer Mask using the Add layer Mask button found on the bottom of the Layers panel. The new layer mask will take the shape of the selection.
Alternatively, you can use a default Brush set to black to mask anywhere you don’t want the adjustment layer to affect the image.
Step 5: Adjust the Settings of the Adjustment Layer
Once masked, you might have to go back into the Hue/Saturation layer and adjust the Yellow settings further.
If there are areas in the teeth that are more yellow than others, you can duplicate the Hue/Saturation adjustment layer and spot-treat the yellow spots. Delete the Layer Mask of the duplicate, add a new Layer Mask, invert the mask using Ctrl-I, and then mask in the Hue/Saturation layer over the extra yellow areas.
Step 6: Brighten the Teeth with a Brightness/Contrast Layer
If the teeth are looking too dark or gray, you can add a Brightness/Contrast adjustment layer over the Hue/Saturation adjustment layer. Set the Brightness to 15 and the Contrast to 5.
These settings will change from image to image, and some photos may not need brightening.
Step 7: Copy and Paste the First Mask
Once you are happy with the brightness of the teeth, copy and paste the layer mask from the Hue/Saturation adjustment layer onto the Brightness/Contrast adjustment layer.
Do this by selecting the Hue/Saturation layer mask, holding Alt, and then dragging and dropping the layer mask onto the Brightness/Contrast layer.
Use a default round Brush to do any final refining to the Brightness/Contrast layer mask, making sure the gums and lips are not overly brightened.
How to Remove Dark Spots From Teeth
Step 1: Create a Brightness/Contrast Adjustment Layer
If there are extra dark spots or ridges on the teeth they can be removed using a Brightness/Contrast adjustment player and a layer mask.
Create the Brightness/Contrast adjustment layer setting it to Brightness of 25. Then Invert its layer mask using Ctrl-I.
Step 2: Adjust Your Brush Settings
Now, let’s select a default soft round Brush. We want to make sure the Hardness is set to 0%.
Next, let’s set the Flow to 10% or less. Setting a Brush to a low Flow will lower the amount of paint being laid down all at once. This lets you build up color, or in this case mask in brightness, slowly laying down small amounts with each pass.
Set the Brush’s Foreground Color to White.
Step 3: Brighten the Dark Spots on the Teeth
Use the brush to slowly mask in brightness onto any areas of teeth that are overly dark. That includes teeth stains, ridges, and other imperfections.
Step 4: Remove Ridges from the Teeth
If the dark spots on the teeth were caused by ridges or other dents, you can fix the edges of the teeth using the Liquify tool.
Go to Filter > Liquify and choose the Forward Warp tool. Now Zoom in very close to the teeth, and push and pull the edges of the teeth to straighten them out.
Try and create a clean edge without overly warping or stretching the pixels of the teeth. Focus on any obvious bumps or ridges, leaving the natural shape of the teeth largely intact. If you overly warp the teeth, you might have to re-adjust your earlier layer masks to compensate.
Conclusion
There you have it! That’s how to make teeth whiter in Photoshop using just a couple of adjustment layers and layer masks. Remember that leaving some natural yellow can be a good thing. Removing too much color from teeth can make a photo look overly retouched.
Keep it subtle, and you’ll bring out the best in a person’s smile without it looking fake.
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About Abbey
Abbey Esparza is a mixed media artist whose composites are all based on photographs that undergo an intense treatment to transform them into the surreal, unusual, and macabre. She typically creates surreal themes, but is experienced in all different kinds of styles and genres, including child-friendly fantasy! She works with The Glorious Company, a content-marketing agency
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That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. Unfortunately, Charles listened to this foolish reasoning, and the fatal die was cast. "They said they were going for our breakfast," said Harry. "And I hope it's true, for I'm hungrier'n a rip-saw. But I could put off breakfast for awhile, if they'd only bring us our guns. I hope they'll be nice Springfield rifles that'll kill a man at a mile." "Dod durn it," blubbered Pete, "I ain't cryin' bekase Pm skeered. I'm cryin' bekase I'm afeared you'll lose me. I know durned well you'll lose me yit, with all this foolin' around." He came nearly every night. If she was not at the gate he would whistle a few bars of "Rio Bay," and she would steal out as soon as she could do so without rousing suspicion. Boarzell became theirs, their accomplice in some subtle, beautiful way. There was a little hollow on the western slope where they would crouch together and sniff the apricot scent of the gorse, which was ever afterwards to be the remembrancer of their love, and watch the farmhouse lights at Castweasel gleam and gutter beside Ramstile woods. "Yes, De Boteler," continued the lady, "I will write to him, and try to soothe his humour. You think it a humiliation—I would humble myself to the meanest serf that tills your land, could I learn the fate of my child. The abbot may have power to draw from this monk what he would conceal from us; I will at least make the experiment." The lady then, though much against De Boteler's wish, penned an epistle to the abbot, in which concession and apologies were made, and a strong invitation conveyed, that he would honour Sudley castle by his presence. The parchment was then folded, and dispatched to the abbot. "A very pretty method, truly! You know not the miners and forgers of Dean Forest!—why I would stake a noble to a silver-penny, that if you had discovered he was hidden there, and legally demanded him, he would be popped down in a bucket, to the bottom of some mine, where, even the art of Master Calverley could not have dragged him to the light of day until the Forest was clear of the pack:—but, however, to speak to the point," perceiving that the steward's patience was well nigh exhausted—"I saw Stephen Holgrave yesterday, in the Forest." HoME欧美一级 片a高清
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