Intro to Basic Portrait Retouching


Basic Portrait Retouching


Lesson Info

Intro to Basic Portrait Retouching

One of the things that my australian teachers told as many many times during the time that I was in the photography class was that there are so many ways to get from point a to point b in photography as well as in every touches so what I want to share with you guys is just one of the ways it's my wade's been working well for me so hopefully excellent or all of it will work just as well for you okay and I like to talk so I need to have a plan so I don't want you selby peeking into my will plan here so is you know I will be teaching basic portrait with touching and commercial beauty retouching and I want us to get all on the same page with what how a portrait is different from commercial beauty images with poor treats being we were doing in both cases were dealing with clients in their preferences but every time you get down too and they continued to decide how much to read such what to retouch what do people expect off the image that they will be looking at and today I'll talk about the...

difference is and my understanding of it because obviously that's what influenced my segments the way I created them and that's what influences my work as well um so what is the difference between a portrait and the commercial beauty image according to wikipedia portrait is a painting, photograph or other artistic representation of a person in which the face and it's expressions predominant the intent is to display the likeness personality or even the mood of the person which means that um we want to save everything that we've already got and only get rid of the distractions that are temporary and when we talk about commercial beauty retouching commercial beauty images for used to advertise in sell a product or service such as skin care products cosmetics, beauty supplies, hairstyling products, perfumes, jewelry and so on so beautiful touching is all about creating the perfect face flewis makeup, pristine skin and in the commercial beauty photography case the personality of the model is very often secondary for important at all. So even with that knowledge how do you know how much to retouch? There are a few conditions that you need to look at before you get down to in the ridge and your artistic style will be number one because it's safe to presume that if you have very natural born traits in your portfolio the next klein who walks into the door of your studio will want exactly that but sometimes clients have different expectations so if you are the photographer than you need to clarify that with the client during the photo shoot if you're the re touch her then you need tio check with the photographer how perfect finally it should be and of course the output media is very important because if you're taken portrait, portrait off a celebrity and it will be blown out on the huge poster or billboard, the model for a session that will go into that image is completely different. If you were working on the photo off an individual client and most likely that picture will end up as their profile picture on facebook or something like that, right? So obviously the amount of effort and time is very different. Uh, the next is common viewers expectations as to how perfect the details should be in the specific time type of religion we'll get to this in just a couple of minutes. The quality off the source material is very important. If you are the photographer again, you get a lot more control and that's the advantage because you are the creator of the image. Obviously, if you've got a roll file very well, wait, the makeup was done great than the amount of time, but you will invest into a touching this image is just to make it better if you've got j pac and it was poorly it that make up that set up that image, there is just so much that you can do in the same amount of time that you will invest into this image it's not going to get it to the same level. And if you're just the re toucher, then you don't have much control over what you get to work with so as the retouching you probably need tio maybe learn to communicate to your photographer to the client to your photographer who brings you that image and asks you to turn this into this you need to be able to actually see if you can do that and if it's possible to do that sometimes it's just azizia speaking another a different image from the shoot or finding another image that you can combine with the initial one but you need to be able tio tell your client if he's or her expectations are realistic and the less but not the least is your compensation for attention work? Are you getting paid per hour per image or it's included in your forty ish funny shit rate? The advantage of being a professional and researcher is that you most likely are being paid for image or per hour so the work that you do we could do it you're being paid for it so if you'd spent ten hours you're being paid for ten hours if you're the photographer and unfortunately very often we have our retouching fees already included so the faster you get it the retouching phase out of the way this another you will be on the way to a new client to new photo shoot making more money keeping your business alive so being, I'm first and foremost, I'm a I'm a photographer, I love research, and so I don't give it away to anyone but, um, it's spending many, many hours retouching and fixing the mistakes that I've made before I took the image is a dead end. Its not going to work if if retouching is your hobbies and it's fine, you're just enjoying doing it. But if it's your business of photography's your business, then you really cannot spend too much time retouching. And if your client is expecting that from you, you need to be able to communicate it to your client that the extra workings to be paid for. So because, like I said, it's, a dead end, I've tried it, and if I didn't work, and usually clients are not that your client will expect tio abuse your kindness. But it just happened so that clients usually want to pay you this much. But get this much out of the project and again, it's not because they mean something, you know well, sometimes, but mostly they just don't know. So they have no idea you know to get that fixed sometimes you'll probably heard stories about how can you turn this around and photoshopped or way shot project for a book and I didn't take horizontal shots and I get the question from the client can we make this horizontal and there is just not no space in there is a beautiful radiant so it's really difficult I mean it will be a lot more work to do it so again if you are the photographer you need to make sure that you get old possible variations healthy image that you may get asked profile based on that in the horizontal or if a client is asking to do something on top of what you plan to do then you need to explain and it's very difficult because we're all artists and the business side is usually is just hard tio even start talking about that but if you quietly just go ahead and do what you're asked for without asking to be paid that's not gonna work for your business you can't sustain a business like that so let's talk about the viewers expectations so when we talk about portugal touching the image supporters should appear as if it hasn't been retouched in most of the personal characteristics in permanent imperfections should be left intact were typically expected to remove temporary imperfections such a skin problems under I backs on flattering shadows in often soft in agen signs for, especially because we're talking mainly about female portrait and when when a female client comes to you, not only they want representative porcher every presentation off themselves, they want to look beautiful, even if they ask you to do very little retouching, they still want to look beautiful, and when we talk about community shal beauty retouching all distracting temporary and permanent elements, such a skin blemishes, fine lines on flattering shadows, it's much makeup malls and scars should be removed. Unless, of course, we're talking about a famous more you seem to colford or or you're requested to leave something in, and we also often have to combine a few parts of the image from different files to create an ideal final composition, which you shouldn't be even dealing with that when we're talking about porches, because again, in the majority ofthe situation, portrait photographers are not getting paid for extra retouching timeto the festering get it out of the way, the better for your business, and natural and queen colors are often used in beauty images and not so much color grading as in fashion photographer or even in poor trades, and this is especially when we talk about skin care products make up jewelry sometimes there can be just like in fashion, that can be a lot of call great, but why it's important is because as a retouch or you need to know how to maintain or achieve a very natural, healthy looking skin tone so that's one of the very important parts, especially in commercial, beautifully touching. If you got a really good starting material of source material, then you need to maintain with a ll the corrections that you made dodging and burning and shifting colors, you need to be able to still come to the end of your attention werfel and still have that beautiful skin tone. If you've got an image where you have to correct and get to the beautiful skin telling at the ant thing, you need to be able to into that with all the call corrections, everything that goes into it, but to me, you know, every time I talk about call correction since skin tones and I know that it's, one of the maybe not a major problem for touches, put one of the concerns, I believe no matter what, whatever call correction tools and techniques you use it's always in your eye, it's what you see where where you taking it, too? So you need tio constantly train your eye, your vision to actually see a beautiful skincare skin color, skin tone in the image training I by looking at a lot of good images so that you know, ok, you're looking at an image no matter what type off call correction technique you choose or whatever adjustment later you choose to use, you know where you're going with that. But to me, that's the main thing, everything else it's, just technical parts. But your eye, your understanding. Where you taking it too? That's. The most important thing. And it's, not something you are born with or without it's. Something that you can train yourself to see and get to it. And also, and this is just from me. I understood it probably a little bit too late, but if you're just getting into beautiful touching photography, I think it's very important to understand what exactly you want to do at the end of it. Most likely it will be changing your preferences. And where you going with your occur? Here. But if you want to shoot for tuan, she or the war, you know, the the advertising for their makeup or something, we'll look at what they already have. That's, your best study material. So you see what the company or your potential power, the court, your dream klein is doing already. And you, trainee. Oh, I and practice getting there. So if the opportunity comes along, then you can grab with and you can do it, and recession kinds lies actually what I was talking about it's just an outtake from an article on recession academy by my australian by brock and there was a lot more that he wrote in this article and if you would like to read about different types of photography as well um the you are all that you see there I actually created a page on one of our websites if you go there you will find a lot of videos and um links to articles everything that I think is very, very important but we just don't have the time to talk about today so if you are the photographer and you want to do beautiful retouching on your portrait there are a few things that I want to tell you before we even get into recession before we get into photo shop learn everything you can about lighting and photography first to shift your learning focus onto the time before you kept her the image because like I said the time that you will invest sixteen the problems that you did not fix before capturing the image could be used to make the image better and plus the results that you can get teo may not be israeli stick and natural looking as they could have if you've actually taken care of a lot of things before so should to minimize your post production time freezing hair much makeup should tap there get your team tio double check the false eyelashes maybe you know, if they pop up like that just a little bit, you won't see them before you shoot or join the shoot, but it's a lot of time to retouch, maybe not so much, but if you have seventy images out the photo shoot to retouch, you know, then it's a lot of will work that could have fixed with just second, and I definitely get your team to look at the images, if you should tether than I do recommend doing it because you can just send everyone the hairstylist and makeup artist to check all the details, make sure that the lipstick is not so much. The outline of the waves is perfectly made because again, one minute that you spent to fix all those things in pre production can be can save you hours and post production. So think of that and be very, very selective with your creative team won, an experienced team member can undermine the efforts off your entire team. And if it's just a personal project that it's a shame and everyone will be just a little bit frustrated. But if it's a commercial assignment, that can be a big problem, so you know, should more personal projects build your team? And when the commercial assignment comes along, you take the best out of people that you worked with. And you know that you know what to expect out of them, and you know that they can deliver together. You've already worked. You know that together you can deliver. Your client won't be disappointed in off course research. Find inspiration and thoroughly prepare for your chute's, not just for yourself, but for your team as well. Briefed. Um, well before the shoot and let them know what you expect of them, what you're going to do, give them time to not only mentally prepare for the shoot, but also if they need to purchase supplies or products or colors for the makeup. Whatever, um, the result will be so much better. It's always like this. So it's, a lot of pre production, and you just click and very little. It was touching me that

Class Description

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



Julia is such a pro at her trade! her passion for detail and knowledge of the human form along with the subtle maneuvers of Photoshop are incredible. I'm not sure how she manages to spend so much time on a single image - must be her dedication to perfection. This is a course well worth the asking price!