From here I like to do sharpening. So, once again, tons of different ways to do sharpening. For composites I find using a high-pass filter works pretty well. This image is already quite crunchy because, of course, I was pulling it in to capture one and we bought up the structure for a bit on her. But I'm just gonna create a merge layer again. Alt + Command + Shift + E or Alt + Control + Shift + E. Just gonna merge that up. Filter, Other, High Pass. Three is probably too much. I just went down to 2.4. I'm gonna put that blending mode on overlay. Now what I don't want, is I don't want this over my entire image. See, we're getting that little bit of haloing here, around her hair. So a lot of this hair stuff here, if I'm running into this problem, I would be drawing back in some hair strands. So this is not an image that I would blow up really, really, really, really big, simply because, well we just don't have the time to spend on hair today like I would normally do. Also this haloing is ...
really kind of annoying. So I'm gonna go Alt and I'm gonna click. And so what I'm gonna do, so when I hold Alt and click it just creates a black mask, right. So it hides everything. So I go Control + I which inverts it, I get a white mask, it's all over everything. Control + I, black mask, hides all of the work. So in this case, what I don't wanna do, is I don't wanna sharpen just the eyes and nothing else. What I wanna do, is I wanna sharpen according to the focal length of the image. Because we're creating a composite. So if you photograph something, focal length is gonna work in panels like windowpanes. So you're gonna have your windowpane and your windowpane and your windowpane. So one way to teach yourself aperture, of course, is if you get a whole bunch of chess pieces and you put them all in a line and you throw a camera on a tripod and you take a picture and then you adjust your aperture, your ISO and shutter speed to keep the exposure the same, but then you're getting more and more chess pieces in focus. So if you haven't done that, it's really kind of a fun little exercise. If you're playing with photography, experienced or not, it's just kind of a fun little thing. But another case, so when I'm sharpening her, I'm gonna want to sharpen the things that are aligned with her eye. At least as best as I can guess, right. And subtly. But it looks really weird if the only thing sharp in the picture is the eyes. You're just like, no that doesn't happen in real life. It doesn't work that way. So if you wanna experiment with that, take a photo of a friend or something at a low aperture, like say f2.8, standing up, and then study what's in focus. All the way down. Study what's up. So necessarily the eye is probably gonna be the one thing that's in focus, the nose will be a little bit out of focus, but if you're going down the body, if they're wearing a necklace or something, there's gonna be a line that's in focus across their chest. Because it's gonna be in line with her eye. Assuming they're standing up straight. Of course. If they're leaning forward of course then the whole experiment goes out the window. (laughs) If you wanna see what that looks like and what's in focus, do that. Do that experiment. Zoom in nice and close and see what's going on. So in this case, I'm gonna look at her eyes. I'm not gonna do this at 100%. I'm going to my brush again. Gonna lightly hit her eyes, probably some of her fingertips are gonna be in focus-ish, maybe a little bit of that hip. So we're looking at that there. The fabric here at the front is not gonna be more in focus, but some of this area here around the feet are probably gonna be more in focus than not. Wooh. Like I said, I played with the clarity a fair bit, so everything's just kind of crunchy. Mighta pushed it a little far. But whatever. Aah, cancel. Brush. So kind of approximately doing that. And so if I zoom in and someone goes, hey there's sensor dust, check that out. That's one thing that's nice when you do a high pass filter, all your sensor dust is like, what's up. (laughs) Control + Shift + New, Blank Layer. Healing sensor dust. (laughs) Ay! Sample all layers. (laughs) Please go away. There we go. Yeah, when you do the detail extractor actually, there we go, I knew there was another one there somewhere. Ahhh! Sand storms are bad for everything. (laughs) Yeah, if you're out shooting sand, put something around your camera. (laughs) Otherwise it gets sad. Alright, so from here I have this and I turn that on and off and it should be very subtle. It's like all these adjustments that we've done here, have been mostly pretty subtle. I'd say the most extreme adjustments are the color, when you start sliding things around and you start getting a little bit more extreme with it. If you're trying to make really, really realistic compositions, where you're not having fancy color like this, then your color adjustments are gonna even be more subtle. Very gentle, very soft color adjustments.