Retouching: Oily Skin
I told you that definitely use a larger light source, bring it in closer, spread out the highlight, make the specular highlights not so bright. But let's say that you were shooting at a wedding, and it didn't happen. You were shooting with a flash-on camera, and people were sweating, and you know how it is. So. So there's some things I can do in post to help me out with this. And it's some of the things we've talked about already, I just wanna show you another application of it. One of the things we can do is I already talked about. when we're filling in the wrinkles on the subject's face, I talked about using a lighten blend mode to fill in those shadows. But what happens if there's highlights I wanna get rid of? That's the opposite. So what we're gonna do is this time when I clone over, instead of using the lighten blend mode, we are gonna change the blend mode to darken. You wanna darken a highlight, change the blend mode to darken. For this particular photo, I did try it a bit, it ...
kinda works. Like, it's not fantastic, but it's really good, I find, for those bright highlights in the center of someone's nose, particularly the people with the more pronounced noses. It just gets a little bit bright. 'Cause what you can do is just tone it down just a little. You don't need to get rid of it completely. So in her instance, I can clone, and just like, not get rid of the highlight, but it made it a lot better. But it didn't give me that haze where it just looks like I blurred over it. So you can try that, it's one thing I would try. So changing your blend mode on your clone stamp to darken. So there is the before, after. Helps a bit. The other thing you can do, and I'm gonna delete that real quick to give you another option, one of the other things that I have found is one of the reasons that these highlights are objectionable is because they're pure white. It draws a lot of attention to them, 'cause everything else has a tone, and then those are specular, so specular's a reflection of the light, has no color tonality to it. So if I create a new layer, and I hold my option key, on the brush I can select that skin tone, and then I can paint that skin tone in over the top of it. Right now, I'm not in any blend mode. I just painted over the top, but I can back off the opacity so there's just a little bit of color, it's a lot better. It's the problem that it's pure white that really draws my attention. So it's some combination of those, I think helps quite a bit to tone down shiny skin.
Photographers are tasked with flattering every subject that steps in front of their lens. Typically, those subjects are everyday people, not professional models. This can mean working with some challenging features along with varying degrees of confidence. Canon Explorer of Light and well-known fashion photographer Lindsay Adler walks through understanding the face and body as well as the photographic tools available to you make your clients best side shine. These features could range from a pronounced nose, large forehead, glasses, asymmetrical features, or defined wrinkles. In this course Lindsay will walk you through:
This course will cover many challenging features and show you how posing, camera angles, lens choice and lighting can work together to help you have confidence in every shoot.
- How to analyze a face and draw attention to the strengths within it
- Posing and lighting techniques for challenging facial features
- Posing and lighting techniques for the skin and body
- Retouching tips for skin, glasses or discolored teeth