Adobe Camera Raw

Lesson 26 of 46

Targeted Skin Color Unifying

 

Adobe Camera Raw

Lesson 26 of 46

Targeted Skin Color Unifying

 

Lesson Info

Targeted Skin Color Unifying

Well, this is the before of that image that I was just working on in case you were wondering what it looked like, what she looked like a teenage girl before him. Obviously you can do some extensive retouch that's amazing. It is amazing that you almost can't recognize it, but I thought it was actually brought up. We're going to continue on with another young model, but I thought this would be a great counterpart to it because it is something that we also do. There's nothing very few of us work in the fashion industry doing glamor, retouching as cool as it is, we're probably much more likely to be doing family in france. All right, let's, be brutally honest, and with that in some ways, it's infinitely more important, because the stories we're telling or personal so we should not minimize retouching of quote unquote normal people. And this is a great shot. This actually is a stock photography shot and I stock photo dot com great shot. This is the direct shot. And what I want to dio is it'...

s it's, great it's obviously taken in this one. I think we have. We have cropped into the scene so that's quite a close crop into it to tell this story, but we'll go ahead and leave that, um because this was taken in the hospital and if you get a shot like this, this is a time to take advantage of it you get especially if you get a smile like that um then you say that this is an amazing picture that we want to maintain and and possibly get rid of distractions and that's really what we're talking about a mission before that when it comes to re touching for me it's removing the distractions that last one that was glamorous, touching that's over the top that nobody in the world is going to think that that was that actually shot that way we're used to that sort of look in a context of glamour, but in this case what we want to do is get rid of distractions and in this case what we're talking about is we have some discoloration of the skin I mentioned before we've got nobody has consistent skin color but we do have this area of things that are more yellow things that are more red we have a would call it a five o'clock shadow, but as we get older who knows when the last time we shaved or what was going on, we also have some little you know, things going on some little just I don't even know what to call him, but whatever it is, they're distracting from the fantastic spirit that is this gentleman here it is a fantastic shot he is a beautiful soul will take it for granted so we want to get rid of distractions here and first off we can do that same thing in terms of using our hs l panel to do a basics in terms of our color work let's actually we can see that a tango hasn't been done on here so that's actually first start off with a little auto set that tone ality to the file that actually like that I think that adds a benefit to it it I came up here and brought the shadows up just a bit here and the whites up a bit to bring in some more detail. So again I like normally I like that auto is a great starting point if I do add a little bit more shadows up and maybe the highlights down remember by doing that you're kind of minimizing the contrast the extremes by bringing up shadow detail and minimizing highlight details and in portrait's that sometimes really nice because it's basically flattening out the tone especially if you've got shiny skin that flattening is a good thing well it was interesting that glamour shot we just exaggerated the contrast in the mid tones by adding up that slider it was so perfectly shot so beautifully lit we could add that contrast to it a lot of times in reality more often than not you want to flatten out that image a little bit because you've either got harsh light that you're shooting with or something else is going on here, so by what we just did by auto is I'm actually flattening out that image a bit to minimize the distractions of shadows and things like that. So that tango I'm looking at my shadows here, it's really not dark enough in that even though I am seeing some true blacks in there, so that could be that area where I either grab now on the history grammas I mentioned before I could grab on the history graham and just kind of pegged down those shadows if I want to make sure it or not, or I can use this ladder down here. So there is my before an image, and I like that, so we'll use that as a starting point for the image if we were to jump over to r h s l panel and do what we did before, where we take things that are toward the magenta and move them toward the red, we could do that here again in this case, it's a little bit awkward because what's going on there in the nose let's take our ta t tool targeted adjustment tool and click on it were in hue, so we're going to be shifting the hugh here, so I'm going to come up here and you can see because there is that tone it's actually doing maur the reds, then the magenta tze and there are reds throughout its moving the reds toward the oranges. A little bit of it, you know, may be fine, but there's just there's reds throughout its not a isolated color overall. So there's going to be a little bit, you know, that we can do with that the yellows in this case over here, they're things a little bit more yellow. I could take that yellow this case I'll just use the slider over here and I can move the orange the yellows let's move him over to the green. You really see that there's? Not again. I do exaggerated and there's very little that are fitting right into the yellows mode. So that's not doing a lot of effect in general, so there is a little bit of color work. I think that's overall is is doing a good job. I can't go to the saturation of those reds and I can take as I mentioned, red is a more saturated color than orange so I can take the saturation down. You can see if I do that too much, it actually is going toe do really odd things to him, but I could probably take it down just a little bit same thing with luminosity that red is going to be a darker color so I could take the red up a little bit and you can see I can match out a little bit of that red, which is also going to minimize some of the age spots you see some of the age, but, um, but all of that there, which is a nice global editing, is not I'm getting me where I want with grandpas knows so the main thing that I wanted to touch on in terms of that that's probably going to be where I go in with my brush and do an adjustment. So let's go backto our adjustment brush that we used before giving that kay we're going to do still keep a nice soft adjustment, I am going to turn on the mask so I can see that will keep using our obnoxious purple in there. By the way, if you are a light room user it's thie okey lets you see that mask and shift owes the hidden command go through the different colors you can't in light room, you do not have a color picture, you can't choose obnoxious purple. If you want you want a few options there, I'm gonna come up here and I'm going to it looks that the tone isn't too bad, so I don't think I'm going to use that exposure I'm going to jump right into my temperature intent and basically when you've got a little bit of ah purple nose and this kind of circulation issue could be the same thing with age spots or even a newborn infant can have, you know that's kind of a purple, you know uh british cash to it so I'm going to come up here and I'm going to add a little bit of green the opposite of my magenta and a little bit of yellow the opposite of the bluish cast I'm just going to come up here and do a little bit of an adjustment there is a starting point not knowing where I'm going to want to end up, but we'll see and I'm gonna come up here and I'm gonna paint just in here as a starting point trying to match the soft edge of that a situation that makes for a lovely greeting card right there. If you want to leave that just like that I'll tap thie why key? And that already just that one issue shifted it enough to go from, um the purple tomb or of an organic that's maybe at even a little bit more maybe in terms of the exposure will brighten it up just a little bit we can take the inherent saturation down just a little bit and, uh maybe the shadow I'm getting a little bit of shadow over here, so if I can isolate out that shadow that right there is actually a pretty dramatic difference, especially if we go back to our snapshots so let's, go ahead and do our little snapshot we talked about before I'll do one they used to use untitled but we'll do one here and we'll go back to our original camera default and make another one at zero and that poops and one um so that's where we started with and that's where we went really pretty darn quick one is the tango and then the other thing that we did we did a little h s l but not a whole lot but that right there is actually a huge amount of work on grandpas knows if we jump back to the adjustment brush and just turn off that one adjustment that's what we did, what did we do? We added the opposite of what we had too much of basic tenet of retouching you have too much of a certain color you find the opposite on the color wheel and add the opposite neutralizes the problem okay too dark at a little bit of light two blue and yellow the opposite of what you have too much of it they say it's not rockets okay, okay that's a really funny saying I wish I'd invented that but I love that one okay, well we're here on that brush let's come over here we still have that we hit new let's do that exposure grandpa has got some eyes in here were coming up here and I'm just going to do a little bit how much time I got to spend on that that's about as much time as I'm going to spend on it I'm not going to get carried away with it, okay, what I wanted to do was just to be able to see a little bit more of his eyes and it could be that rather than exposure like I said, sometimes I'll use shadow rather than exposure and I just want you to be able to see his eyes I certainly don't want to make it look like lights coming out from inside of his eyes teeth we didn't see the teeth on the last model because they were the eyes the lips were close so let's say new and we'll do the teeth in here as if it was a supermodel um we could we could try and retouch you know grandpa smile here the problem is as I said, that's grandpa okay if I put in a new set of teeth on grandpa and put that on the mantel place people gonna go who's that I won't say who is that they're going to say where's grandpa puzzle anyway, so I do want to do the teeth I've said knew I want to take my exposure that's my middle tone brightness up, I do want to make sure that I can see that mask even on something like this, I'm going to come up even more so and and I'm using a soft brush you can see the size of the feather on it, okay, so it's up to you, how detailed, but I do not you're not seeing me turn on the auto mask or anything else like that. I don't need to go right around it big, soft and settle is going to allow you to work just infinitely faster. Hold down that optional key if you get a little carried away and that is it tapped the waikiki I have now just brightened it up let's before we go any further, so there's our brightening up, I'm going to now take that saturation down. I am getting yellow when you saying sometimes if you want to, rather than just doing pure neutralizing by de saturating, how else could I neutralize yellow? Add the opposite of what you have to much of you can just add the opposite and you will also neutralize it without them turning gray basically, they're going backto a natural color. You're getting rid of the yellow by adding the opposite and it's not going to grey if you're seeing a little bit and here and if I want to come up, I can come up here with a smaller brush and that's going to allow me to get into some areas. Do I need to make his teeth look like they are? You know, fifty years younger than they are? No don't want to come up here and make them so it looks like it's a nice smile, which it is it's an amazing smile that did more than enough, if that right there, um now in this case, I did do a little bit of yellow, so I shifted it. But let's, just go ahead since I haven't saved a preset yet four teeth whitening always miss bell when you're creating presense, it proves your clients that you are a true artist. Okay, um, actual any retouching going on here? So I need to do there's a little sun spot here, but to be honest, you know, lets go ahead just because we can do it terms of retouching remember you want to we're doing he'll feather, you may or may not need it. Um, the opacity of one hundred percent the last time I had used it was on that little mole. Remember, I'd put that in, so this is where that comes in tapping that wiki you can see again even without a feather. It does a really nice job, okay, really doesn't need it in any significant way. Some of these other things where I could be doing a lot of retouching here, we're going to cover that just the second, but I'm a okay, we'll use the that is a nice thing about that brush is where you can, um, do that irregular shape. It is awful nice because you're not circle, circle, circle, circle. You can make it whatever shape, um, you'd like tapping that, vicky. Okay, so again, I'm just trying to get rid of distractions in here, and I'd say that that looks great. This is the little couple dots that I did with that brush and again, I think that that is certainly as quick. It's photoshopped.

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 Photosho® 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 an 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
 

Jack Davis is my favorite Creative Live instructor, and this 3-day Camera RAW series is just amazing. I learned so much that I can apply to my own work. I shoot photos for field ID guides, and conditions are not always optimal, and the things I learned about working with RAW images really made a difference when I'm working on processing images. Thanks, Jack (and thanks, Creative Live for offering these great classes)!

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.

a Creativelive Student
 

This class is wonderful. It is amazing how much more you can do in camera raw than photoshop. I highly recommend this class!