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Editing In Photoshop® CC: Child Portrait

Lesson 34 from: Capturing Story in Portrait Photography

Kelly Brown

Editing In Photoshop® CC: Child Portrait

Lesson 34 from: Capturing Story in Portrait Photography

Kelly Brown

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Lesson Info

34. Editing In Photoshop® CC: Child Portrait

When the expression on your favorite photo isn't quite perfect, learn how to swap faces inside Photoshop. Perfect the child portrait from the live shoot, including removing the safety clamps from the props and extending the background.


Class Trailer

Class Introduction


The Power of Portrait Photography


Introduction to Newborn Portrait


Find Inspiration for Newborn Portrait


Create The Scene for Newborn Portrait


Prepare & Pose Newborn for Portrait


Shoot: Techniques for Photographing Newborn


Newborn Image Review


Introduction & Find Inspiration For Child Portrait


Create The Scene for Child Portrait


Prepare Set for Child Portrait


Shoot: Capture Child Portrait


Image Review for Child Portrait


Introduction & Inspiration For Teenager Portrait


Create The Scene for Teenager Portrait


Building Set for Teenager Portrait


Shoot: Portrait with Teenager


Shoot: Pose Teenager for Multiple Looks


Image Review for Teenage Portrait


Introduction & Inspiration For Adult Portrait


Creating The Scene for Adult Portrait


Lighting for Adult Portrait


Tell Your Subject's Story


Shoot: Lighting for Double Exposure


Introduction to Senior Portrait


Create Storyboard & The Scene For Senior Portrait


Connect With Client to Create Portrait


Shoot: Lighting for Senior Portrait


Shoot: Be Creative on Set


Image Review for Senior Portrait


Portrait Shoots Recap


Global Adjustments in Camera Raw®


Editing In Photoshop® CC: New Born Portrait


Editing In Photoshop® CC: Child Portrait


Editing In Photoshop® CC: Adult Portrait


Editing In Photoshop® CC: Teenager Portrait


Editing In Photoshop® CC: Senior Portrait


Introduction to Entering Print Competitions


Process of Print Competitions


What to Consider For Print Competitions


What Judges Look For Overview


Image Impact


Creativity, Style & Composition in Images


Entering Photography Competitions Q&A


Image Lighting


Image Color Balance


Technical Excellence in Images


Photographic Technique


Storytelling & Subject Matter


Lesson Info

Editing In Photoshop® CC: Child Portrait

We've got our little one here and I mentioned before we're gonna do a face swap, so I love the expression here, she was a little more relaxed. Little ones like this coming into a big studio space can get a little nervous, so I'm just gonna use my lasso tool, I'm going to select all the way around her head here and I'm gonna feather that by about 20 pixels and I'm gonna copy it, so command C, and come back to my original and command V to paste and there it is. So let's reduce the opacity of that. So she was lower in the from where it was brighter, so this is where I'm kinda looking at that face. And in this one, we've got a little bit of movement in the hair which is what I want, so it's kinda just matching up that face here. You can just reduce the opacity or you can invert it and match it up that way which is a much easier way. And I'm looking at the fringe and the side of the face and the hair. The eyes I'm okay with. Let me just rotate it a little bit. Mmkay, so command I again to b...

ring it back. Bring that opacity up, adding a layer mask, invert that, command I, and let's have a look at painting that on. So increase the opacity to 100%. Okay I'm gonna hit that backslash key to see where I need to paint that I've missed. Making sure I get round that cheek and I've got my big brush on at the moment so what I'm gonna do is, you can see before and after, I'm gonna go back to my black brush, reduce the size of that brush and I just use the X key to do that, and I can come in, fill some of these little highlights that are in here. So, white paints on, black paints off. And then up here in the fringe. Mmkay, so we've got before and after with that expression. Now I'm looking at her chest here and the difference. And what I can do is use my black brush at about 50%. Make a little bigger and just kinda bring some of those shadows back there where they're meant to be. All right, so there's my head swap, I'm pretty happy with that. It actually worked quite well. Sometimes, she went from a seated position to a standing position, so still having that same direction towards that light was the goal there, but I wanted her to look happy here, and that was the goal. So we'll flatten that. Now with this one, all I really have to do is remove the black bar and the string down here and these little clamps, so start with the clamps, seeing as they're the smallest things here to remove. I could use the clone tool or I could just simply come in with the patch tool. Select all the way around, and then what I'm gonna do is drag it across and line up that seat. Get my eye sight checked. Mmkay, same on this side. And this is just to give you an idea of what it is that I do, so I would spend probably on average with photos like this, oh anywhere from sort of five to 10 hours over the course of a few days. If you sit in front of an image, especially one that you're working on towards awards, you sit in front of that image for days on end or hours on end, you're gonna miss things, so it's always great to get up and walk away. Okay, so up here, it's gonna be a little tricky using our patch tool to kind of get in nice and close to this bar, but to get the majority of it, I'm just gonna select all of that there. And bring that down there, and then I can come in with the clone tool nice and close, so that speeds that process up a little bit. Okay these seams in the background here, again with the patch tool, I'd just kinda come in really quick removing those. And when you are using the patch tool, you know you've got to sample some more tones. Oops. Down here. Gonna come in as close as I can to that chair. Blend that through. And again, but just making sure that I haven't got any kind of repetition there with that patch tool. All right there's a seam there I can see, so you just come in, fix all of that up. All right. So one thing that I did really wanna do with this and I mentioned prior to shooting it, I'm just gonna flatten that now, was I wanted to increase the size of those balloons and increase that background. When you paint a solid color on, especially on a background that's got texture and detail in, it's gonna be very hard to combine those and make them look like they're actually together. So for me, I'm just going to create a copy layer, and then what I'm going to do is increase the height here. Now I know I'm distorting her, it's okay. But that's kind of what I wanted to do there. So I'm gonna hit okay, add a layer mask. Invert that and paint that on at 100% up here to fill the space first. And what we've done is increase the height there of those balloons and that string. And I'm gonna be really cheeky here and because I moved that space up, I'm gonna come in with my black brush. Whoops. We've got balloon at the top, I thought I was gonna get away with it. You can have a look underneath, yeah, now it's completely underneath. If I had more space at the top of this frame, I would be having to really stretch those balloons out and use that background, which we can do, and one way to do that is if we go ahead here and... Flatten that. Let's go ahead and increase the size of this background, canvas size, so at the moment it is at height, about 29 inches, so we can increase that to, let's go about 32. And I've changed the anchor point down here so it's gonna increase it up. And you can see that added a background there, so now what I can do is create another copy layer, command J command T, I can increase the height here a little more, bringing it all the way up. Let's have a look underneath. Oh there's still my blue there (chuckles). Still my blue, I'd have to keep going. But that's okay. So what I do wanna do here is, and you know I'm gonna be cheeky. Another copy layer, command T, and I'm gonna bring that down, there it is. Okay. Increase that opacity, add a layer mask on that top layer, invert it and paint that on at 100% with a white brush. Making sure obviously that your rope and everything line up. But I would spend a bit of time doing it, I'm just, Ken is giving me the hurry up. I feel like I'm running a race. Okay so this is where I can come in up here and take that pole, and it is gonna be a little darker, that's okay, off. 'Cause I'm taking this top layer off and revealing the layer that's underneath which is another duplicate. So the only place you can see this layer is just here. And you see I'm being really careful here because, when you do put an image up for judging, every single pixel is looked at. Okay so let's do the same over here really quick. You can change the hardness of your brush, the smaller your brush, the harder it becomes. When I'm editing, the Wacom tablet makes everything so much faster because I feel like I'm sort of drawing with a pen, so I can get through this process really quick. Okay so we've got those darker bits underneath, let's zoom in a little bit more so you can see it. So I can go back to this layer here and I can go into curves, and what I can do is click on the little hand and lighten that to match underneath to make that less visible, so because that's the only part of that image that I'm actually revealing. And then you can come back up to that layer mask and you can start to kind of retouch around the area there. That's just another quick way to do it. Okay so down here we've got that darker section where we copied out where those balloons were. You can see down there, what I can do is click back over here onto the main layer and I can lighten that and I'm just gonna go up like that a little bit. So I'm not too concerned right now because what I'm gonna do here is I'm going to flatten, I'm gonna take a snapshot there before I do it. So remembering that there's a million ways to do this. Now what I'm gonna do is lasso each balloon. Feather by about 20 pixels, command J, command T, and this is where I'm gonna increase the size of these, to make them much larger. Make it a bit more realistic 'cause small balloons really wouldn't float a little girl. Increase the width, get them a bit more round. Okay and do that to the other side as well, so clicking back over there. So I would do the exact same thing there. I've got a couple of shadows from the different light sources but you can see where I'm going with this image, and it's starting to really take shape in terms of my original idea, my original concept. I would tone down some of the highlights in the ballon, I would adjust some of those highlights in her little dress there, toning that down, and I may even give a little bit of sort of motion blur there. When it comes to the background, in terms of the sky, what I would do is kind of soften that down a little bit in terms of blurring it, but yeah, I'm really excited with where this is kinda going in terms of sort of a more fun conceptual piece for her which is a little more creative. So once I have finished editing this when I get home, I'm gonna share it on the course page as well which will be really cool to see.

Class Materials

Bonus Materials with Purchase

Mind Map & Prep Guide

Ratings and Reviews


Among a sea of wonderful teachers here at CL, Kelly is the cream of the crop. All of her classes are outstanding and this one is no exception. Amazing teacher. Amazing class. Amazing education. If you are hoping to stretch yourself to create deeper more meaningful stories in your images, or are feeling the pull of print competition but need some direction, this is definitely the class for you. Thank you Kelly!

Melissa Soto

Kelly Brown is a true inspiration. She has been my idol in this industry since I began. This class was amazing. I love how honest, authentic and genuine she was. But most importantly I loved her wise direction and teaching style. Kelly brown thank you for this gem. You helped light a fire in me. I’m so excited to start telling amazing stories with the skills I have learned from this class.

Marjorie Stevenson

Just loving this class! Kelly is one of my favorite instructors. She is very good at articulating her ideas and carrying them to an absolutely wonderful end product. Her images are always stunning. I love that she always puts safety first with her models. Thank you Kelly for sharing your creative visions with us.

Student Work