Color Correction in Photoshop
So here the next step would be called corrections and I use the same always the same adjustment layers I use selective collar I use human saturation and sometimes I can just paint on the new layer sampling from the correct collar and this layer will be set to caller blending mode that's pretty pretty much all that there is to call correction again like I said it's not about what what adjustment later you're using it's about you seeing where you going with this collar and just a couple of quick tips that you may used in the future especially working with skin a lot the reason why I love selective collar just one layer is that because when you are adding and you selective call a layer you can get into the caller's inside there and you have breads and yellow separately which for me often is enough to actually make a skin tone much better or whatever discoloration I have there if the color of the scheme this two yellow I can get into the reds and subtract yellows like that and it the skin ...
becomes a little bit more magenta I mean for this image of course that wouldn't work but you can do that if you have if the color of one's skin a little bit too pink you wanted a little bit more it bronze or yellow then you just subtract magenta us from the reds if the shadows on the image like here because she's surrounded by the grass and that throws a lot of grains onto the shadows and kind of shifts the color off the warm color of the skin in the shadows becomes more like grain science if you take the science out off the rats than the shadows become much warmer that's pretty much it seriously that's enough tio do a lot of things with skin I never stop with just one selective call a layer I may add a whole bunch of them and as you can see here I have I've done that and not only I add a lot of them and change the settings and each one of them I also uncover a mask in different areas so I kind of inspect the image closely and I look at what needs you know the warmer shadow the little bit too much yellows and one cheek and not enough in the other I will add adjustment layer for each one and a mask just that part so you can see this is still this is for the chest I took a little bit off magenta out and ah a little bit at it a little bit of sigh in and it's always different it's it's not something that will be the same from which to image it's just to show you that I can't separate old different areas in attack them with its separate layer and I'm asked them so that's called corrections again we can't stop there there's really not so much to say about call corrections to be honest, but the one thing that I always dio the same things over and over again and I've been doing for the past eight years is working on the eyes and when it comes to portrait um a couple of things to understand is when you make up artist is applying or even the girl herself was applying her makeup we always want to actually get them scar to the very roots off the lashes but it's very difficult than physically so if you see that there is a little gap between where the makeup ends in the roots of the mascara's docking italo that you can just add a new layer on set to multiply blend in more simple right from the color of them a scare or off the, um whatever make up around the mascara, the eyeliner or anything and with that same caller just feel it in a little bit and I'm talking about this little gap here right here. So by ending once I committed to with this again it's it a little bit different um set up for my resolution for my screen so I can't get my panels visible the way they're supposed to be so you have a new layer said it to multiply and simple right from there with a normal brush and paint right there to darken just to feel that gap and if it's too much as always, just adjust the capacity. The other thing that I always do when working with the ice is add a little bit of that light just to just to enhance the contrasts within the iris. I add a new layer and paint with a wide brush on the opposite side of the most pronounced catch light because our eyeball is this fear, and when the light hits, when the light comes from here, it hits the eyeball from this site and it's moist, so we see the catch light on this site. But then the white travels through the eyeball and lens on the opposite side on the opposite side from the pupil on the iris. So it's, usually if the catch light is here than the brightest part of the iris will be on the opposite side and the people isn't in the middle. So in this case the light has come in kind of a little bit lower than her eye level, and you can see by the from the placement of the catch light. Normally I would have to paint it a little bit up higher so it's exactly on the opposite side. But what we see in the life usually that area's air a little bit darkened on the iris because of the shadows from the islands so I'm kind of cheating a little bit and in this case I'm frighteningly up the opposite side but not where it's supposed to be and most likely nobody will notice unless I explain it so just kinda at that depth into the eye and the other thing that I do with the eyes adding another layer multiply and darkened the outline off the iris as well again just to add that contrast to the eye just a little bit and ah one less thing that I did here I don't always do it but it can help sometimes it in the human saturation layer and shifting the colors just a little bit to add a little bit off color to the iris in this case I added I made it a little bit bluer which you don't really have to but I just did it to show you that sometimes I do if I'm dealing with someone who's got gray color if I know that it's supposed to be a little bit blue are a little bit greener than I will just enhance that color a little bit against not to overdo it I always make sure that I take the capacity down and uh when I actually start I make it pretty like really big change first to see okay that's the collar that I want and then I can have a green but then once I'm approximately in the caller changed that I like then I will take the opacity down so I know it's there but it's a very, very subtle and a lot of things that I do and I've learned this over the years the more subtlety you at, you know, inject into every change that you make while you're touching, the better the outcome will be and that's pretty much it was the eyes um, dodging and burning this case just like I said, I will talk more about dutch and burning tomorrow. Here I didn't do any, um pixel by pixel dodger than burning it was all on lee the accents on her face. I'm not sure if you can see it, but I can definitely see it well on my screen. What I did here was actually I turned off my frequency separation layer and I watched closely where I shifted the highlights and shadows when I was applying for a frequent separation so that changed her the light distribution on her face and with the dodging and burning I was actually able tio get that back and if you look at the at this area with the frequencies separation, I darkened that a little bit too much with the da jin burden I actually opened it up a little bit I added a little bit of highlight so that the shape of her face kind of went back to where it was initially. So I don't change the face very much with my previous changes.
Every photograph is unique and there’s no one retouching rule that will work for all photographs you encounter.
In Basic Portrait Retouching, Julia Kuzmenko McKim will discuss how to develop a solid retouching workflow that will have you quickly and efficiently achieving the kind of results that keep clients happy. You’ll learn how to retouch skin while preserving its texture, fix makeup and hair, and finalize your portraits without spending countless hours doing it.
Software Used: Adobe Photoshop CC 2014.2.2