Pixel Ratio in Photoshop


Basic Portrait Retouching


Lesson Info

Pixel Ratio in Photoshop

I should with cannon five the mark too for that size off the image portrayed ce when I have shoulder phase in beauty images off kind of that distance between the camera in the subject, I usually go with about three pixel the radius. So that's kind of that's been working for me in most cases. But the further away the person is, the small of the texture is, or it will actually be larger. Pixel wise, the smaller, the big, soul ready issue we need to select. And I will show you right here. So this will be our high frequency texture. Layer in low frequency underneath it. Here on the top. Where high frequency texture layer we applying? Um, hi. Pass. And this is the time when you actually are selecting what you want to take to that texture layer. Here you can go up this high and you see not only the texture but also the tonal changes, which means that you're taken so much not just the texture, but also the tonal changes onto that top. Where you leaving very little for yourself, just to caller...

s underneath it. It will be a large blur and so if you want to change the or fix the issues that are this big, you won't be able to because you've already taken them up to that layer at the top layer, so underneath you can do whatever they were already sitting there, you're not affecting them, but that's the whole point not to take them up there so you can fix them underneath the texture so that that would be too much. And if I go even here, I still sort of see collar's a little bit, so that tells me that it's still a little bit too much, so I'll go down and three would be normal for heaven shoulders, probably, but she's a little bit further, so it means that I still with three bixel radio I would still take too much texture on the top layer, and it would still be difficult for me to fix larger problems on the skin, so I'll go ahead and just choose to, and you can see that we barely see any color. We only see tech the texture, which is exactly what I want. And then here, um, the blending mode of this layer should be always leaner, light and the bottom layer where the low frequencies are, where our tones and shadows and highlights and the colors um here we apply just the same amount off ghazi and blurred to ok, and normally, at this point you have to have exactly the same image. If you flip through the toggle, the visibility of this set up. But as you can see it's a little bit two sharp. So to fix that all you need to do is go into adjustments and turn it into the legacy mode. And minus fifty it's, always minus fifty, is just that adjustment to get back. Teo, the will be started calculating the contrast a little bit differently in the later versions of auto shop. So basically by going into the legacy mode and subtracted fifty, for contrast, that will fix that difference. So now, if I turn off this set up, I get exactly the same image as I had before. Only now I have my texture on one layer and my tones underneath it and between this, too, and now I can do whatever I want. I can simple from good collars and remove this things, and you can see that there is still some textures left, right, but that's that's a kate so will so that I can then jump onto the high frequency layer and fix it on there, but I want to do the minimum possible work on the high frequency. So live in just a little tiny fine line is okay. If I selected much higher radius and I would have a lot more on the high frequency layer, then I would have to apply a lot more changes on the high frequency layer. But again, my approach is trying not to mess around with the texture, the more natural it is, as it was in the image, the better. So here I usually use a very soft hardness to zero spacing to one percent healing brush and simple with a related ly small brush. I just simple from the color and values that I want to replace that sometimes if it doesn't work all that well, I'll just pick up, uh, simple brush soft, very low flow and select simple from the collars and probably a little bit higher here and just paint over sometimes it's just a lot faster. And if I've overdone something, I will know that by flicking through talk ling and if it's too much, if I want to live just a little hint of that difference, then I will just take the opacity down. If I don't want to them one hundred percent, and then to fix that fine line, I will select. Oh and by the way this is very important when you're working with the healing brush underneath the texture layer you must make sure that you're simply this said to current and below this is very important because if you have all players then it will see the texture above it and that's exactly that would defeat the purpose ofthe the whole technique and if you use current layer that will not work because you're working on the new layer here so it's very very important when you work in underneath the texture you healing brush should be set to current and below but when you go to the texture layer and you work with your clone stem until here you can only work with current layer because if anything else is selected here this is what's gonna happen it's because the this layer is set up to lean your light and it will always give you this crazy discoloration so when you're here you can only work on current layer and um couples I mean a little bit closer simple from the correct texture and you know by and remove it and I simple as many times as I need I'm generous like that I don't need tio simple in one spot and you know go over you need to match the texture so simple right by the texture that you're trying to replace and then once it's gone it's gone and I would do the same apply um tio, all of the areas that I showed you on being on this image before but way need tio reform it. Is there anything that you guys want me to clarify? Because I know this is a little bit confusing and it's difficult to understand from just seen how it's done any questions? You we're good right now quick question for jay I'm do you use high pass on your frequency separation that's exactly what I was just teasing perfect there's another way to do it to set through apply image again how to set it up is in that article that I wrote they do the same thing it's just kind of different approach when you're doing it through applying, which you're seeing how much you're blurry, where is when I do it through high pass? I'm actually seen how much text around taken you can train yourself to do it either way, and if you're worried well, high pass kind of sometimes renders if you have nice background or a lot of saturation in the background, sometimes you may see discoloration after you've split your image into two if you notice that something is happening tio overall image when you do high frequency, sorry the frequencies separation through high pass, what I just do is just cover everything with a mask and the old man cover the area I fixed. So that way, I'm not affecting the entire image. I'm only affected just the part, so I don't have to worry about the quality of the entire image.

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!