Advanced Portrait Retouching in Lightroom
You may have seen this image this is something where I've normally taught this and photoshopped this is a entire have entire dvd on how to retouch in photoshopped older photo shop but this right here is the originalist another book crystal shop again for crystal is my hidden partner in this serious here just because she is the one who is the great photographer of people she's we're now in wedding photographer I don't do people so brooke allows me to use her work and thank you again brooke for that but this image where I've normally have taught a session on how to do it in photo shop is actually we're going to retouch it after in light room this is the exact same file I think that is including increasing the size of the pupils fixing lipstick, softening skin tone and everything else has done in light room not in photo shop that's what we're going to do after the break but let's start off with something that's not quite so elaborate as that one but again here is the and I'm looking at th...
e snapshots we talked about the power of snapshots this is the exact same file I'm not doing two separate files down here in the film strip ok there's no smoke and mirrors it is the exact same file that's the raw data the fact that you could do that kind of retouching in light room is yes, the term is bitch. Ok, so let's, go ahead and we're gonna start off with another shot. What? I'm a few that I actually took right here and let's, go ahead and close some things up. First thing, of course, as with anything in light room is going to be to do the tango right? Don't start doing an effect or retouching until you know that your images that so we're simply going to do the tango white balance looks fine crop is probably already done. Otto is giving me a starting point. Here I go. Okay. Looks a little hot. What am I looking at for that exposure that first stepped after auto is going to be my mid tone value. My mid tone values my skin tone so it took that up way aa lot because it was a dark kind of under expo shot. I'm going to come here and I'm just going to reset it on ly looking at my middle tone value. Okay, so that's all that I'm concerned with right now. So I've got that this is the rest that it did actually let's look at our history, graham, because there's something going on here if I look at here, I'm going recovery phil light one that's not how light room is labeled right it's its shadow highlight what's going on? Well, it used to be in light room for that. There would be a little exclamation mark in the lower right hand corner that is basically saying, dude, you've opened this up in light wind free or before ok, in other words, you're not even using the right processing engine they got rid of that, which is actually a shame because it's a pretty major thing, they replaced that with this little lightning bolt over here in the history. Graham okay, so it's an interface thing, it's interesting it's telling that this actually was opened up using the old two thousand three processing engine. Basically, this is a button update to two thousand twelve, so if you see this little lightning bolt, if the sliders look, huh? Then what you're going to do is you're going to come up here and click on the lightning bolt. It is now going to use it's telling you that it can use the new process, you can review it. I can update all the photos in my current film strip or just the current one. I would don't I don't recommend updating everything because if you already finished up a job, you did it in like room one, two, three or four. For a really doesn't affect cause it's the same processing engine but if you've done something in one two or three and you'd already finished it you've already sold it already made money with it you don't want to update it because it will change the appearance because what you're doing is you're opening it again probably to reprint it or to make another copy for your client so don't automatically update your images to the new processing engine I would do that on a per case basis as needed so I'm just going to update this one it's not going to change it in this case because nothing has been done to the image so it still is going to do that auto hears that auto again and here is again using that exposure and now you'll notice that the sliders are back to where they're supposed to be so here we go we're gonna do that exposure up and then we're going to do clarity remember exposure clarity shadow on highlight so the middle tone values look good I like that again here's our before after before after remember that before after is your backslash key over by the delete key um clarity as I mentioned you probably will not add clarity to a portrait especially to that of a woman if it's a high school football team you know that maybe you can get away with it going to go that grungy are you know kind of look, you may want to take it down a little bit in this case. If you go, you can get too carried away by doing an anti clarity but a little zoom up here and let's do make sure that we are well dio phil, which is going to give us a little bit more. So if I come up here with our anti clarity, you can get away with a little bit and you'll notice what it's doing to that skin. Okay, so it's doing a nice little skin softening, but not too carried away, I would have it it like a minus twenty five I'm going to in a second come up here and add clarity to the eyes and the eyelashes and also to the lips. So if I take a little clarity down it's doing a kind of global softening that's fine, knowing that I can get rid of that by adding the opposite in a brush mention that also yesterday, one of the cool things to remember is that if you take out clarity in one place and added back in a targeted fashion, you've actually negated it from the other it's not like you blurt it, and now you're sharpening the blurred copy those numbers will cancel each other out minus twenty five clarity here and a plus fifty clarity in the brush we'll give you a plus value of twenty five and I know you're going do I became a photographer because I don't do math why if you can't realize that minus twenty five and plus fifty ends up with a plus twenty five then I probably don't want to get a lunch with you because you're not going to know how to do the tip right? So you know I have to need police know that much math to get this to get like going to work okay so a little bit anti clarity shadow on highlight the shadow and highlight here actually works fine I don't see any need for it let's go back to our phil to fit to phil is going to be I mentioned whatever you set up in that preview is going to be your toggle in your zoom so now it's going to be fit to fill and so it's going to zoom between those two so whatever you set up in that old preview area is what it's going to do back to our little shadow if we come over here and do a little shadow resuscitation it could be that the hair was a little dark you know where the eyes maybe a little dark so sometimes you can actually do a start on the retouch by doing your shadow slider but in this case I'm not going to they want to make it a little bit richer you can see right here I can actually bring down the shadow so that's a viable option I'm gonna actually bring it down because I like how it's emphasizing the jaw line so since that's the three quarter tone it's not the black it's not going dark it's not going plug up my shadow's is just darkening that shadows so we did our mid tone values exposure we deal anti clarity we took the shadows down whites I mean the highlights right here maybe if I wanted to if I wanted to I could, you know, kind of exaggerate it's not the middle tones as the highlights so by going up here you can actually exaggerate the shaping of light on a portrait. Usually we don't want to exaggerate the highlights, so normally you wouldn't be adding highlight but just keep that as a reminder since you have your middle tones your highlights in your shadow separate and none of those are going to be pleased plugging up your whites and blacks it's actually really nice to know that you have that at your disposal. Maybe I'll even bring it up a little bit what's the last step the fourth step whites and blacks have needed gay looking at my history graham I could probably it it automatically took my whites to a plus thirty because it was a dark image by turn on that I probably have more leeway you can see there that I can go that much further up before it actually starts to clip anything. So that is fine it's a little fine tuning. I did make it a little bit brighter for this portrait on the last thing is that vibrance now vibrance is going to be a little bit tricky here because she's got this, you know, purple blouse on also I mentioned yesterday even though that I can take this up in the skin tone is looking great by adding a little bit vibrance gets a little carried away with blues if we look at the eyes here the ambient light of the sky in her eyes when I take vibrance up it's going to do too much, I'll exaggerated to the eyes in this file and also that that sort of work on this is going to make her sweater distracting. So this is going to be a case where I'm not going to add any vibrance to it because I want to be able to selectively take portions of the color and changes. So if I want that skin tone up, I'm done with the tango. Actually, that last tango is vibrance and vignette let's use our new vignette because we like it so much we're going to go back to our radio filter here we cannot hide our history rams we can see all this for teaching purposes double click on the word of facts resets all those sliders I want to start off with a little bit of exposure down what was the shortcut for it automatically set that for me not shift doubleclick so close command on the mac doubleclick or controlled double click on the pc and it automatically sets that up can't think it's going to take that and automatically here is our before after before after you'll notice that by the way, as I move my cursor outside of the window over here to the panel it's automatically hiding my control points for me, which is really nice automatic why in the tool panel down here in case you're going, I don't get that to a panel that's the tiki the tiki gives us our toolbar and that is where show edit pins auto and auto means you move your cursor over to a panel and the pins disappear. You can say I want them always on selected never auto is a great default setting to have all your options associate with whatever you're working on are going to show up in the tool bar that's the tiki so you can see that now that we've got that said I could move that off and again if I wanted teo, I can expand this and make it a little bit bigger if I wanted to so here again is my little then yet if I want to get really cool and trendy, what else can I dio? No, not clarity. And so we could do an anti cliff. You want to do a little, you know more fogginess. That's going to add a little bit of haze to it. But I could even do that. You know, anti sharpness. What that's going to do here? Let's? Go ahead and zoom in on our file. Here, here. Now is our before and after it already was shot with a very shallow depth of field. Okay, so let's, see if we can get that here. Ok, so here is before. So this was in focus. And here now you can see my focus changing and again anything above a little tip on your sharpness. Between forty nine and fifty one at forty nine in buffalo. It's going to soften a little bit, but there's actually no blurring at fifty and above. It actually is going to blur the pixels. It's an interesting little fact. If you want to blur you can't anything below fifty. There will be technically no blurring, a little bit of a haziness, anything above it. And significant, it actually does do a variation on it. So from fifty and above is going to be blurring, okay? So I'm gonna actually gonna take that to something like seventy five and it just a softening is going to help with stray hairs and things like that is just a ziff I had opened up my f stop ever so slightly question so it's a like a lens blurs you're getting actually like d focusing almost or is it kind of it's an anti sharpness as what it is so let's let's not, you know get too carried away that it's the same thing as the new lens blur options within photoshopped it is a softening of it I use it for minimizing distractions is it actually going toe imitate a true boca of okay? No is it going to allow for little things like a exaggerated speculate highlight and given things look at no doesn't do a really good job of doing what I wanted to do right now, which is helping with drawing attention into the center portion of my image yes doesn't excellent job of that but it's not true d focusing of it it's not the true blurring it is as the name implies, a anti sharpening to it and I use it again for getting rid of the stray hairs for a little of softening and here again is my before after in terms of the tango let's just zoom uh it's kind of hard to see so their will and as I mentioned before yesterday if you get into full screen mode you before after doesn't work don't be like that that's one of those things and hopefully you know um like room five point one we'll have that as an option when you get into full screen mode that used before and after but there is our you know darkening of it are vignette of it here is our before after before after yes in terms of work flow well where does blemish removal come in is it going to be before you tango around after the tango so all we've done for the tank actual haven't done any retouching that shows you how far you can take it was simply doing the tango over th s l we spend a lot of time in a chest how yesterday mind bogglingly useful you missed it I'm going to come over here to saturation I'm going to click on my targeted adjustment tool this is review for those of you guys were here yesterday I can click on this blouse and take down in the saturation portion of the h s l panel we're now talking about retouching and h s l is awesome as part of retouching we're going to do a skin unifying after our break as well terms of retouching so I'm in whatever I'm in queue saturation or luminant I can affect all of those based upon the color in the file simply by clicking on it. So I'm going to come over here and this is going to be really cool. You're going to really like this, so I'm back in saturation, I can come over here to the sweater you'll notice as I move that down. It's seeing this is a red, so I may take it down just ever so slightly so it doesn't fight with the eyes, I can jump over the luminous go on the sweater and I can take down the fluminense of the eyes that luminant is going to be the same as her lips, so you can see here that the lips are changing ever so much they don't want to do a whole lot to it in terms of changing the luminosity, but I don't mind that lips being a little darker, I'm going to go back to that saturation, and I can look at those problematic blues that ambien lighten here. I don't need that much blue in here, so with saturation I can come up here under the blues, and I can actually remove the ambient light in her eyes without needing to retouch those out by hand, okay, so I can do that if I wanted to, I could just do it on the whites of the eyes without affecting pupil there little speculate highlight. But in this case, I don't mind taking out a little bit of blues. I'm not seeing the rest of this guy. This is all blues everywhere in the file. So if I had a sky, I would again be selective using the brush to de saturate that. But right now we got rid of that what I call an ambient pollution of the color by taking down that blew in there, okay? And the skin tone saturation I said I made so I'm gonna come up here and take up the oranges in the file so I'm adding a little bit of boost to the skin tone without affecting in all the other colors. I want women saturation. I want those greens to come up a little bit. So now I'm taking the greens up a little bit and I can't even come up here. This is probably going to be our yellows, so I'll take our yellows up a little bit and I confined to in that if the skin tone was a little bit too yellow again, many of us have a fully balanced skin tone. There's nothing going. You know what? I want that to be a little bit more, you know, tan. So then I can shift to hugh, and I can click on the skin tone over here and as I go up or down that's more yellow, I don't want that and down here, and I can make it more brownish if we look over here on our sliders, what we're doing is actually a very elaborate adjustment of taking what was to yellow and pushing it, even though it's in the orange pushing it towards red, okay, later on what we're gonna do is we're actually going to be able to do this for the little teeny portions. One portion of the skin which is to read will shift toward orange when that's two yellow will shift toward red balancing out and were able to be able to work on freckles. Rose atia, acne, excessive drinking problems all sorts of things were going to be able to do with this slider, but in this case, I'm just going to simply moved down here, and we've gotten it a little bit more orange. And now this one slider h s l you can see we got rid of the blue, we balanced out the skin tone. We got rid of the sweater being a little bit distracting, and we did that over the chess l here's our before after before, okay, yes question so if her picture did show some some clouds behind her and you didn't want to affect the clouds, is that when you would use h s cell within the radio on the eye um we would use h s l in the target adjustment, which is where we're at right now so yes, what we're gonna do is we're going to take advantage of the adjustment brush to do the hand retouching and now we can selectively say just here I want you to d separate the blues in the in the whites of the eyes or whatever that's exactly we're going to right now so it's a good leading point we are now in the adjustment brush and now what we're going to do is typically fixed the biggest issues first we have looking at here against a beautiful skin I mean this is an un retouched file, so in terms of blemishes it's an awful, you know, imaged work on for teaching blemish removal because they you know young lady is blemish free, but we'll still do some work on we've got other images that will give us plenty of things to work on, but right now I'm gonna work on the eyes the eyes are still a little bit dark, ok in terms of the lighting in here I didn't have a stroke but anything else this is all completely natural light in terms of how they're shot was done so I'm gonna come up here reset that brush and now what I want to do is the first thing I want to do is do those whites of the eyes so actually that's go ahead and if we I went back to h s l let's go ahead that's still open will go to saturation and let's take this blues back to where they were because that's not you know you mentioned what about if there were clouds I want to leave the blue in the speculum highlight in the pupil of arrive that's kind of cool and let's say that we do have clouds so that really isn't a typical thing when I took out the blues everywhere that's you know I was cheating but when you're going for speed cheating is fine so I'm going to come back here I'm now in my adjustment brush doing a targeted adjustment. I've reset the effects by double clicking on the effects here and I'm going to take my exposure my mid tones up a little bit I want to brighten the whites of the eyes and I'm gonna take that saturation down knowing that I confined to any of these effects after the fact I don't have to know exactly what I want those of the basic things, what you want to do for teeth as well as the whites of the eyes you want to brighten up teeth a little bit and get rid of staining on the teeth which is saturation down so this one brush will be both a I whitening and teeth whitening brush and uh I'm going to come up here and looking at the adjustments here on my brush I'm going take my feather down a little bit you can see the size of that brush in terms of the feather that transition is going to come down a little bit and actually you know what? I'm going to leave this right here this brush let's zoom up here so here is and let's get rid of that green so here's my brush it's a big soft brush I like it I want another brush that is smaller and harder can come and use that all the time so what I'm going to do is I'm going to set up not my be brush this is another thing that most people don't know unlike room light room has a bee brush and a brush and the eraser by switch over here to a I can set this and I already do have it set to a smaller brush that's harder hey half the feather the nice thing about this is when you tap the forward slash key and you have the adjustment brush active you actually get to toggle between the and the b brush without ever going back to the panel it's very very cool because that's what you want I'm going to do a little bit more retouching I don't need it is hard I still like it so again that's the forward slash not the backslash and we'll do a little bit more feather whenever possible I like as much feathers possible it's going to hide your transitions hide your effect hide your retouching just like in the old dark room days you know big soft and subtle adjustments are always gonna let you go faster flow and dancing as I mentioned yesterday I usually keep those up eight hundred percent if you want you can do your density down the nice thing about having a reduced density in a brush is that you can you know if you're doing two I specifically ones usually going to be more lit right if your side lit so you're trying to do in effect on one eye as well as the other eye by taking the density down this is like the intensity of the effect you can have one brush paint with die that's more lit at fifty percent density you move over to the darker I changed the density of the exact same brush exact same setting up to one hundred percent now you're doing one adjustment two different intensities using one setting ok so the density is actually really useful typically than what you do is you could start at a lower density if you knew that you wanted you know something like a face that's out of balance and you'll change the density when you go on the dark side with the face versus the light side of the face okay, I'm not going to use that right now, but it's also really good trick and that's why you may want to change density ok and last thing before why fixed the's eyes right here is I want to see the mask I always want to see the mask when I'm doing a max adjust masked mask adjustment that's tapping the okie okay and again looking in the tool bar, you'll see his show selected mask overlay that's the benefit of the tool bar if you don't know the toolbar active, you better know the shortcut shortcut is the okie and here is the tip and I'm going to do one mohr zoom up and now I am painting the whites of the eyes now I'm I'm not going to get really anal attentive in terms of that edge on here, especially if I've got a sharp corner edge like I've got here because I'd have to have a really teeny tiny brush in order to do that what I am going to do is hold down that option or all key it gives me my a racer tool, so now you know shortcuts for both a b and eraser right. And be brushes your forward slash changes size and the other there typically what? I would do it for the option key on the mackerel can the pc is automatically going to give me the eraser brush over here. And then I see about that is now I can come up here and clean up that ok? And that is going to allow me to not have to be isn't I can allow me to not be so concerned with a really small brush for doing the adjustment meaning it's much easier to a race to get the shape of your adjustment than it is to paint it in, you can see how sharp I can get so it's much better to come over here and let's do that again is I paint well, but sloppier in here, I can't even go around here. Go down that option are all key that's sloppy and again, this sort of thing. This is why you want the welcome tablet. Okay? Because this sort of thing on where the mouse is just not a pretty thing here and now we've got it. We want to hide that mass that's again tapping the okie and now you can see are before and after, we're just coming up here and lightning it ever so much. Let's take that saturation down even more so and maybe went to the eyes even up a little bit more and here is again are before after before after okay, I like that brush. I never want to have to do it again. I was exhausting moving those sliders. What am I going to do? Ok, click on custom come down here to the bottom and you're gonna notice I've already made an iris pop in this case a I am teeth whitened brush so that is already done don't need to make it the retouching the iris retouching an iris is basically you throw the kitchen sink at it what are you trying to do? Your trying to imitate light coming in from your main primary light source hitting the lens of the eye which goes is above the ball of the eye right? Your lens of the eye is actually outside of the ball of the eye so when light comes in and angle an acute angle, it comes in and can hit the lens without hitting the eyeball. And that dancing around is what we love right brian regan comedy routine but I won't go into that right now. You want to make it as if the lights coming in and angle so you always lighten up the portion of the iris opposite of the primary catch light or speculate highlight so it's coming in from above here I'm going to lighten this up down here don't lighten the entire iris because that would mean the lights coming from out from out of the iris toward you which is demon possession all right so do not do that unless you're doing a zombie movie we're going to take our exposure up but really even more than exposure I mentioned that the iris is the kitchen sink I'm going to take my shadows up I want to pull out because usually they're going to be dark I'm going take clarity up because I can I may take saturation up contrast up that's up to you on what you want to do but you're ending up with this ability to have the light coming in and let's go ahead and do that there let's take our will exaggerate that now we're gonna take our clarity up and our shadows up and our exposure a little bit I'm going exaggerated for teaching purposes but you can see that light is now coming in and it's going to take the inherent color of the models eyes and as we see him out and high those pins how do you hide the pins hp and again let's go then into phil we want to take command of my minus so here is our eyes before after before after we're going to do an elaborate adjustment later on where we're going to actually change the shape of the pupils of the eye in like room, but that's an advanced class, so we've got our basic eyes going on here let's do a quick skin softly, and we're going to be pretty much set ready for a break. I'm going to hit new I mentioned when I do skin softening, I don't get too carried away with clarity. In this case, she's already got disgustingly smooth skin will make it even more so for teaching purposes, we'll go for glamour glow will say this is a perfume at this is off the charts way up here, so a new up we're going to take our clarity down, okay, our clarity down, and we're going to start off with just that one adjustment here, and what I'm going to do is real quickly, and you can see that I'm on my a brush. How do I switch to my bigger, softer brush forward, slash done don't have to set the brush settings again. Those two brushes has set you since you can change the size, but using your square bracket keys, or you can use if you've got a trackpad. I'm using two fingers on my track pad, and if I've got a mouse, I've gotta scroll wheel and, of course, on the walk home of disabled it for teaching purposes, but I can also well actually that this is still on I'm just using my little hand wheel here and that's changing the size of the brush so a and the b you just are mainly concerned with things like density and feather ok so I've got a big soft brush here really big brush here how about I turn on the overlay okey I'm going to come up here and I'm going to do ok a really ugly masking and you go wait a minute you're going toe get the teeth and that yes I'm going to get all of that why do I do that? Because it's a lot easier often to do in a race than it is to use you to ask forgiveness than it is as permission movement with your kids say um so it's easier to do that so we're going to come up here and I'm going to do that and I don't want the anywhere where there's hair I'd certainly don't want to soften it um that red is so far out of gamut it looks like how is that? Is that attractive s so attractive and actually mentioned you how can you this is a super secret mickey mouse club handshake how do you change the color of that mask you can't do? There is no option down there in that tool bar this is one of those trivia questions you used to get pre drinks at your light club like room bar all right. Okay. Shift o is going to let you go through these different options of the color. Okay, now, you only you and I know that, um, secret shortcut. Ok, so we're gonna come down here again. Option for all to get the eraser. If you zoom up, remember that your brush does not change size that's one of the smartest things anybody ever did in terms of interface design was if you zoom up, you're probably zooming up because you wanted to detail work. Ok, so why make your brush bigger when you zoom up? So again, another speed? A little tip there is rather than change the size of your brush or in this case, my racer. I can simply go into zooming in on the file, and I have access to that. I'm going to hide the mass by tapping oh, again and let's, zoom in one more time. Let's, do a little bit and get command plus or minus uh, is going to give you allow you to zoom in and any factor not just do this, jump back and forth. So here is our skin tone. I'm going to exaggerate that. So here is not what you want, plus, but here is our skin softening, because that is removing edge contrast it's not blurring any pours the great thing about this and why I love it even over some of those you know third party filters or filtering tricks and photoshopped that actually blur skin tone to get rid of poor structure this this poor structure is still absolutely apparent in this file it is still a sharp in terms of the poor except for this girl has no poor is because she's just way too young and uh but anyway it's so it is getting rid of the contrast within the skin so that's why I love it we already have a plus a minus twenty five there was globally set now we're coming in and adding like another you know, twenty five or fifty in here and that's adding to what we already had so even though I may be at fifty now actually got seventy five clarity right? They did it part of the tango I took out twenty five so there's my skin softening and I so here's before after before after the last thing we're going to do here ten minutes over you have more minutes are uh let's do the teeth and then we'll take a break that teeth uh we've got our eyes let's hide that panel I've got to use that same one that I did for the eyes let's go in here for thank you for that reminder and we'll come up here to our other brush and I'm just going to come up, not even looking at it, and you can see that I'm now getting the teeth were destatis in the teeth and bringing them up a little bit, making sure I don't get spill over and we'll say, for now that is our control to the re touching but what's good for us to take a break that is our after this is our before retouching. The main thing to remember about these things is one the tango this case, we do the tango, and we added the h s l right that allowed us to change the skin tone to exactly what we wanted got rid of the distraction of the sweater at a little punch to the green in the background without doing, you know, overall effects to it. We then went into our targeted adjustments. We first got rid of the teeth and the eyes in terms of an adjustment with one adjustment, the iris of the eye. What we're able to do is add that pop by throwing the kitchen sink at it clarity, contrast saturation, bringing out a lot of shadow detail that brought in the pop to the bottom portion of the eye and then last what we did is the skin, which is basically an anti clarity if you do have that I'm skin a lasting you knew I'm not done on that skin there the one thing that all other mentioned if you really want to add more pop to that glamour, you can actually well removing the edge contrast by clarity you can actually bring back in a mid tone contrast in other words, admit tone contrast and actually add some drama too the skin tone here so we're adding a little bit, bringing in shadow detail and adding a little bit of contrast, which is also going to exaggerate the you can see now what we're doing to the skin not only softening it, but we're also coming in there and also adding a little bit of extra over to it okay, we'll still minimizing contrast so that's up to you last thing they will do that? Yeah, you know, if you want to globally change all these settings, this is what I call my charge more money effect if you move left or right, look at the sliders it's changing everything related to whatever you're clicking on in this case the skin tone so take it up, it's exaggerating everything in tuning the clarity is going down, contrast and shadows is going up look at that on the right and that's way too much don't ever do that and if I take you down here there's no skin softening whatsoever, so that is that thing that's built into all these adjustments when you come up and click on any pin with the adjustment brush, you simply come up here and go left or right. And it just all those settings at one time.