Adobe® Camera Raw

Lesson 29 of 46

Portrait Retouching Part 2

 

Adobe® Camera Raw

Lesson 29 of 46

Portrait Retouching Part 2

 

Lesson Info

Portrait Retouching Part 2

And this right here since I haven't showed it this is using that color feature for the lipstick I added the color too I'm add to it if I hit the delete key you're going to see that is the re coloring of the lips okay and probably also if you look at this for those lips I'm adding the contrast and taking the exposure down but to really reshape the lips that's this one right here and again you can hover your cursor over any of the pins and it will show you what that pin is selecting so those little teeny areas where the lipstick had been warren off is simply taking that exposure down it's a dodge and burn I go ahead and hit the delete key tio take that away you'll see that's where it wasn't quite consistent so this soft ability to do little dajun burns it's actually a huge technique that jane counters isar uses she dodges and burn it burns almost everything all her retouching is dodging and burning wrinkles she will dodge and burn out the wrinkles and she's so good at it that she's quick...

and easy and it looks fantastic but if you ever get a chance to sit in on any of her classes do so so that is that consistency so one was overall darkening and coloring and one is targeted coloring the other thing that was done to this file that I'll show that is interesting is coming in here to that lens option and that is this this isn't again this is another brooke crystal I'm shot wonderful I'm shot uh beautiful bride will come in a little bit closer here and you'll notice that I did the same thing that I did on the other bride that was on the beach where I'm going toe use my either pin cushion or now my aspect ratio to do a little reduction in things that are the size we would rather not have in this case the nose is so front and center maybe if shot with a little bit wider glass then she would have liked who knows you know the size of the studio which she's working but this is what it looked like before that and you can see that in addition to a number thing that's doing by taking down that pin cushion distortion you're just minimizing a little bit of thing that's in the center of the frame which is the nose so thie this case is also elongating the bride just in general if we come up here to a previous one you can see it let's just go back to the entire before and after okay so that is just you see the roundness of the face by doing that little pin cushion just a subtle one but again it's it's such that it adds to it it reduces a possible distraction and it's slimmed arises whether the old figure or the face or whatever, by the way, the first time that brooke allowed me to use this image, which obviously I've been using for a while. Um, great shot we did this for her, and we made a print for the bride and wondering if she thought that was going to be a little bit too much like we were, you know, saying that she wasn't pretty before the great thing about retouching a cr, by the way, is that there's no major retouching on that file? By definition, I couldn't duplicate layers I didn't re shape, you know anything in any significant way? It's all these nice global adjustments, I'm changing color and tone I am softening and doing dodging and burning, but it is the same person she loved it. We're crazy over it loved it thought it was the most, and it is it's, one of the most beautiful pictures. My thing with retouching is making them look like they're having a really good day in this picture, she's having a really good day, okay, so that is is one thing to keep in mind, okay, another area of research, I hope, that answered the question in terms of doing it in other versions of adobe camera because you can't let that was great, thank you okay let's do another one here and this one I'm just going to jump right to the image this is that one the baby that we show that had a little bit of you know kind of a rash crying or something else like that beautiful kid what an adorable little baby um and here is fixing that up now a lot of people would take that and put a shop and duplicate it and do a skin graft and do all sorts of things what's being done here what's being done here is using our little adjustment brush and you can see that's about a sloppy as you can get I shouldn't even show that to you I'm embarrassed we should at least fix that little area right? They're um it's it's a huge mess but what is the primary thing that's going on here where we're going to get rid of contrast? We're going toe diffuse and soften contrast in this case that area that we had there before and we're going to do two things one we're gonna use this anti clarity to soften the harshness of this little rash we're going to take down that saturation because remember it's also a little red so it's a little red so I'm going to take that out and we're also going to get because that is that reddish purplish rache I'm going to add the opposite of what I have too much of this purple I'm simply going to add a little bit of the opposite which is the green okay, so that means here is our, um before our after let's hide that pin with the wiki that pedestal active, I'm going to hit the delete key so you can see what a little anti clarity for skin softening in this case the baby has perfectly soft skin just a rash it's a little bit red also by getting rid of that anti clarity it's going to get rid of the contrast of this sheen of the face who is going to soften that up? And then also not only do I de saturate that area, but I also add the opposite of what I have too much of which is a little red and so I undo that and there's the fix. Okay, so what can you do with something as simple as an anti clarity with a little bit of color in tone? Tweak to it do a heck of a lot and it's a beautiful subtle adjustments there's nothing it's not again. I would have gone there and photoshopped in some sort of skin cloning one who would've taken up twice as long and we have been war complex and it would have been his natural looking because I'm actually using their is no fake skin there, all I did was took what was there and added the opposite of what we had too much we're too much contrast we had too much red we had too much saturation took that all down left behind the beautiful skin that they actually the baby has so not only is it a faster way of retouching but in some ways it's more natural retouching because I'm not adding a layer of some fake skin on top okay? And if you do a lot of these babies and he went in this on a consistent um fashion what you gonna do save it as a preset it's a skin softening red rudy cheek reduction you know save it is a preset no reason for you not to do that. Okay, let's do a little that depth of field issue that I mentioned before that is so fun now with the new photo shop to mention the first day when I showed this image the main catfight was this woman was out of focus and she's in focus and how come not I'm your sister and she's not even related to you and you know his blood spilt on everything else. So what we're gonna do is we're going to um um change the depth of field but not really what we're gonna do is we're just going to soften portions of the image if I was really trying to change optically what really happens in lens it's by depth of field by opening up your f stop that's something different and to imitate a true okay of out of focus where you're going tohave the speculum highlights all in the shape of the number of blades and your iris that's something different and you can do that in photoshopped the lens blur gallery in photo shop is amazing it was actually designed remember photoshopped wass designed by the knoll brothers john and thomas knoll john is still the head of special effects at industrial light magic a lot of photo shop was actually started at industrial light magic and after they played with it for a few years when brother gave it to the other brother to play with and now they lens blur a calorie is part of photo shop but it actually if you ever wonder in there why do I need to set the number of blades and the rotation of the blade for my okay? And the reason is is you have to match every single camera on the planet and that's what industrial light magic can do with their fake optical effects? You can imitate every single camera on the planet with what's built into photoshopped mohr control than you'd ever need. They do need it at industrial light magic, so that was a little trivia for when you go to those trendy photoshopped cocktail parties that I know you go to and you couldn't can also throughout the movie the deep you can't throw out my and my understanding is that was the first film they used photo shop on interesting I had not heard that that was the first movie that for shop on um could be urban myth yeah the deep what was the abyss was the first one of significant three d animation that little monster the abyss is known for that as well as terminator two was a groundbreaking one port maybe it's sleep thinking of you yeah but the photo shop would have been used way before that but that's a good point lens flare filter is another one that started industrial light magic was originally known as the peter pan filter for the movie peter pan wow but let's not die aggressive we're changing our depth of field right now so there's a couple easy ways that you can do it we've got this here we can go to our graduated filter will come over here to sharpness take it all the way down to zero click and drag and we're done okay we've now softened it it now the nice thing is with this current version of photoshopped it is a smooth transition between what's out of focus and what's in focus tap our wiki and do that and you'll now notice that this bride in the background is now out of focus okay and moves into focus now the question is how many brides maids do you have to piss off before you get over here how gradual do you want to make it so what I'm going to do is to give you mork control is we're not going to use the graduated filter which is just purely linear I'm gonna go over to the adjustment brush it's still using the same settings that I use before I'm gonna use a nice big soft brush and I'm going to want to see the mask right every time I've made a mask of wanted to see it so whatever I had I had to see the mask was a keyboard shortcut why why because we like you were going to come up here I've got a big soft one and now I'm gonna come up here and I'm going to go over everything including those in the foreground okay trying to stay away from my bride knowing I'm gonna get a little bit of spill so let's take the brush up now I'm on the eraser I'm holding down my options I want to make that feather for the brush as biggest possible holding down that option key I'm not going to come up here and make sure that she is not getting any of that spill as much as possible not getting too carried away and they're going to come in here and do a little you know sure why not a little bit here you know why not? Tap the waikiki take a look at it and that is going to give me my little blur effect just softening it to draw the attention into the bride I can't come up here if I want to just do a little bit more on that face there maybe a little bit more now I'm just hand pain not even looking at the mask okay getting the shoulder but that is a really nice way to get rid of distractions and she's put in the bill right or mom's footing the bill somebody's footing the bill and they're the people I want to make the bride's air great some of them were already out of focus now I've got a beautiful soft, subtle blurring of it all throughout the file if I wanted to I can't turn on that auto mask there's a little teeny bit here where I may want to come up here and get a little bit closer to it but that's fine the other thing that I'm going to do just really quick is I'm going to come up here and say new and exposure up big old that same self brush that I mentioned before and come up here and just tap on the bride's okay maybe if you're of that persuasion some people I know even do that kind of thing toe do a little emphasis there okay so that in concert with looking at this is now razor sharp razor sharp tap there it's a fairly subtle difference but it's actually in terms of did I just strain from the story literally in thirty seconds yes is that cool? Yes, I think so um and I'm always right as we know the other thing that you have at your disposal here because of this background if you wanted to you can not only change that focus but if you wanted to maybe change that you know slightly darken it like she's almost got a thing of light on her it could be that you could also do a little bit of the anti clarity that's going to do softened too a little bit more of a diffuse glow now we're getting into a romantic interpretation of the scene the last thing that we could do if we really wanted to you know, draw attention to her would be to come over to something like our post crop and yet and just bring in that little tina teen ethan yet which is again going just draw the eye out of the corners and into the bride and now what we have is we'll do this here so here is our before after before after okay so it's a really quick little trick let's use it this way it is a quick why is it sometimes it does that weird to say we've meant to zoom it out like that um but that little um tweak to soften as well as in this case also do a little dodgy in bern is a nice slow fix. One question was do the snapshots travel with the save when reopening to the snapshots come back to a cr yes there with that file permanently and forever it is a great as opposed if you take a snapshot which is part of the history palate within photo shop they do not stay with the file there lost you, close it and open it and that's why some people may think that it's not permanent, but they stay with the file forever much unlike in light room, not only does the snapshots stay with the file, but because it does have a history palette, the history of every single thing that you do in light room stays with that file forever. It's also used for forensics so you can actually track what's being done to the files. So that's actually a very practical use when it comes to the legality of an image. But yes, they stay with it forever and they're awesome and that would be as an example. The nice thing is, if you do multiple versions let's say we did this is in a black and white and the sea peotone we did all these versions, you've got all these different snapshots the nice thing is you've got them all here now you want to print out multiple versions for your client. What you do is you say done, go back to the bridge to command d or control d a few times, you know, let's say you have five snapshots that you want to now print out to command d d d d d you've now got five copies each one of those have all the snapshots in it. You open up all those select all five, open them up in adobe camera and you say this is snapshot one go to the next time a snapshot to make stop chapter three thinks that steps up for go down to the lower left hand corner save image you've just saved off all five variations. So you use one document, make all your pretty pictures in it using snapshots you're done, you hit, done. Go back to the bridge, duplicate the file several times as many times as you need. And then you just simply open them up in camera again and simply turn on the snapshots you want for each one. Really great way of working as opposed to in photo shop. We're always doing command, save a copy, save a copy. Did I say it before I saved a copy, so now this is my new master today, you know? So it's actually is a very elegant way. Working makers, many snapshots, as you want. And when you're all done, figure out which ones you want to use, and then just make those duplicates and bridge. It was great that we learned that little quickie for the snapshots. Teo yeah, super handy in this time and shift s command, as I did try, command asked, but I did not try. Command shift.

Class Description


Get ready to master the hottest new Adobe® Photoshop® image-editing tool. Join award-winning photographer and Adobe® Photoshop® expert Jack Davis for an introduction to Adobe® Camera Raw.

Drawing on his Adobe® Photoshop® expertise Jack will demystify Adobe® Camera Raw (available both as a filter within Adobe® Photoshop® and an application within the Bridge application). You’ll learn about using Adobe® Camera Raw as a flexible image-polishing tool that enhances your photographs in less time.

You’ll also learn about sophisticated retouching techniques from eye and teeth enhancement to skin color unifying. Jack will also cover creating special effects like high key black and whites, selective hand tinting, cross-processing, and changing depth of field.

Whether you’re a Adobe® Photoshop® beginner or a long-time user, you’ll leave this course with the tools needed to easily create jaw-dropping images with less effort.


Software Used: Adobe Photoshop CC 14.1

Reviews

a Creativelive Student
 

This was the most comprehensive class on ACR that I've taken. Jack is a great teacher as well as entertaining. His approach was thorough, going through not only tools and their associated panels in ACR but touching on organization in Bridge and in the last few sessions, going through some things in Photoshop that ACR can't do. My mind is blown and I have a much better understanding of everything that can be done in ACR. I was pretty excited to get Jack's presets for ACR as well as most of his images with the purchase of this class. When you open up snapshots of Jack's images, all the settings are there so you get a real feel for where you can take your own images. Thoroughly enjoyed this class and consider it money well spent.