Image 7 - Portrait
So first of all, we can see the exposure is not quite right. So it's kind of under exposed because we don't have anything from the mid tones to the highlights. Let's get a crop in place first. Doesn't need much just a little bit, Um, maybe down the bottom as well. It's like so, so looking at the exposure we need to bring the exposure up the touch. And I don't want to go any more than that because I think then the skin will get to washed out. But we might be able to just do a little bit with the brightness, so I'm happy with that. If we look at the skin, we can see, you know, there is some skin tone variation, which is normal for all of us. Now, this is kind of a casual portrait snow, a beauty shot so we don't expect totally uniforms skin, but we could correct it a little bit. So if you remember when we used the color editor, then we have the skin tone tab, which works specifically for that. But it always works better if you do it on a layer. So my preferred method was to Let's add a ne...
w filled layer. Let's call that skin tone skin Tober, skin tone like so go into the cholera deter. I'll make this big a few guys. Did I feel that land? I can't remember. Yes, I did. So let's zoom in. And if you remember the workflow, we grab our skin tone color picker and we look at our subject and we decide where are desirable or the best skin turn it. So I'm going to go down here somewhere like that and click once. Now I'm gonna expand out this tool just to make sure I can capture all of the potential skin tones on our subject on because I'm going to do it on a layer. I'm gonna be quite, you know, broad with this as well. So now our uniformity, sliders, if we drag these to the right, that will correct our skin tone quite nicely and would be careful with the lightness. So if you remember what the uniformity sliders do is that everything in that triangle in that wedge is being transformed to that desirable skin tone color that I picked. Now, of course, the unfortunate effect is that it's changing in a lip color as well. But no matter, we're gonna brush that back in. So let's close the color editor and we're going to say, clear mosque, going to grab a brush and we're going to selectively brush in where we want that correction. So nice low flow. So we're gonna go up here, zoom in a little bit, So around here, across the bridge of the nose, up here in the corner, Andi under the Oise and doing a nice job of correcting that. But we don't go too far because it is natural. So just around there and again, if I think I've done too much, we can grab all capacity slider and then go somewhere sort of in between Around here, I think, looks good. And that's pretty much, you know, a great edit without too much adjustment. This is super annoying. This whatever this highlight is in the background. So this probably will work quite nicely with the hill layer. So let's make a new here layer, grab my brush, Weaken selected bit of the background from over here, I'm guessing. And then just most that in perfect. So now that destruction has gone away and to finish. Let's drop in a bit of vignette ing as well. Looks really good. So if we hold our option key down and click on Reset, that was before and that was off, like so. So generally I don't tend to do much clarity on people. It can be, you know, a bit too aggressive on the face, but it might actually work quite nicely on a hair. So what we could do? Uh, let's just do a quick here, lion, grab a brush and we're just gonna go full flow, nice and soft. And let's just mosque the hair like so careful not get face around 10 and right click. That's make that a bit smaller on, and it's pretty good. So now if I take clarity, we condemn boost that up. Just a touch. So so once again received before and after very simple edits, but does make a big difference