How to Eliminate Distractions and Draw Attention to the Subject
We've already done some really nice progress, let's go ahead and take a look. We want to take care of that in that which we've done let's could take care of our foot, and we're going to do this in a very similar method this time, I'm going to use the brush tool again, but we're going to go far less precise with it, so we'll just grab a brush tool. I'm gonna grab this color right there, and we're just gonna paint it right on down, okay? Grab that lighter color and paint that down a swell, and then it'll just kind of fade into, like, a dark green blur and, you know, and no one will wind up looking at this in five minutes, so no one will ever notice is like, you know, it's, just one of those things where, yeah, if you were to take a magnifying glass to this image, you might be like, hey, what was the address doing there? Um, if anyone's doing that to your photography, tell them, um, I don't know if you find another hobby. Um, there are a lot more interesting things out there, like making ...
pizzas. There we go, so I'm just going to kind of fade that in tow into whatever there all right there we go nice and easy so took care of ah took care of a leg right there all right now this area here we talked about earlier this is not something I'd recommend clone stamping the reason being is you have to try to clone stamp their dress right you'd have to extend the dress past onto their which is which is tough even if you're using the option that we showed you earlier going from window down to clone source and then your show over there which is very helpful but even if you do using that these ruffles they're not perfectly parallel right? So getting getting this to match up again individually with every single ruffle as it goes down the dress would be very, very difficult it would take a lot of time it would take too much time for what it's worth and looks like we've got a question is that a place where you could maybe liquefy the dress down to like the way you're thinking I wouldn't even thought of it yeah you could definitely do that let's do it all right I really would not have thought of that so that's that's brilliant liquefied toe a quick little background on liquefied tool liquefy tool is a great tool basically it moves pixels around it's kind of like warping it's like if you took a little like your finger and you touch you know the old screen like tab tablets you put your finger in and everything like most around and things like that it's kind of like that you can take your you can take your cursor and just move things around so liquefied tool is great a lot of the times it's used to change people's body bring in sudden like you know someone's got some something hanging out over here you can talk it back in um let's try with the dress so I'm gonna I'm going to select out that area down there selecting it out's going toe mean that my liquefy tool doesn't have to work is hard because it's not processing my entire image it's just going to select out it's going to process the on ly the area we're selecting I'm gonna go to filter and we're gonna go down to look fight great so here no look five filter what I'd like to do is I'd like to sample basically we're gonna be using the ford warp it'll end if I click and drag this tool you can see it basically goes in any direction that we'd like we can choose between our brush size, our density and our pressure and it will pull objects in the way that I decide that need to be pulled if you bring your density up there we go it will bring objects closer to the edge so for realistic clone sorry for realistic liquefy I recommend having your density write it about fifty percent. If not, you're going to be editing with a too fine of a point here in the middle, you'll get something that looks like that which tends to not look is good because it really focused whatever area if you're actually altering. So if we bring our density to about fifty, you can see it looks a lot more natural. It looks like we've got an actual wave in a dress there, so bring that density, it's going to help out a lot. Now, you also want to make sure that you're traveling in the direction of your fabric or your little area that's hanging out over there, whatever you're doing so, the fabric is kind of coming out there and it's swaying down there, so if I wanted to luca far this out, I'm not going to be going in that direction. What I want to do is I want to start here in the fabric, and I want to pull down with the direction of the fabric, okay, just pull this on down and out with the direction of the fabric and that's going to allow me to actually make the fabric look as though it's continuing to flow on out of the image, that was a great suggestion, yeah, very, very nice lets it okay there. And what it's going to do is it's going to ply it now keep in mind I created what's called a stamp visible air so this is actually on lee on this layer okay, if I make this invisible it's going to completely go away so what I would recommend if you are going to use liquefied tool and you're just can use it on one area of the photo I recommend creating a layer mask on that layer and that's going to allow you to really just restricted to one area so let's create a layer mask I'm gonna hit controller command I on that later mask and then we're going to use our brush tool to paint white back visible just over this area now why would I want to do that? Why would I want this stamp visible air toe on ly be visible? Yep there we go white reveals and black conceals if I paint white over here it's going to make this area visible if I paint black it's going to make it in visible and the other thing about having this just visible on one layer is if I decide I want to make a change on one of these layers underneath it I can still go back and get this information underneath it because it's in a different place it's in a different place in my image has anyone used a stamp visible there before ok, how much good you know we'll talk about the sand visible because it's a very useful thing in photo shop, so stand visible layer is basically a copy of everything you see you can get to it is a keyboard shortcut shift option command e it merges everything you see into one layer so if I were to use my move to and move it around, you can see it's it's completely opaque it contains a copy of everything on my image I can I can make it smaller it's its own layer and it contains everything on my image it's a really great method to use if you plan on using something like the liquefy tool which you can't use the liquefied toe on a blank layer, you have to use the liquefy tool on a layer that has something on it. The only problem with using a stamp visible air is that if I create a layer underneath it and I start editing on the layer underneath it, I can't see it nothing I do underneath it matters anymore because this layer is covering it all up if I make this later invisible, you can see I just squiggle, you know, pink all over her face but I couldn't make any changes to these layers remember her earlier we were going back we were changing different things about the image that we had done earlier in the day I don't have that option anymore because it's covering it all up so by creating a layer mask here the only area that this is now covering up is just right here, so we needed that san visible layer in order to liquefy, but I don't need that sam visible layer to cover up my entire image it's much better if I could only have it cover up a part of my image that way if I need to make these layers back here invisible or visible again where I need to change them, I don't have to turn this off and I don't have to redo that yeah is that a snapshot in time? That's not that layer that you created that was a layer is on ly at the point that I created it if I change something it's not going to roll up to it or is it that's correct? That's correct it's a snapshot in time so if I create a stamp visible layer let's say I do this let's say I decided to color my image a little bit differently I'm gonna use the levels adjustment layer and I'm gonna I'm gonna really throw some color on here okay? I'm going to throw my new layer we're going to go to our shift option command e and that's creates this stand visible and because I created the stamp visible air on top of my color that I did with my levels it contains that color so even if I make the color underneath it invisible this is going to stay there, ok? And now if I wanted to start editing on top of this, well, that color is locked in it's a part of the image now because it's on this layer so unless you want your colors and things like that to be locked in, save all of these steps that require using a stamp visible there stay those to the end if you can that's going to make sure it's not going to lock in any other colors or if you did have you decided to color your image earlier on and you had a levels adjustment layer that did color you're much like this just turn it off momentarily, then do your stand visible layer then you can turn it back on and that's going to make sure that it will continue to color the entire image and you won't have your color locked into that stand visible air yeah, is this a place where you could actually make it a smart object act and go on or you could make it a smart object? Yeah it's still going to remain opaque it's still gonna remain if you did make it a smart object, you could go back and you could edit that layer but editing layers underneath it you wouldn't be able to see. So the main obstacle here is that it just covers up everything it's just it's just a layer that's covered a covering everything up and you don't need them often. There are only a couple cases where you do need a stamp is blair in those cases or when you were not able to use your effect on a blank layer and photoshopped will throw you a warning dialogue if I create a new blank layer and I go to filter and I go down here to look, if I it's going to tell me, could not complete liquefy because selected area is empty, so if you see this, then it's time to make a stand visible layer. But if you don't see this, you don't need a stamp visible air. All right. Doesn't really good questions. Yeah, I think that helped cleared up a lot. Probably in here and probably at home to, um yeah, really good. Okay, let's make those invisible and we're just gonna go back, by the way. Awesome suggestion on that liquefy on that dress because I wouldn't have thought of that. And I think, um, I think, did you guys like that was a pretty cool yeah, um can I show you what I was going to do it not as good t one hundred percent off my solution not as good what I was going to do it was I was just going to grab the color of the dress and I was good paint right over here and I was gonna change a blend mode to something like hugh there we go or down here to color and that's that's a bit too dark so color looks like it's doing okay and now I would probably grab like a levels or curves adjustment layer and I would darken that down a little bit hit controller command I there we go and then just dark in this down a little bit all right, so this is probably something that I would have I would have done and then I probably would have taken a little bit of color back out of it so not as good but a good way to draw a little bit less attention to that area and then maybe dark in that but I like the look if I suggestion I think that was great so we're going to stick with that suggestion perfect. All right let's bring our layer back on top where we have our extras we've got a couple more areas that I want to just go quickly we're going to use the clone stem tool and the healing brush tool to get areas like a little scratch here, some areas in her hair in her armpit and things like that all right, so zooming in this is a really great place for the clone stamp tool this little scratch asked for the clone stamp tool sample this area ok, we'll make a brush a little bit smaller because I don't need to be painting so much painted right over there there we go and sample right over there so pretty easy to take care of little areas like this all right, especially being able to see that preview is very nice okay, I believe there were you know, her hair looks good, but it was a little bit distracting and just threw a little bit of attention and so we're going to try to clone stamping this darker area we're going to just go right up here. Hair is tricky editing dark hair is a lot easier than editing light here because dark hair just looks like a you know, just like a wall a break like just thiss dark blob um, like here you can see all this detail and it makes it a lot harder, so sometimes I will use my brush tool for this areas for these areas and I'll actually go in I'll use a pretty small round brush, you know I'll do cem some what basically some painting of hair, which is aa lot easier than it sounds you just grab a couple of colors you know, hold alter option you can grab some colors and then painted in with your brush tool and this is you know, depending on how long you want to spend on it, it could take awhile or it could go pretty quickly as well he was basically just these highlights that we're kind of getting in the way so let's use the eraser tool upon here and instead of a racing away or clone stamping away those highlights all just make them a little bit darker by painting with hair color right over top of them there we go so well, we have looks a lot like here just a slightly less light version of it all right? And again, a lot of this stuff is preference if you're editing your image in you want to keep detail and things like that in here totally cool, you can you can keep all that detail there, all right? Um, we're we're going for it, we're doing it all right? So let's, get in there. I do want to use the healing brush tool for this if I get too close to this edge that's when I want to use my clone stamp tool other than that we're going to use the healing brush tool so I'm gonna sample these areas here areas of a little less texture and a little less color and we're going to just paint them right in because we're just gonna this actually not a battering pitta's faras armpits go we'll make sure that we let her know that won't be a weird email I was looking at trump but the other day in a picture I took of you a couple months ago I got to say not bad not that you ever thought about getting the armpit modeling let me know let me know you have a just the attendance is look weird I uh I may be the only person who has a thing with armpits in the room but, um the other thing I want to just kind of look at is you can see how the skin is just a little bit gets a little bit like darker in these areas so we've taken care of like the folds and things like that let's go ahead and use our clone sam tool you know, to take care of of this little guy right there just this little mark there and then we can go ahead and try lightening something's up just a little bit as well and for this if we want things to blend in together pretty well I would recommend using your clone stem tool you can use the brush, you can go a little bit larger with it and you can bring your flow down a little bit lower. So if you were with a regular brush tool and you were you were painting with let's say a magenta color, it would be something like this with a very soft edge brush because you want everything to really just, like, blend together here. So if I want a light in the skin aiken sample skin around it that's lighter. But I want to do it with a very soft, you know, very low flow brush, that's gonna help it blend together. Ok. So let's do that alone, sam tool, we're going to sample this area, and I'm just gonna paint it in right over top of that using a very soft, low flow brush. There we go, that's going to help me just light in those areas out and get rid of some of that. So let's, turn that on them before in the after that. Nice fulfill. All your armpit dreams are paid retouching man, I learned armpit retouching this weekend. It was a blast. I gotta tell you, get into doing that full time, um, quest. When it comes tio using the flow versus the opacity what's the difference, because would you could you lowered the flow to twenty percent instead of changing the capacity to yes? That's a great question flow incapacity is one of those classic things where I would say for a good two years I didn't even know what flow meant I was only using capacity and I thought it was great uh I'm glad I'm here to show you guys the difference because it really will make a difference in how you wind up using the brush tool okay flow versus capacity let's start off with both of those at one hundred percent so our flow and opacity and for this example you will use a slightly order brush so if I paint on a new layer with both capacity and float those air here at the top by the way at one hundred percent it's going to look like this one hundred percent visible if I go back over it it's just going to look like a little bit more ink okay? Now if I lower my opacity down to fifty percent but my flows that one hundred percent what it's going to mean is that I'm gonna paint over top of my image and everywhere I paint over it's only going to cover fifty percent but as long as I've got my hand on my tablet or as long as you've got your mouse clicked I can go over and over and over that a million times and it's not going to put anything it's not going to add anything okay the only way to adm or paint or clone stamp for whatever you have, you have to lift up and you've got to do it again. And then you get another those of fifty percent ok, and then you lift up and you do it again and you get another dose of fifty percent. It gives you this relatively unnatural accumulation of paint or clone stamper, whatever you have. So this is how opacity works are find it very difficult to create a natural progression of color when I'm using capacity. Let's go on to flow here's our flow works a passing and flow again one hundred percent now flow if I take this down to ten percent and I painted across there, it looks like capacity, right? But if I go back over it again, it's going to allow me to build up so I don't have to lift my paint brush off for putting more and more ink down. I can just paint over and over and over again, and I'm able to create look at this if I wanted this area to have a little bit more magenta, I can just go in like little circles here and I can get a very natural progression of color from one side over to the other where on the right side, I'm very barely putting any magenta down and on the left side. I've got it on pretty thick not only that, but I followed the size and the sweep and I did that the entire time without lifting my brush up a single time that's why I like flow it gives you are really nice and natural application of the brush till now you can use these in conjunction if you'd like if you use them in conjunction you can have your flow down to ten percent in europe ass idiot fifty percent it will do the same thing it will just never allow you to get more opaque than fifty percent so I can continue to build up and I'll build up and I'll build up two fifty percent then it's going to coming off so capacity is like the master ok, I have to have left let go and paint again capacity is the master if it's at fifty percent it's not going to let me go to fifty percent unless I lift up and go again and flow is a lot more for application cool has everyone feel about a passenger flow pretty good it's cool right it's cool. Yeah if like I sat down to learn photoshopped day one and someone told me that I would like that would have saved like two years of frustration so yeah good question, good question so you can see when I'm when I'm doing armpit retouching the flow is really nice because aiken evenly allow that lighter color skin to cover the darker color and it's not just like off or on its like it, I can very easily allow it to blend in and make sure that that transition looks nice and natural great question ok, now we're going to go up here and I'm going to take care of this little bit of fabric here and that's going to require a pretty advanced selection that's going require event advance election, and so for this, we're going to use the pen tool to make the advanced selection any time you needed an advance election that you need a very clear edge. The penta was going to be your best bet pencil is not that difficult to use. Some people get hung up on it because it's a little less like painting it's a little bit more, you have to click and drag points and things like that so some people, when they're first using the tool, find it kind of frustrating. But when it comes to making very nice, clear selections the pen tool, nothing beats it so pencil one on one to make a line basically you want to click anyone a drag and this is the line that you're making to make the line continue, click and drag again and click and drag again and the area that you drag your pen is goingto wind up actually creating your pen path so I can click and drag out this way and you can see my path has now gone up in that way and I can continue going around and we can conceive we can conceive uh I have a habit of putting more than the appropriate number of words and sentences so we're gonna pull this around and after time we'll be able to see this is the actual path or make just by clicking and dragon so really not that difficult to do. All I've done is click drag, click drag okay, those paths these guys are all stored here in my path styling so let's just delete that path style look, we don't need that one. We're gonna create a new one. I'm just going to double click we're going to call this shirt you guys can see this is going to be very easy. So here on the shirt I'm going to start over here with her arm, okay? We're going to go right down to this point, okay, I'm gonna come up right over there. There we go kind of go up in this direction, we're going to kind of come down in this direction what I'm looking for is to create a nice, relatively natural smooth curve, all right? And then we're gonna cut across here I'm going to give a little bit of lip for her shirt and then we're gonna come right back over there, so I'm basically thinking I'm going to redefine the edge of our shirt. I wanted to look like it's got a little ripple, they're kind of come down straight across for color and then that's that's going to be the line for her shirt nice and easy, so I'm just going to bring this up and now we have this path. We're going to turn it into a selection remember, we talked a lot about selections when you have a selection active, you khun onley edit the area it's in that selection. So it's really great to have a selection that looks exactly like the area that you want to actually add it. So now with that path we're going to right, click here and I'm going to turn it into a selection so we made our path. We're going to turn into a selection now you notice how this edge isn't perfectly sharp it's got a little bit of blurred to it, so what I'm gonna do is I'm gonna feather this radius I'm gonna feather it and that's going to make it look like it's got the same blur that's in my image because without that, the edge would be too sharp and it would not look real so we're going to give this to two pixel blur you can always go back and change this if it doesn't work out the two pixels is right just hit undo you can change your pictures later not a big deal so we'll give it a two picks a blur and now I have this is a selection so the only difference between this as a selection and if I were to have used my lasso tool to do it is a selection is it's a little bit more accurate and I'm able to make curves that look a little bit nicer because sometimes if I tried to last on to allow her arm it's just it's harder to do it so perfectly right so the only difference between these two selections is how I created him but at this point it's just a selection everyone with me so far okay, you guys are doing great so this being just a selection now I'm able to use my clone stamp tool my brush tool whatever I want to do and just keep in mind it's only going to be visible inside this selection. Okay it's that's the only place is gonna be visible so when I start close stamping you know from the outside in there we go I'm going to hide that selection remember that we talked about earlier controller command h and that's just going to get rid of that little border. So I'm continuing to paint on ly inside this selection, but I don't want it to be visible. I'm gonna hit controller planned age. So now as I clothes stand from the outside in all I'm doing is just sticking inside of that selection, and I define that selection with my pen tool. All right, so we're going from outside to inside. There we go, and I don't have to worry about this edge here because it's the edge that I defined with my there we go, just finish up that little highlight there, all right? So that edge is the edge that I defined with my pen. Tough. Okay, so I don't have to worry. I literally I could not paint over that shirt if I wanted to it's in this election, if I just grab a brush that's literally the only place that's going to allow me to paint. So what? I'm the only thing that I'm worried about doing now is replicating a little bit of this couch. I'm going right over there and now I know I'm gonna hit controller command h again, that's the only area that it allowed me to paint that pretty cool, yeah, super cool. So if you have some area that you need to redefine using the pen tool or any other selection tool to redefine that area and then clone stamping or using the brush tool within that selection it's going to really really help out all right that looks great let's go ahead and turn this back on we've taken care of a lot of these areas we've taken care of basically everything that we want to do with the dress over here we're taking care of the hair we've taken care of her shirt up here the aarp it we've taken care of the pillow let's see we've got a couple of things to do there and then we're going to try to do some some of our our background here all right so a new layer let's go ahead and take care we're going to use our healing brush to tool to just get rid of a couple of these little guys here here we go it's got your brush tool here these were right near her head which were a little bit distracting so that's why we're gonna get rid of those all right now perfect this brings us to this area here does anyone have any good ideas of how I could make this into a selection and then wind up painting this dark color down there mike phone if you knew how used a magic wand magic wand let's give that a try. Magic one okay. I generally like to start off with the more simple selection tools and magic wand tool is it's very simple basically you select on it, you selected and you click ok let's bring our tolerance down because it did select too much there. So let's, turn our tolerant down to thirty let's try that again, springer tolerance down to twenty all right, that looks pretty good, so let's get let's, give this a try. Now the on ly areas that you may run into are things like this where the area that I selected, the background it's so similar to what's going on here in her jewelry that if I were to bring this color and start painting back down it's going to start getting into her jewelry? There is not much that I could do there because my selection included that area. My selection is including this area here is well, so I have a couple of options here I can choose to use this selection as is, and I can paint this area in and then try to layer mascot if I'd liked up, so I'll go ahead and do that quickly. The other option is to define my own selection using the pencil just like we did earlier, so any time you're trying to make an advance election, the pen tool is going to be really good option let's, go ahead and give this shot, ok, so we're going to grab a brush. You'll I'm a select up my color there, all right? And we're just going to paint this in. All right? There we go. For the most part, that looks pretty good. The edges a little bit rough, so we're going to take care of that in just a second. There we go. Let's, just sample that up right there, see if I can take care of this little area there we go. And then I'm going to use the clone stamp tools to just take care of this line, all right? Going from basically just sampling right above it and going right over top there we go, getting rid of this line nice and easy and we showed you earlier how to add a little bit of noise is well, so if you if you did need to add a little bit of noise to this to make it look more like the background, you could definitely do that. Ok, now we have our line here is looking pretty good, but it is a little bit on the rough side. So if I wanted to give this layer a little bit of a blur, I could do that and it's going to smooth that line out a little bit so I'm gonna use my keyboard shortcut shift option command g and there we go to see how that little bit of a blur let's look in the preview before and afterwards a little bit of a blur helps that jagged line looks like it's really a photograph now it makes it look like it's right? It puts it in place instead of just being a jagan selection so this is why whenever you do create those selections whether you're using a marquee selection tool or a lasso tool or even the pen tool you want toe usually blur the edge just a little bit because it helps that look a lot more like a photograph and a lot less like it was something that was done in a photo shop because this this doesn't look very natural but here in the after that's starting to look a lot more natural so I would recommend giving it giving your edges a little bit of blur if you can okay now we do have some area where it kind of comes over on top of the bracelet so I could use a layer mask here I can use them later mask and what was the anecdote that you used earlier? Uh ah white reviews black conceals little black consumes white reveals black conceals white reveals I like that I've never heard that before so black conceals white reveals if you're on a layer mask you can paint black and whatever you're painting over, we'll go away so black reveals conceals white reveals so I wanted to I want this to go away right over top of that bracelet all just paint black right over top of that bracelet and then we have we have our bracelet back which looks pretty good and we did a pretty quick job but that which is exactly what we wanted we wanted to do a quick job with that and then we can decide here do we like it? You know? Is it worth spending the time to make it perfect? Is it worth doing the other side does that work for me? And I thought I'd like a little bit more now on the edge of the couch is a little bit distracting to me um so I'm not sure this is one of those cases where I think I'm going to decide that I'm going to leave it out uh just because now the couches destructive because now what I want to do is I want to take care of the highlight of this couch and if I keep going here I'm just going to wind up erasing most the image just leaving my subject in so maybe we'll leave this as it is now because we already did it we've already put in the ground work but maybe we can leave the right side as is what do you think I know you guys disagree yeah, go for it. I was thinking maybe dark in the woods just a tan like a little more of a tan instead of so dark and dark in this area yes, we can definitely do that. All right, let's, try it now I'll tell you we've already made that layer. We've already made this election. There's no reason I got to go recreating the selection, right? I can turn this layer into a selection there easy. Just hold down control or command and click on the layer itself. That's just going to turn that layer that I just worked on into a selection. So now if I want to darken this over here, easy to do because I already have my selection. So with my selection active, I'm going to grab a levels adjustment layer let's, bring this over here, and I'm gonna take my white point and we're just going to drag this down just a little bit. All right, draw a little more attention was that kind of what you were thinking? They're ok? Cool. Yeah, I think that works pretty well now. If you wanted to add in color into this. Remember in our ten tips, we talked about how curves and levels will allow you to add color as well, if I wanted to add a little bit of color let's say a tiny bit of red I could add a little bit of red and a little bit of green as well and it would kind of warm it up here we go all right, just a little bit too much right up there at the top was paint that away, all right and remember yep, we're on a layer mask you're so white reveals and blackened skills, so we added a little bit of color and just dark ended down. Now, if we like the same thing on the right side of the image really easy to do at this point, we're going to click on the same layer we'll just use the same later, we already made one and now we can use selection tools if we'd like, I could go in here with a brush tool and just paint white on this area as well, and this will work now if I didn't have this arm here, I could probably just use my brush tool for this entire selection. The arm makes it a little more difficult because all of a sudden I can't just do that and expected to look good because it zeno you probably been there before where it's like uh why is this not easier? So let's try something like we'll try the magic one tool I know one hundred percent sure that the pentacle will work but the pencil is a little bit more complicated than some of our other tools like the magic wand tool, so we'll start with the easier tools will work our way a little bit more complicated. So even after I painted this in, I can still make a selection, not a big deal just create a new layer, make this later invisible and we're gonna hit w for our magic montel and that's going to allow us to select her arm out ok on this layer mask, I want it in verse the selection because right now selecting the outside of her arm so we're going to go up to select and then down to inverse and then we're gonna paint black on this later mask, so here we go, let's just paint black on this later mask, all right, cool it's getting there, the problem here is that the white highlights from her arm are lighter than the background, so it looks a little bit off. So what we're going to do is we're just going to give this layer mask a little bit of a blur so it fits there a little bit better, so we'll go to our galaxy ambler we use the same one we used earlier, ok? And now we're going to lower the opacity this a little bit and that's going to help it look a little bit more real because earlier it was too dark and it was getting to the point where her skin was reflecting a lighter color but there was no lighter color back there for it to reflect so it was getting to the point where things were starting to look a little bit fake so there we go everything still looks riel and it's a little bit darker, drawing a little bit less attention to the background and more attention to subject, which is perfect and at this point this is one of those creative decisions where I would personally take a little bit of a break and come back and decide do I like this? Do I want to change it in either way? There's no harm these air all creative decisions okay? Let's get into we've got a little bit more to take care of with their background so we'll describe her brush tool here all right, man, this class has been so good we've learned a ton right learned that he used the pen tool we learned about slight we did armpit retouching man I'm good I'm good. I checked that one what's that we learned that the liquefy two told works really well on pleats it's a perfect tool whenever you're editing pleats yes, it is yeah great suggestion there all right? And we're in a pretty good place here we're in a pretty good place well, let's, just take care of like one or two more little guys here and and we learned all about there we go. We've learned all about perfecting an environmental portrait in a photo shop. We haven't done much to our subject, but let's, go ahead and just take a look at the before and the after with our every go with the rest of the image so we can see the impact that making all these little changes has on the photo. So here's our before so much look at so much destructions and here's our after two simple photo. I'm looking right at my subject and there's nothing getting in the way in that awesome and nothing was super hard. We just took a lot of little steps. We identified a lot of little distractions, a lot of little distractions, and we took care of them one by one. So each of those little distractions adds up, and when you remove them, simplifies things, it is lousy. You can breathe a little bit better when you look at the aiken anyway, you know, I'm like all finally it's cleaned up. I can I can look at my subject, everything is in order and is in place, and this is how I want my images to be.