Basic Clean Up in Photoshop


Commercial Beauty Retouching


Lesson Info

Basic Clean Up in Photoshop

So the next step would be just quick cleanup it's basically using healing brushes clone steptoe simple brush is when you need to add big sells the only I should probably say when we talk about the basic tools I will use a healing brush very soft healing brush I may use on when I'm doing frequencies separation underneath the texture that's when I will use a self healing brush if I am doing anything with the healing brush just on the image and I need teo you know if I'm working on the skin or on the background I usually have it hard the only difference completely hardness to zero no hardness to one hundred percent so wanted hardness to zero it's soft so hundreds hardness to one hundred percent will have it hard and the difference between the soft and hard healing brush is that the outline will not be blending which I wanted would any blending in softening when I'm working on the skin that's why I work with a hard brush when I'm doing anything with the cleanup and I will work when I'm wor...

king on the skin on the background on the um outfits I will use a healing brush but when it comes into the areas where the the reason mix of textures or there are lines and colors everything is mixed up in the small area I will use a clone stem toe because I cannot afford having those colors are outlines to be merged or blended or smudged in between themselves, so and a good example would probably be, um, let me show you what wass can. This is what it's become, you can see that the changes there there's, not she's, still the same girl and the changes they're subtle, but at the same time pretty big, so I will turn off all of the layers except for the cleanup, so you connect really see what was done here. The background is very dark, but if hopefully you can see there's a lot of hair that would didn't catch one shooting, so that can be done easily with constant too, and instead of just cloning on them till air, what I do, usually I make a rough selection just along the and I use I don't really use chantel have to meet all that much, but I do use the polygonal less so tool, and I just make us very rough selection along the outlines that I don't want tio accidentally get onto with my clone stamp in once I've made that selection than I'd make like selection, just to kind of outline everything that I want to be included in that area with that hair something like this in along the lines, then I again get into the refine age in make sure that the softness or hardness off my selection matches the soften so that or the hardness off the actual outlines and then once I've created my perfect selection, I start working on the new layer and I worked with a close temple and I I'm not afraid now tio get close to the outline because I'm not going to get out outside of my selection so I can just quickly just remove all the hair that goes along the face and along the face on the head along the out outline of the head along the shoulder anywhere sometimes back lead hair can be visible on the shoulder on the arm. This method works perfectly and it's just very fast that the reason why it's fast is that you don't have to be their precise working along lee line off the body or the head so making that quick selection again it's less than a minute to make that selection and then just working along with the clone stem till and that's just a little tip and then I get very close to the nose and I've noticed it after I've done my frequency separation, so I removed that hair again just a normal new layer and a cologne steptoe sammy heart I didn't want it to be too hard because obviously it's not completely cut out it's a little bit soft very one hundred percent hardness would create a completely is trade line so always tried to match whenever you working with a close temple or brush close to any outlines, make sure that the hardness of your tool matches the hardness off the exist in line or outline that you're working along. So that was just the that the hair along the moss trails and just a couple other things along the way and this's my frequencies separation and they talked a lot about the frequencies separation yesterday. Same, I think here I tried to do very little parts of the image I tried to do as little as possible when I worked with the frequency separation this days after that lt'll diet frequency separation die, has that I call for a few months, I wasn't using it, and then I realized that there are still a lot of issues that can be quickly fixed with the frequency separation. So despite all the talks that it is not a beauty to based, I actually went back and started using it, and I'm happy because now I know better when not to use it and when to use it. So my advice, if you have not used the frequencies separation before, first of all, check out that you are all that we've been talking about it. There is a link to my article in that stoppers about the frequency separation, how to set up the way a step by step so you can actually read about it. But once you start using it, I would say before you, the frequent suppression is more off a short cut rather than improper it's not an advanced retouching technique, or it is advanced it's it's a little bit more difficult than just cooling and healing, but it's not high end retouching technique because it can be very dangerous and it can lead to horrible results if you don't know how to use it. It's not the technique that's, bad it's the understanding when and how and where. So, um actually, when I was teaching in italy recently, mariana santonio, the organ organizer off the event she's ah, part of shop grow and, um the evangelist and she said that it's best when you're just getting into dutch oven burning in frequency separation, teo actually, you've learned your frequency separation, live it and do everything for a week, just with dodging and burning. Once you go through that week, you will know exactly what you can and what you cannot do. With the frequency separation because a lot of things can be fixed with dodging and burning, you don't need to go to the frequency separation because the results will be worse than with the daughter and burning, but there are still the little things that I was talking about yesterday the issues on the skin there are not too small, so you can't really remove them with the touch of a basic tool and they're not too large to be removed with the dodgers and burning and they can combine a whole lot of issues that can be value issues, very contrasting shadow and very bright highlight near one another and if you try to go out and burn those, you will have to do call corrections after that, but if there are also a texture issues on top of that, then you have to also work on the texture, so I prefer to save my time and get more done with frequent separation when I have to deal with that little, you know, a small issue that combines a whole lot of issues actually, so the frequency separate him comes into play and helps me do it very quickly and perfectly so in off course, sometimes I get lazy because I kind of know how to get something done, so I'm just jumping in and doing it with that just to save my time so here you can see I work between the low frequency and high frequency layer and I add a cz many layers says I want sometimes even that adjustment layers in between here if I want to affect the caller I don't have to do it here but I do it just because I'm working on this part here so I want to get out of the way something that is you know in the area that I'm retouching so let's walk through this was just a little bit off shadowing on the face and I want to show you the hairline so that and then a little bit off when the human face is the hairline is usually very visible because the skin under the hair doesn't get any ten or there is no cholera in the scheme that's why we usually see that bright outline then the skin on the face and then the darkness of the hair and that outline usually makes a face look bigger for female phase when we want to make a female face more attractive we actually want to minimize the want the smaller forehead by just darkening that outline we can visually create a perception off a small forehead so this is exactly what I've done here not only that I also removed that darker how line where baby hair is and again with the frequencies separation this is it's my take I just love how easy it is tio um work on this sort of problem that we see here, we have to deal with this specially when we have a model with dark hair, the baby hair here, it's such a disaster. If you try to remove tha mme with clone stem till human brush bits, whoever has tried that and those what I'm talking about with the frequency separation, I can take a little bit of texture onto the top layer, and then I can just merch the cobbler and the color of the skin underneath the shadows that that hair's casting that way the texture will still be here off that hair. But it won't be visible that much, and chances are you don't even have to do anything with the texture after that has done so. That's. Why I love the fact this separation that will never give it up. I think I don't think I will. So yeah, so this is basically overall, this would take me working at home. Do you know of this little things? Thiss would step would probably take me to ten to fifteen minutes, max.

Class Description

Beautiful photographs are used to sell hair and skin care products, cosmetics, makeup, jewelry, and so much more. Learn about the concepts and techniques that are used to create polished, ad-ready beauty images in Commercial Beauty Retouching with Julia Kuzmenko McKim.

It requires vision, skill, practice, and patience to create flawless perfection. In Commercial Beauty Retouching, you’ll learn the theory behind the the techniques and get helpful tips that will take your skin and makeup retouching to the next level.

Software Used: Adobe Photoshop CC 2014.2.2, Adobe Lightroom 5