Commercial Beauty Retouching


Commercial Beauty Retouching


Lesson Info

Retouching Demo in Photoshop

Just a quick before and after and a cz you can see old same steps I worked on the here a little bit ethan call corrections dajun burning hey bash in seemingly little the closer you can see the face dodging and burning, then call corrections a little bit more color grading type and then a little bit off shapes and then the ice my favorite, I think, to deal with the ice to stand a little bit of luminosity and the iris, so I'm going to leave all of this and show you how I set up my dodging and bernie, so normally you can read a few different methods and you can use curves darkened brighton, cover them with a black mask and then cover them as you progress, you can use fifty percent me gray layer and then paint on it with a white brush with black brush, but even if I used to use the meagre layer, but even when I did that, I would still have my dodging layer and my burning layer. I just always tried tio separate my steps, so if I screw up at any point, I can just remove that and continue so ...

I don't have to remove all of my work, but I can just eliminate more repeating a repetition so I work with the curves and I don't do this every time I have the panels that we've created with my recession academy team and everything is done by just a click off just just one click and everything gets set up but I will show you manually how I do that um obviously you can create your own action so you don't have to repeat this every time and that's such a huge action sir huge time saver so dodging I usually just grab and this is something that you most likely have seen a million times because everyone does it the same way whoever does it through curves they all always the same set up so a little bit brighter in the meat tones I usually do just about there and then I invert the mask and then I had one more curve and then I dark and a little bit and I will invert the mask so this will be my burn which is darkening and this will be my dodge which is frightening usually actually have my dodge player at the top then I will put them into one folder dodging and burning and then here I actually also we've added some presets right here which is just a simple solve brush with everything penn pressure turned off and it's at one percent flow in one hundred percent a pass ity in what it does is that you can find a problem to solve and you can just brush over a darkness that you need to remove and not lift up the pan and just continue brushing in russian and russian tio brighten it so what happens here is that you're applying you're uncovering the mask and that brightness coming through so it becomes brighter and you can always if you have overdone anything you can always adjust europe ass ity or you can even you know if you need to brighten everything you can just work with you know you can feather the mask you can um decreased the intensity so everything will be brightened so there are a lot of things that you can do you can zoom in very very close and work on those smaller issues I used my keyboard shortcuts a lot so I just hit a number for example to change capacity just at hit any number so one will be ten percent forty percent by clicking on four zero we'll make it one, one hundred and two change your flow you just hold shift breast shift and then you just hit a number and the moist and so if I'm working on something that is a little bit contrast here than the reston with one percent floyd will take me a very long time to brighten you know something that is as dark as this so we'll just hit say twenty percent flow and I will just work quickly on something like this or town if it's too much finn work on something like this it is a very, very long process, and actually if you would like to see how it works, if I had an extra hour here, I could continue working and you would not even see it in real time because it's kind of building up and it's best visible when you watch it in time lapse and that video where I talk about my selection of the brush is on the page. I actually deliberately created a time lapse video where I work on just a flat file with patches and I just dodging, burned, dodging, burn and it's time lapse video so you can actually see the effects. Because in reality, when you're sitting there and dajun burning, especially at one percent flow, that is a very long process and that's why it takes a very long time. But the precision that you can get with this technique is amazing. And so one more thing that I wanted to add here by getting that visual aid and you layer that you can if you change too soft, wives say here and the shop offers you. Do you want me to feel it with self light, neutral color? Fifty percent gray? I say yes, and then I go back and actually change it to collar, and everything becomes black and white, so now I'm actually seen those patches below the better, just weak they're just right there but what I also can do to help my eyes to even see that even better I can add one more curve here and change the contrast so I'm not actually affecting the collar contrast because I'm looking through that caller layer that is the correct usual age and but I can add some conscious so I can see those things a lot easier so with my brush I can go hat and I see there is a question go ahead ask what size brush your working with it looks really small yeah usually if I'm working these clothes it will be a very, very small brush it depends on the image on the size of the image in my case it's for for peak sales right now you can be smaller it can be larger if you have a huge image of you shoot medium format then obviously you're smallest brush will still be bigger than mine and very, very important thing I also want to add is I find it much the results will be much better if you start with if you start dodging burning zoomed out so if you zoom out like this and look set up your contrast, our darkness, whatever is helpful for example, if I start working on just the brightest part of the face I will set up, I will change my help a my visual aid player to the point that I can actually see those changes in the values and while I'm working here I can I will not here but on the hajj layer I will work on those patches on larger problems to remove them and once that is done not very wave until I'm completely done with the lark large purchase if I see something that is smaller I will zoom in and work on that specific area then I will zoom out again and continue working on the scale and obviously there are problems that you have to really zoom in and that's why it's called pixel level dodging and burning because a lot of little things like here obviously you need to be to make sure that you're very precise with your brush strokes you need to be zoomed in very closely and again by holding shift and heating zero three I know you're a three now come on their three I get teo flow three percent just a little bit more off the color coming out of my pants so I can move a little bit faster with my dodging and burning so you know just remember you've got all of this controls and as you progress sometimes you need a little bit faster results so you can increase your flow and you will start you will be actually affecting the patch is that you're working on faster but sometimes the difference is that you're working on are so subtle that even one percent flow can be too much. You start seeing you, even with one brush stroke, you already see that you're frightened too much. So what you can do is laurie rapacity. That way, the intensity of your brush stroke will be even lower than that. So here, for example, we're look, I'm looking at this area. I do have darker little patches that I would brighten with while working on the dodge layer, but I also see some brighter, like thiss in this here and this, those bright right of patches, I will actually burn a little bit. So the idea here is by actually keeping in mind the initial light distribution, so everything should be getting from brighter to darker. But all those little imperfections that blow bumps, little patches that pop up here in there, we need tio, even them out by something that is darker would bring it up by brighton in something that is brighter, catching more light because it's a little bump, we darkened it a little bit and goes down. There is a lot more that involves called corrections that will have to be done if the changes air very drastic, because usually the shadows air a little bit more saturated, so if you brighten them, you will get a difference in the scholarships happened often when you do a lot of dodging and bernie by changing the values by a lot, the easiest way is to use the color correction adjustment layers that I mentioned yesterday selective kalla human saturation hyun saturation on colorize mode or even just ah new layer said to call it color mode and simple from the nearest collar and just painting right on top of that area that you need tio fix here's what percentage better quality feel retouching at the pixel level gives you when it's over it was like the gold standard that you have to do for beauty retouching team in the zoo mean not doing the dodging and bringing a pixel level toe retouch the turnout on suppose other tools I'm sorry I didn't understand what percentage point by what you mean like the low percentage er no, no, just the technique of doing that pixel level thought you can bring as opposed to some other technique to, um well, this is something that I spent most of the time doing when I'm working on the face so close because you can't really compare it to anything else I mean the frequencies separation yes, you you kind of can do those things with the frequency separation, but it is more destructive, and besides, there are frequencies that you made even out not really realizing it when you're working with the frequency of separation, and so when you look at the picture, you end up seeing the texture and then kind of everything is even underneath that texture, and that looks very, very fake when you're dodging them burning, you can get to that point, but you have to spend a lot of hours to get there accidentally. You won't just end up there, but with the frequency separations, the chance to sierra x that you can accidentally just ruin the image by even now, those frequencies is very high, so dodging burn is technique off professionally touch hers and it is the high end, if you will, the high end protection technique for especially for beauty and commercial beauty images, but the the only problem that I see with it, it's just it requires a lot of time and a lot of practice to so for again I'm I'm photographer first and formalist. I do my own re touching. I also do recession for plans, but I cannot afford spending twenty hours just dodging and burning. So I do, you know, teach sometimes and go teo frequency separation, but dodging and burning when we talk about skin and texture on dh, the evenness of the skin. The dodge and burn is absolutely necessary I cannot replace it with anything else, so well, yeah, of course I didn't have enough time tio actually do much to the image, but you can see that basically what it does is just frightening and darkening areas and your choice off those areas can be on a global scale when you're removing or brighton those bigger shadows like we did yesterday, what I did it with the frequency separation, those shadows that we could see could have been done also with the dodgers and burning here this shadow, I can remove it with a large brush, but then when we get very, very close, I mean very closely we can also even out on the on the very local micro level we can even out the skin texture I'm going to shut this photo and I'm going to walk you guys through the rest of the retouching of this image and then we'll just show you what exactly I normally do because this is exactly the steps that I would do for any image. So here the dodging and burning again and the next step was the eyes I did show what I usually do with the eyes normally, so basically I will just flip through and you can see it, I if I need tomo darker the outline of the iris by just adding a new layer sampling the collar the existing collar and just going around the iris with self brush or dependent on how sharp the actual outline is in the image and I then add also in new air set to overlay layer mode and with the white brush I usually just brighten apart off the irs just to add that light and saturation to the eyes and it just always it seems to make all poor traits and any image of any face always looks better when the ice or deeper and there is a little bit of light and color in the image I did show yesterday also how I choose what part of the irs to brighton it shouldn't be the entire iris that is bright it should be always the opposite side off the catch light if you look at the paintings if you look at it other photos where that happens people always see it that the light goes through the eye and lands on the opposite side of the iris on the opposite across the people and then the eyelashes again if your makeup artists has done a great job in the eyelashes are perfect on you don't need to do anything but sometimes it's really difficult to get to the outline or the roots off the eyelashes with the mosque are brush so if and it also depends on the physical features of the model some models have very rate eyelashes somehow very curled and long eyelashes some have short so if your makeup artist couldn't get that to that very I would so they eye lashes then you can just add a new layer against simple from the existing color off the eyelash and just dark in that area just a little bit make sure to just the capacity so you don't make it too dark always look at the darkest dark and your image so that if overall if the darkest black in your image is not complete far nischelle complete complete black then make sure that when you're applying those eyelashes or anything with the makeup you don't go darker than the darkest dark and your image already is I hope it makes sense but what I'm trying to say is I've seen so many times I begin to retouch are applying using either eyelash brushes which I used to use a lot too now I just paint them with just a brush stroke but again, if you use a very, very dark black there they will stand out compared to the rest of the blacks in the image you shouldn't go darker on the eyes okay, so we darkened win hence that eye makeup would don't want to make it so overbearing that it just obviously retouched we always want to make sure that everything looks like it hasn't been great touch and so here again I'll just flip through my usual work well here with the eyelashes just like I said, I just paint them I don't even use pan pressure because I used such small brush is so that I just rush if I feel like the form the shape isn't nice come and see and do it again do it again until I nail it and the more you do it, the faster you will actually paint him and I just tried to kind of feeling the gaps between the existing eyelashes if you don't feel like you can do something like that with your hand because you don't have painting background or you just can't gonna draw that beautiful eyelash here's another method you can use um I've started a new layer chantel and then something like I should probably assume out, do it again panto and curve it so that it kind of looks like um like an eyelash and it's much bigger I will go ahead and find a brush that it is hard enough maybe size approximately maybe a little bit larger just about there, then it will go into paths. This is the path that I just created with mental and novel stroke path and simulate pressure with the brush that I've just selected and at this point before I stroke it I should make sure that the color of my brush actually is the existent color of the eyelashes are or the eyebrows so we'll go ahead and stroke it should be full on flow it was just to the flow of solo that it was see through so I will stroke it again and come back to my layer actually I won't have to step off the path and come back to my layer now command see tio call for the transform too and I will make it small, sweet and nice hand okay and I can't even remove one side of it and very go here's your perfectly eyelash you can also or pray a little bit if it's not worked enough it's not curving enough and then you take it to where it belongs and place it and resize it just to make sure that it matches what already is there and set it to multiply so that it's darker and then hold out and just move it and then transform it again so that they're not repeating each other and then hold out and move and create one more and transform it again just a little bit so that our eyes our viewer's eyes are very sensitive to patterns so you don't want tio create a few lashes that are exactly the same so change the the size that the angle the curve a little bit and nobody will ever see that it was done in post and so on same can be done for the bottom eyelashes too and when you zoom out you can't even tell of course when you're at home and you're more precise you khun make it just exactly the size of the eyelash is that you have there when it comes to the eyebrows I also paint them in but I simply used just a new layer and very small brush simple from the collar off the eye eyebrow and what I do is you can see just there's a she's got very dark eyebrows so and the makeup artist is just amazing everything was already down so great so I didn't really have to do much but you can't really control the gaps where the skin is more visible in the eyebrows this's exactly where I feel the man like I said with a small very small brush simple the caller from the existing eyebrows usually I set it tio um multiply blending mode just to make sure that their dark enough my breast strokes are dark enough even if I accidently simple slightly different color a little bit brighter when everything is said when the whole layer said to multiply I will make sure that I will feel in dark and those areas that where the skin is visible and it just made makes the whole eyebrow just look finished and if you have a little bit off you know little plucked eyebrows that were you know taken care off a week ago then you start seeing those little stumps there that's just calling steptoe never you believe them in because it doesn't look good it shouldn't be there for any beautician will tell you that so it's basically if you are the photographer, tell your model to prepare for their beauty shit and again on f stoppers I have a very nice article about all the things that you can ask your model to do before photo shoot, especially when it's a close out beauty because you know you can spend hours too in just her brows while she could just spend twenty dollars prepared for her shoot because she's a professional model and come with beautiful eyebrows all prepared no up early hair, which would be a disaster tio many hours of formal on that ours but still it's work that you will have to invest. So if you're shooting for the model or with a model or it's a commercial assignment especially if it's a hired model from the modeling agency they usually know that those things should be done but if not, then you know for the shop is our friend tio get everything done here um leaps I know I have only two minutes so I will quickly show you guys ah what I do with the lips basically again, if the makeup artist is great, nothing needs to be done unless they're out little things that are missing or the shape isn't precisely what you want it to be ok, here is my lips folder inside that folder, I worked on the outline, just calling stamp very, very small clone stamp zoomed in almost tio thiss scale and just go over and feeling I deliberately not try tio even now such she thinks, because I looked at the lips from afar, and I make sure that it doesn't look too perfect because you often can see sometimes if the outline is too perfect, they used to do it a couple of years ago, I would just make it so perfect than it looks like the lips are floating on the face. They're not connected to the face, so now I know better, so I don't do that, and I tried tio keep some imperfections, not only with the leaves everywhere else just keep a couple of imperfections here in there, and it will trick your viewer into believing that, oh, that wasn't touched because, you know, the outline isn't too perfect. So that's what exactly what we wanted to then I worked with the color on color, blinding mode, simple from the color that I wanted to apply the color that had more yellows and worked with that over the areas that were a little bit more purple and dark teo get more unified color across the leaps, and then I again use my favorite selective collar and you can see that everything is and it doesn't even have to be perfect because oh ha ha but you can see that it doesn't have to be perfect even when you're fixing the colors some changes in the callers are perfectly normal because if you ask any painter they will show you hope palate off colors that they're using to develop or to create a skin tone or even the lips there will be five six collars so not having it all one same college actually is the idea you can't have it all exactly same college color because the shadows will be slightly different the highlights will always be the collar off the light that's also one thing that I have not as so many beginners disregard the highlights in anything that is the speculator highlights can only be the color of the light so the light was white that highlights cannot be read so if you just go over everything and paint the whole leaps including the highlights with read that it's not how it is in reality so you know keeping in mind all those things observing everything that's the goal this is the leaps that we had and lips that I get closer and that's it the last thing was just a little bit of shapes to make the lips look perfect on global dodging and burning global dodging and burning usually I use it tio add volume we fight if something looks flat or change, maybe reshape some things, like the nose. You know, if you, if you have a wide highlight, if you narrow it down with dodging and burning, it will actually make the viewer believe that. Then those is, and there were. If the highlight is why it means that the plane off the bridge of the nose is wide, which makes the viewer to believe that those is white. So you know all those things. If you if you know those things and you can play around with highlights and shadows, you don't need your liquefy till anymore. Unless you need tio move the outlines of the body of the face of the shape. I do sometimes move the industrials closer, because it is better for a woman to have a narrower knows a little bit. So isn't if the nostrils to white aiken and smaller ears.

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