Photoshop Smart Filters: Beauty Glow Effect
So here's a patrol alina she's a wonderful model one of my favorite models to work with she's great not just because she's gorgeous but also she has a great attitude and also she's and she's a good actress so I don't know how many of you work with models it's funny because people outside of the industry think oh you're beautiful you make a great model like it's all about beauty and you know that's it's so much more that using a good model in some of this beautiful I mean frankly, you know let's be honest would make anyone look beautiful in flower shop I mean and everyone's beautiful in their own way but you know when it comes down to it it's about having a model that's not a prima donna I won't work of prima donnas like people that are like that it's just I don't care I'll find someone that's a little less well knowing you then you that is easy to work with analyst of course as pay to go shoot a celebrity and I wouldn't care because that's the job better funding a personal project and ...
you get a model one that's easy to work with and on number two you know, maybe a little bit of experience I don't have to be like super experience but there's nothing worse than your time crying to get the first time model it's like one of those wooden mannequin figures you know, it's just kind of standing there and you gotta stick clicker and you have to pose every single limb that's a lot of work I mean, if you're trying to lure imposing its great views as a photographer to stop with someone with no experience that you'll get some really weird looking poses to because you don't necessarily know so in other ways to work with an experience model who knows, imposes and as a photographer, you can actually learn by working with a model that knows how to post says another the important thing and then and I just want to say this to any other side of it just I think I just have tomorrow responsibility community to say if you are guy photographer it's not a dating service, you know, model mayhem is its not for getting a date it's forgetting a model toe work with please be professional don't be creepy on do you know? And a lot of the times if I'm working for model, I've never worked with before and we don't have assistance on said I'll tell her, bring someone with you, bring your boyfriend, bring your whoever brings someone so you feel comfortable because here's the thing apart from the think that you're going to be like super creepy the other part you're never going to get a good shot out of a person that is creeped up it's good, they're going to show it on the face they're going to show in your expression you want them relaxed? You want them happy? S oh, yeah? So anyone having said that, you know, if you've got a girlfriend that you want to shoot that's great, if you or someone you want to shoot, you want to make you girlfriend now all right, so because there's too much of that going on anyway, so here we go, so he has his lena and what I'm going to do here is I'm going to show a little a little effect here using a smart object. Now, this is kind of like an important kind of this effect, and I'll show you how we do if layers but it's not flexible, right? So basically, you probably don't know this. You take it, you've turned to overlay blend mode, and then you had a blur on it, right filter blur and with the thousand blur and then you'll find us a sweet spot in here where, you know, look horrible, that looked cool and then a look horrible again. So you just want to find that sweet spot? Never it looks good, and then at that point, you play around, blend moves, you play for capacity and you create this kind of night glow ten of effect, you know, finally special effect like that way and you could pay to have the eyes and all that kind of stuff. So sometimes what we're gonna do is we're going to do this with a smart filter because one, we're cutting the file size and half because every single time you duplicate that layer, you're doubling your file size. If you're starting with one or is potentially increasing that slows everything down, slows down, the performance of your machine makes bigger file sizes all that stuff where's he worked with smart object, and you're just working with my filters. You can do the equivalent of creating new layers without actually having to create layers keeps everything more efficient and fast and also the quality to there's. Another side benefit of working with a smart filters that I haven't mentioned yet is every single time you change something in a pixel, you lose quality in your image. So if you take something you blur a little bit, I don't really notice you do something else. Apply another filter, apply another full time before you know you get this muddy blub of blur onda quality deteriorates where's your using a smart filter, it maintains the quality of those pixels, so your images will look crisper and shocker. So that's a good side effect all right, so what we going to do in order to do this? We're going to complete this to a smart object, right? Click convert to smart object ok, so we've got a smart object here and now what we're going to do is we're going to do exactly what we did before, which is going to go and we can apply a blur I'm going to choose the filter scribbling thousand blur goes in blur have you say it I'm looking at this blur and we're going to get down to it who says goes in here? He says gals ian, who doesn't know go ocean who says abortion? So the blur the g blur this grabbed the g blur and we're just going to give it a little bit of a blur so it's going to pick up the last sittings and so you know, that was kind of ok before, you know, reduce a little bit because I'm or a fan of subtlety than I am overdoing things. S oh, here we go we've got this. So now what we've done is we've just applied a blur, but what about blending this one cool thing here is if we go up here we can double click we can change the blend mode now they're here to overlay so bomb we get exactly the same effect we had before but now we can play around with the capacity right on here and look at this. We got this beautiful control now, and I just I like that, but you know what? I can experiment? Maybe soft light looks good so far, I like candles give maybe one increase they're passing, but see the flexibility now that we have working with a rapacity and our our adjustment layers right here blame mozer. So what is doing? Is it's actually creating the equivalent of grabbing another copy of that and blending the two together? But it's happening right here in this in this might filter and look, this is just one layer, so you can start to experiment now and try different things why not give this overly? And I'm just going to push this a little further than I would just for effect, so I'm going to pull this all the way up, so we get this kind of interesting kind of coloring going on here is a special effect don't freak out, especially reality on dh we've got this special effective and he would contend it on a raft, so you know, we kind of like that, but we don't like what it's doing to the eyes said, now we can must get out, so I'm going to grab here, grab a black brush, the deaky to reset and grab the beef of the brush and at this point here aiken you know zoom in or whatever the museum in and I'm just gonna grab my brush here and I'm going to go on a passing something open up the brushes panel first goingto windows and here's the first panel now if you don't retouching and stuff like that and you don't have a walk on tablet your notes just I'll just say that because I mean this is if there's one piece of hardware you need with photo shop outside of a computer it's a precious incident tablet because you can do a lot for amounts but honestly you can't fade eucom blend so it's like you're trying to find a realistic work right and traditional art you work with a pencil it's got different shades of precious sensitivity on a pencil which is essentially what you're doing you can create nice blends try doing that from marker so when you're working with the mouse you would doing the equivalent of working with a marker on your photo just different shades of market because you have to change that so precious sensitivity if you doing retouching and painting it's essential if you're not doing retouching painting it doesn't but I'm going to go down here and I'm just going to paint this outs and now I can actually paint out the eyes and get those back to uh you know, showing a little color in there and see that and we're actually know maybe the cheeks were a little much I actually thought the cheeks were a little much going into in person sensitivity on now, so I'm just going to gently paint on these cheeks here and knows what I'm doing. I'm just blending in this hide agency that and that's a filter I'm blending, I'm blending in filter it's amazing and we getting rid of those harsh lines, you know, the transitions there and literally painting that in let's get rid of the shine on the nose and the lips. I hate the lips I just paint knows all the way back there we go and so literally I'm doing all of this on one layer by using the smart filter. So that's kind of you know what I like to call a magic because you have this amazing amount of control, so I turned the mask on and off. Let me zoom in a little bit here and you can see what we've been doing. Ana I hold the shifty down and I clicked there we go before and after seeing the cheeks, the eyes and we're literally painting these parts back in just by using that.