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DIY Fashion and Editorial Photography

Lesson 28 of 31

Post Processing: Beauty Shot


DIY Fashion and Editorial Photography

Lesson 28 of 31

Post Processing: Beauty Shot


Lesson Info

Post Processing: Beauty Shot

So I want to do a beauty image first it was fine one real quick that I like I'm going to, uh do the same thing again that I've done before it's the same steps I'm doing over and over and over again so I wanna clean up the whole image and I'll try to whiten your skin and see how it looks after all, right? So I'll just clean up with a few little bit of blemishes that she has she has like, pretty much perfect skin, so there's really not a lot to do on here. So this is a, um a shot like I said before, when its beauty and stuff pictures like this I don't add a lot of textures, I don't do too much, mike, my focus is mainly just working on the skin and cleaning up little parts of that because you just want the eye to kind of stay focused on her rather than fluttering all over the place. So I'm just gonna clean up a little bit about, um look over so her skin is pretty good, but I am going to go back into that imagine all make again and just clean up any little parts that I wanna even out, so w...

e leave a little bit of the blemishes here on the skin and we just go to filter excuse me, imagine all make portraiture and all my settings are usually always the same soul again, my presets smoothing is on normal the details moving now this is a closer cropped and much compared to the last one that we did, so I will zoom in on again I just play a clip, play around with sliders I feel like this is a little bit too strong, so I'll just bring that down a little bit the threshold depending on sorry, I need to tell this up a little bit kind of play around with the smoothing until I'm happy to be a little bit more and the portrait size again, this is a larger file I usually have it set on here because I'm working straight from the large p s de of the j peg that and then I will, um again now back into this so this a skin tone masks I'm going to create a mask to select the areas of the skin that I want the the software to apply it to, so I will first like the sky. I don't worry about these sliders just yet and I will um select again light, medium and dark, so we'll start with the mid tone again it's usually the mid tones and I'm looking for somewhere that's sort of in between so I probably say maybe midway here on the face and now that's the medium and then you can see right here even it's kind of selected itself right here in the center and then I'll goto light right in here this pretty light skin there and now it's got selected that and I'll go into a darker area maybe right here. So now it's created that mask overall on the image on that area of her skin and this I really don't need to mess with too much feathering I'm just going to play around with it until I can see it's there's really not a need for that when I you can also do this um this war show you exactly where the mask is being applied to when you see here it says none I had it on none, so I'm not seeing it. I'm only singing in the preview if you choose white, it will show you where your mask is um, not being applied to so, um it's all here on the background on the hat here, let me move it over here. Um the darks on the hat are you khun select black and it's showing in the office way? I don't really like that, um usually also like the white mask or none because I concede here in the preview and I'm fine with that enhancements yes again is just off I don't bother with that and then just before I hit okay I make sure it's going to create a new layer for me if you have it on current layer it will play to the currently or you're working on and and then you'll have to just keep it that way so it's always good to make sure you have it set to new layer and then I click okay and it's done that's thing there and then again I select the layer that it just did its thing on and created into a mask I can work on and hit control I to invert it so it's black and now it's just nothing it just looks like the original shot and I was like my paintbrush go over the skin area again and painted in or I wanted to go it's just little subtle changes and my capacity again is like midway I'm going to bring it up maybe just to like her skin is really good so there's not much work I have to do it but here but to seventy percent any questions so one thing there are a few people who are requesting you would mention an eyelash enhancement technique hopes would love to see that if you do that okay all right so if you see I didn't lie I always forget to switch this I was on black and I was like nothing's happening but I realized I was painting black on black and so that's why you know it's just kind of funny because when I'm talking through everything it's like I'm forgetting when I'm doing it at home just like this is it I'm done but when I'm trying to, like kind of talk through what I'm like oh no what am I doing? Well anyway okay, so yeah that's that I'm pretty happy with that this area here this drives me a little bonkers I'm going to try to clean up those lines a little bit after not too much because I dont be very time consuming but I'm just gonna finish this up and then even on the back of her scare back here I'll just paint a little bit that over and smooth out the skin on her back and that's what's so amazing about this software is because when you're shooting areas with like a lot more skin to show uh, it helps even on like the reds of the hands because I got a lot of girls and their their skin will turn into get red patches and things like that like it helps to dilute the color de saturate the color I should say, but this software helps a lot when it comes to him big pieces of skin like this it saves you a lot of time, so I'm pretty happy with that and I'm good and I'm gonna flatten that guy out so I will now um oh yeah the veins you know what I will and I just I'll do the lashes like later on just so I could go through my little steps and not have he's all moments of space connect anyways okay, so I'm going to clean up I'm gonna sort I'm gonna dodge and burn here's first like like I always do it someone who got a layer nuclear project burn you guys probably keep showing the same thing over and over but this way you're going to see its just say methods I use over and over and over again and they're just different ways of using and it'll help you remember it easier so ed it fill fifty percent gray motives normal past three hundred percent now that's created the grey over layer and I'll go to soft light I'm just gonna brighten up her eyes a little bit again do this really fast. Can I ask you something if anyone have a question yeah, well you're doing the dodging in the eyes you mentioned something about a special technique to make the eyes look more oh, yes that's right I'll do that too. Yeah, sorry stuff I want to show you guys I'm like forgetting stuff that was one of the other request in the charm yeah, yeah, okay, in the last image I guess I should have showed you that I completely forgot okay so see this little part here on her just under her lip the shadow I usually like to clean that up uh, not too much because then you're gonna lose her feature altogether because that's part of her her face right so you don't want to overdo it, but I will just dodge a little bit in there to get rid of some of the shadow so it's not a strong you see the difference that has made so far and then the highlights on a cheap phone it's gonna zoom out, see what I'm doing here on the, um the brow bone and hope it more here and so now doing this even highlighting on her lip like this is kind of making the lip even more thick and pouty just adding that extra light on top of it just look over here a little bit uh, okay even even here are the details on her, the little ribbon around her her face you can even bring that out, it's all these little subtle changes but that's why? It just makes a really big impact went once you're finished, it seems like as you're going there's nothing happening, but so this is where I've dodged so far just kind of scary now we'll just burning real quick I'm just gonna go on to here that if it under the nose around the nostril and again my open my exposure here is a fifteen percent and I'm fine with that I'm gonna darken up her I shot all and I don't know I don't feel like I need to do too much more out of her maybe just a little bit over here to make sure she's separated from the background nicely no the jaw I'm just looking for all the dark areas on her skin and even on the hut I want to darken up that a little bit make it a little stronger on the blacks yeah I think I'm good with that and I will I'm gonna change your eye color I'm gonna clean up your eye and then I'll do the glass I if I don't from over the glass I just hate what is a glass eye just like okay I want to work on the eyes now missus the lashes the color the veins in the eye so what I'm doing this I zoom in really close and I usually like to create a new layer when I do this so that if I make a really weird mistake and I go too far um just go backwards and painted out or create another layer for it so there's different ways you do this just as I do with skin and I go over the veins like this with the spot healing brush if I can you can't always sometimes it doesn't work depends because if you see here the color is going from blue two white two pink to read more of a ready ready strong color so you gotta watch when you're doing this because it will sometimes not work out well I'm just cleaning that up some parts aren't really cleaning well a song with just go over there and then I would go into the you can even airbrush over top of it but I don't really I want to keep a little bit of that the veins in there because I don't I just don't want her looking like super fake airbrushed on plastic you still have to keep those details at least a little bit and if you see the difference here of just going over there with the spot healing brush and now I've cleaned up a majority of the vein now I can go into the clone stamp tool and I use that next and I will go down to a low a pastie about thirty eight forty goto forty and then I will sample that way and this kind of creates an airbrush effect or you don't really need toe paint over it and I keep sampling as I'm going further down so that the colors change is I'm moving down I'm not going to sample here and then try to clone this whole area because it will look strange but the hardness up maybe the opacity of a little stronger let's place of fifty just keep sampling that's just gradual but it doesn't look too heavily photo shops and I'm going to leave it in the second I don't want to overdo it um so here's that what I've taken out but you see I haven't made it made the I like all white I don't want that I needed to stay its natural color at least too so you don't ever wanna photoshopped the id to such a point where it just looks really fake I don't I don't my preferences I don't like that I like I like to keep a little bit of that coloring in the eye because it's something we all have and it's just normal so and I will just do the same thing here this eyes actually little tiny bit out of focus but it would just be the same thing we'll just go over the eye like that there's not really a lot to do here because it's it's not actually the same as the first one I clean up the veins like that and then I go on my clone tio I just play around here just clean it up kind of feel like a one a little farther they're so I cleaned up the eye and I'm good with that another thing I want to show you guys real fast is well there's no catch lights in here so actual skip that we'll do that after um I need to clean this. I'm sorry is driving me crazy. I just keep seeing it. So I got to get rid of this real fast. Okay, so the way I do this usually is two different ways. Um, the patch tool if it looks wrong, so I usually try it that way, see if it'll work. That worked pretty good. So, uh, well, I don't need that one. I just this this piece was just going right over into the over the hat, and I just kept looking at it, so I had to get rid of that. So patch to again is this guy over here and I always have destination selected. Like I said, some people have it a source, but it's easier for me to take a piece of what I want and put it over top of what I don't want rather than doing it backwards. It's just the way I do it. So I'm just taking some of those details and this hat it has, um, you know, a pattern on it. And but the thing is it's fine to you're not really seeing it's, nothing like if it was something really, really obvious. You have to be careful, but we're going into the darker and of the hat and it's not really a big deal over here I will take I circled a little bit of the hat and a little bit of the hair because I need to go over there, so make sure when your trying to patch that area to it got rid of it really nicely. So when you're patching a spot that's got to be completely different solans up of whatever on the image on it, make sure you're circling that exact same way to sample over top so I'm gonna attempt this with the hair. It might not look right usually doesn't but I will go really close in and do some cloning instead. So where is my comb now? I will, kate so this is this is something I do with hair salons this is always at it the hair is blurry here, it's not tax sharp but I will bring the heart hardness up and the brush way, way, way, way down. So the hardness is a fifty three percent. Usually I have it set in the middle and the opacity is right up there and this is really meticulous when you do this, but we just see how this is gonna look, I want to do this fast, it's not going to be perfect, so just just so you know how I do it like with thes this let's pretend this green was like a stray hair that the client didn't want? This is how I end up getting rid of it. It's that's a lot of sampling and editing over top so it's really a lot we'll see if I can get rid of this. Okay, so I'm just going to do this real fast. It might be a little sloppy, but it's okay, we understand the difference between speed and right now I don't want I don't think I want to sit and watch me get it out of green string for often our anyways, okay? And is this similar to the technique that you would use to clean up like peach fuzz? Yeah, you could do that with, um you can actually do that dodging and burning and I can't even go into that after that's very time consuming, they call it what's the word well, there's a word for that I can't remember now I'm sorry and blank, but dodging and burning is used a lot for that as well. So anyway, I know there's there's little green patches there, I know that and I know it's a little bit of a mess, but visually it's not bugging me as much, so I don't see that anymore I'd have to. If I was, if this was like a shot that I was actually working on, like I said, for a salon or clients, I would spend way more time cleaning that little spot up. But that's, basically, how I do it.

Class Description

When you think of conceptual, high-fashion photo shoots, you imagine budgets in the tens of thousands of dollars. Turns out, couture shoot concepts don’t have to cost more than $100. Join Amanda Diaz for a hands-on class that will show you how to concept, style, and photograph the images of your dreams.

This course will teach you everything you need to know to create high-fashion looks (including models, props, and locations) on a seriously shoestring budget. You’ll develop the strategies you need to carry out a complete low-cost, high-impact shoot from start to finish. You’ll also learn about creating a consistent, cohesive portfolio and develop ways to express your unique point of view in every image you capture. You’ll examine how a fear of criticism can unduly discourage you in the same way financial constraints do, and how to prevent those fears from holding you back.

From vision boarding to connecting with modeling agencies to shooting for publications and more, you’ll explore the tips and techniques every professional photographer needs to know.


Dan ilicak

Amanda diaz has given me inspiration and purpose. I wake up everyday inspired to create a beautiful image, atleast enough to hold your "aww" for a few seconds. I can relate to Amanda on so many levels as I also found myself in photography and never planned for it. Just like Amanda, I also started from scratch with nobody to help or assist me. If I had found this tutorial a few years ago, it would have speeded up the process of learning. Even today I call myself a professional photographer, this course still had a lot to offer me. I can blab on and on about how much I love and support Amanda diaz, however I will make it short and sweet by saying three simple words, "Thank you, thank you, thank you!"

a Creativelive Student

This was the best creative and most prolific 3 days of a tutorial. Amanda covered the entire spectrum of what every photographer who's trying to become better and bigger go through. I loved the part where she spoke about how to shoot in any lighting situation outdoors and a few indoors. She not only spoke about them, she went into full detail to help the novice or advanced level photog. Despite the tethering issues CL had with Lightroom, Amanda poetically commanded every day of her 3 days. Another point is that she did everything "her way", and not the traditional textbook style of teaching and editing. One prolific point is that NONE of the previous CL instructors touched the issue of drama, unwanted criticisms, or unprofessional things that happen in the industry, however with a brilliant stroke of quiet humility, and courage, Amanda did. I believe it helped everyone realize that no matter what level of photography you're on that it happens and you have to oftentimes "bite your tongue", or "turn the other cheek". It also pointed out that as photographers we should be doing everything to help one another to build our industry, vice tear it down by hurting one another because of the mindset of "competition". Amanda Diaz, and CL I salute and thank you dearly! Semper Fi! Mike

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