Even Skin Tone: Hue
So, we're gonna do a little tricky-trick here and it's about evening out skin tone. Again, I've used a non-retouched image and I'm gonna tell you guys something that I tend to do. It's a kind of a production thing. I will often do my color before I do my retouching. I will often do my color before I do my retouching because sometimes the contrast and the color that you do will either increase the level of retouching you need to do or decrease the level of retouching you need to do depending on contrast or value. So I will often do the color on top, take a look at what I have. I do not clone with colors on, so that the colors are picked up in the cloning tool, or the heal tool. I make sure everything's on top but it's just a it's just a little thing I do. Alright, so let's go over this little thing I do here. This is a way, a way of correcting skin and there's multiple ways of doing it. I'm gonna double-click and go to the code here. So sometimes, in fact, let's just start from scratch,...
that might be easier. As always, I've said a hundred times today if I've said it once, make a little square when you're doing a correction. And I'm gonna go to hue saturation and I probably should have held down the option key. Hold the option key. It's a good habit, by the way to have your hands start doing that. Just hold the option key when you pick your adjustment layer and that will let you name it. I didn't hold the option key, I held the command key 'cause I suck. It'll let you name it and I'm on a personal mission to have everyone label every layer in Photoshop. It's my mission. So, and what I'm gonna do is I'm actually gonna go ahead and use that colorize function and I'm gonna pick, I'm zooming up here. I'm gonna pick whatever color I think I want for skin. This is, we're not gonna handle the freckles, this is just generic skin color here. But I think it's a handy trick to do. You can change the saturation out and the amount of reds. And generally this technique is called evening skin, evening out, not changing skin. And so what generally people use this in my field for is they pick a color that's already existing, already existing. So right here on the cheek, I'm kinda getting close to that red that she's got on the side of the cheek. And I'm gonna make this kind of all similar to that. It's called evening out. So once I get that and I like it then I'm gonna go back to the original mask. I'm gonna fill it with black, command delete and I probably still have that selection active. There we go. So now I have a black mask and now I'm gonna paint it in. I'm gonna start, you know it, for this demo I just want you to be able see it, I'm gonna paint it in hard. You want it to be a little subtle. And then I'm gonna have to make another change. Again, this is about evening out skin, not changing skin. So do you guys ever have those files where that tanning makeup, you know, or that glittery makeup and the skin goes from yellow to red? So what I often do, and this again is about kind of like color correcting and stacking. I will even it out and get it all a flavor, or a color and then I will push it globally, differently, okay? So here I'm just painting this in but I'm gonna tell you something. There's something about that colorize that on normal mode can be a little harsh so I'm gonna just for giggles for a second for this demo for you can see it I'm gonna turn that mask off and I will say when I even out or when folks even out with hue saturation on colorize often normal isn't gonna cut it and you want a maybe consider changing the hue. Do you see I've just changed it to hue? Please know I don't care about her lips. I don't care about her eyelashes, her hair. This is just for her skin and for her skin and for her skin that's just a much better solve, I think. And then I'll paint it back in with the mask. And it's just for evening out the color. You can change the intensity too. I'm gonna admit on screen, this is a bit of a subtle change. On print, on my God, this makes such a difference because we will literally have clients who will tell us to make a change, and it's a two-point color change. It's barely register because on a print you'll actually see this. So put this in your bag of tricks, this notion about evening about skin color. Consider doing the color first in normal. It's easier to see when you're in normal, okay? So when you first do it, it's easier to see where you're gonna get hung up on this particular technique on evening out the skin using the hue saturation is that it generally looks great in midtones to highlights and where you start getting in trouble is the saturation on three-quarter tone and shadows. It gets too saturated and it looks funny on normal mode. But if you go to hue then it'll look more normal. Do you see that? Okay, so let's review. Hue saturation on colorize and then you're matching a skin color so you have to have something to choose, some kind of color tone. This is really great for sunburn color, also on skin. And definitely makeup, when that uneven makeup kind of thing, not good for freckles, alright? And then I create the color on normal mode, create the color on normal mode and then I shift it to hue when I'm painting it in. I find when I'm creating the color on hue, it's a little harder to see.
There are countless options for manipulating, changing and correcting color your photographs. Clear up the confusion by joining professional finisher, Lisa Carney in her exclusive class focusing just on color. In this course, Lisa will identify and clarify different adjustment layers, walk through a professional’s workflow for color correction, and dive into working with curves.
- How to work with gradient fills and gradient maps
- Working with Hue and Saturation
- Setting up a Color workflow system
- Using Gradient Maps for Color Correction
- How to use curves for matching color and tone
Handle color like a pro by learning from one of the best retouchers in Hollywood. Join Lisa for this extensive and in-depth look on working with color in Photoshop®.
Software Used: Adobe Photoshop CC 2017.1.0