Commercial Beauty Retouching

Lesson 5 of 6

Visual Perception and Biology

 

Commercial Beauty Retouching

Lesson 5 of 6

Visual Perception and Biology

 

Lesson Info

Visual Perception and Biology

When we look at this we see a circle two dimensional flat what makes us see it as flat circle is the evenness off the values all over the shape so every single pixel here in this circle is even the same value that's what makes us see it as flat we add to the same circle we just add like this we add highlights and shadows and all of a sudden we see a sphere now it's three dimensional so that's what the basic off the basics off two dimensional art that's what it is and because that's exactly what we effect when we work with dodging and burning we worked with shadows and highlights that's why it's so important to understand this because if we compare tio the flat image what the difference is that we're seeing the areas that are closest to the light source are always the brightest always the brightest unless there is another light source but when we're talking about what the main light on the face the four hat will be the closest and the breach of the mouse will be the closest to the light...

eliminating the face right and then everything if the surface off the face the skin is smooth than that transition will be just as even as I showed you before there are no patches everything just gets gradually darker as the surface goes away from the light okay and then the other thing is direction of life matters very much and the reason why I wanted teo I was I thought maybe I should throw away this slide, but I wanted to show this the I see a lot of mistakes because beginning with such disregard the direction of flight when the lightest coming from where the camera is again, we usually set up our lights a little bit higher than the high level so again the forehead, the breach of them, those the upper side part of the face is always closer to the light and then beautiful geography we usually use harder lights such a beauty did, and so the transition that fall off over the live this not very drastic, but the heart of light that more drastic it will be in the shadows will be darker, but usually usually in most cases the forehead will be brighter and the chain will be brighter doctor, then the forehead. So when you're doing dodger than burning, you must respect that initial lite distribution on the face so you can't make the load the joel line or the george the chain as bright as the forehead because that's that doesn't it doesn't work that way in reality and also the plane's our faces don't have angles, right? So I've seen so many times a beginner touching forehead, removing those patches, removing those distractions and disregarding the light full off the transitions and making everything just the same value right and then old sudden there are shadows so what it looks like they don't know they don't not is because they're not educated in that so they thinking that they're making things better but in fact they're making the square forehead which is it doesn't exist exist in reality so my point here is watch the light distribution make sure that european a lot of attention to where the light and shadows were and then zooming closer teo work on those little patches and the blemishes there but don't forget to after you're done with smaller patches pixel by pixel dodging and burning zoom out toggle the visibility to make sure that you did not disturb that lie distribution that was initially there to make sure you did not deform the human face because you see how important it is shadow is exactly what defines the shape for our visual system when we look at the image and again here's another example let's see if I can get this one right here so these area this fear again there's old patchy but if we had a little bit of dodging and burning you can see that all those patches are gone and all of this is just dajun burn dajun burn doesn't burn so all of this are just my daughter and burn layers if you go inside you will see that there's a lot of dodging and burning that was done inside a little bit of burning and and so on. So each set is just my dajun burn layers, and by the time I've added a whole bunch of them, you see that the entire surface is different, but I didn't I didn't make the shadow brighter than it's supposed to be, so that is a very, very important point. And the last thing this is I had so much more here, but I had to remove everything and visual perception and biology of scene is super important, and I will cover this and a lot more in my upcoming video book, from amateur to pour that I have I know it's been coming soon for a year or so, but I've been traveling and unfortunately it doesn't do it itself. It doesn't recorded itself so it's waiting for me to come home and finish its all finish it soon, and I will talk more about this, but just so we know when we're looking at skin at the skin, how do we do? How do we tell what patches are darker and what patches herb writers? How? What pat, just we need to dodge brighton or what patches we need to burn darkened. And when we're looking at the scheme collar, it's even harder for us to see the values, so I want to explain why we need to use visual aid, which is a black and white layer on top of here dajun burning layers when you look at the image at the skin through black and white, your start seeing the differences in values so much easier, and I want to quickly explain why our vision in our race than we have put a receptor receptors that are called broads and cones cones are color, vision, and roads are our on ly they only can detect the shapes, the values they are, what kicks in when the lights are deemed they're very, very sensitive that's why? When the lights here you know when it's dark in the studio and you're shooting and you still see all the shapes and humans and objects and everything around you. But if you, for example, because a whole set off color jails and you need to choose between the blue, the red and the purple, you won't be able to tell that's because you call a vision is not a sensitive, and it doesn't see in the dark and when we throw that away, when we don't rely on our color vision because it's a little bit this way. It's it's not allowing us to see the values as well and when we look at the image through black and white layer that's when we start seeing the difference is in the bellies. But there is a trick also some public, because set colors are on ly symbols and realities to be found in luminous alone limn ince's values. I just call it values, but it's the same thing so usually call a contrast has living in luminous contrast, but sometimes there is called conscious that has no luminous contrast, and that square is actually a good representation of that is same image, but just half of it is just like and white, and you can see that you can see a lot of call contrast in the color and at the top corner you can definitely see that it's two different colors. But when is black and white, there is no difference in the values between those two colors so that's, where they're zero limonense contrast down at the bottom when we see shadows and highlights that's when we start seeing the linens, contrast and what's important is in two dimensional art. Those shadows and highlights is exactly what makes things three dimensional. So if there is lack off limits contrast you make, even though there is a lot of call, a contrast is it still will look flat so why is it in part important for us now to know as to how it applies to indulge in and burning well, the thing is if you I'm going to try to find this you can see that I've got this little spot from the lipstick on the chain of the model right in I turned on ok, this is how it was that there was very little um almost no value contrast more like just a little bit of qala conscious still a bit yellow are but it's not dark are brighter and if you use a wrong visual aid which I was using I used to use channel mixer and I know that a lot of people use different visual aid set ups some people just use black and white adjustment layer some use channel meets her like I used to until I actually read one off the articles by liu li tell more on recession academy when she explained that it's very important tio actually used the correct visual aid when you're turning everything into black and white because you can sometimes missed a color contrast for value conscious and this is what happens if you use a wrong visual aid then you look at this you dodging burn and you think it's gone now it's go good but then you turn it on and you see that you might have removed caller contrast but the value is very much off now so this is my corrections. My corrections looked good under the black and white layer, which was a wrong visual aid. But I didn't do anything better. I didn't fix it. I actually created more problems.

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

Reviews

a Creativelive Student
 

I could not disagree with the previous reviewers of this course more. Maybe because I am familiar with Julia's previous articles online and knew the topics to be discussed was NOT what I have seen on CL before. Which is exactly why I find her mini segments so useful. If you want to learn how to open a certain type of layer in PS, this isn't your class. Quite frankly, if you need help setting up a doge and burn layer or something similar, you are not ready for concepts addressed in this course. If however, you are familiar within the software and you care about the thoughtful application of whatever technique of your choice, then this IS your class. You are only as good as your intentions, and the point of this class is to teach what to address and she illustrated those points in whatever way she has found to be best. Not a waste of money, and actually, quite a deal. I sincerely hope CL brings her back for a 3 day course. If my review isn't enough to help you buy it, then here's the bottom line. I get paid more for my efforts of retouching after implementing the process taught here and her other class. If that doesn't help sway your opinion, nothing will. - Meggan Joy

William West
 

First of all, I absolutely love Julia's work. That's the reason I purchased this class. But I have to agree with others here; there was a lot about each technique she uses, but the class would have benefitted a great deal from a lot more application of the technique to yield the results she achieves. I'm glad the price was relatively low because I don't feel like I really took much away from this one. Again - Julie is an amazing artist; she just needs some instructional design skills. :-)