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Photographing Challenging Features

Lesson 34 of 39

Retouching: Uneven Skin

Lindsay Adler

Photographing Challenging Features

Lindsay Adler

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Lesson Info

34. Retouching: Uneven Skin

Lesson Info

Retouching: Uneven Skin

We're going to take a look at our subject with the reddish skin tone and we're going to see what we can do to help her out. Like I said, this is about as far as I could probably get it in camera. She still has red texture or a red color to her skin, she's got really really rosy cheeks. There are a couple things I could do. The first thing I could do is I could try what I did before around the eyes. Remember how it was a little purple and I just picked the right color? I could try that, I could create a new layer. I could hold my O option key that gives me my little eyedropper and I can try to pick more of a skin tone. Maybe something around here that's more skin tone and paint it on the cheek. The problem is, her whole cheeks are red. It's kinda hard, let's see. I'm painting it and then I'm gonna change my blend mode we talked about to color. I only wanted to change the color, I don't want to do anything else. Notice how on the cheek here it got hazy. It's because I was just painting o...

n top. It didn't change the blend mode to tell it what it's supposed to be doing. Change it to color. I can back it off a little bit. It's a little bit better, I don't love it, so let me show you something else that I would do. The next thing that I would do is I would try hue saturation adjustment layer. I can try to select the redness in her skin only and then shift that color. We're going to go down to our little half moon cookie, grab hue saturation, and see where the little finger in the top left hand corner over there? That's going to allow me to click somewhere in the photo on the face and select the tone I'm trying to change. I'm gonna click on it and I'm going to say okay, this looks like the red that I'm trying to change. If I just go ahead and I shift everything, she's got red everywhere, I mean your skin tones are red, yellow, and orange, it won't work. I'm looking for the really specific part of her face, so instead what I'm going to do, this is gonna sound weird. I'm doing this to help myself out so I can see what's going on with the reds there. I'm gonna bump up the saturation. I'm gonna get rid of this, it's just I need to see what reds those are. Chances are, if you've used hue saturation you haven't seen this before but this section right here, this is actually saying the range of colors that you're using. I feel like they want me to go here. This selection of the range of colors. I can actually limit the range, so I can say how far over into the yellows do you want this to go or how far into the other side of the reds? I can actually shrink that. If you watch, I can say, don't go into the yellows so much, and I can kind of shift it and so what that did is notice, that got rid of a lot. That got rid of a lot of the skin it was selecting before, so let me see. I'm just shifting, and this is why I turned up the saturation so I could see what I'm doing. That's kind of the reds of her skin, for the most part, maybe a little bit, maybe a little bit more. Somewhere around there, so now, if you double click on saturation it resets it to zero. It got rid of that, and now I can kind of shift around my hue saturation to get rid of those reds. Reds are gone, if you notice, it affected her lips as well but because it's a non-destructive adjustment layer with a layer mask, I can selectively paint that effect off of her lips but I don't have to go in and try to paint what's red. It's a pretty quick and effective fix and you're just shifting it around to see what blends best, great, okay. One other thing, and I don't have time to talk about this now, but frequency separation would also be where I would maybe smooth out some of this unevenness in the skin, kinda smooth out those transitions. Know it exists, put it in your brain as something to learn in the future.

Class Description

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: 

  • 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 
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.


Sharma Shari

This class was amazing! It was great seeing a demo class with real people. As a wedding photographer that specializes in offbeat/non traditional couples, it is always good to see how I can enhance all my clients beautiful features, and make them feel their best and confident when I am taking their photos!

a Creativelive Student

I was so excited to get the chance to learn from Lindsay live, and this course did not disappoint! The techniques she shared were insightful and straightforward. I felt like seeing them on different subjects throughout the day really helped to cement the concepts and grow my photography tools to bring out the best in those I'm photographing. I'm not a studio photographer, but the ideas apply in natural light as well.

maria manolaros

Great class! Impressive amount of tips on posing, lighting and photoshop techniques , a real good no nonsense approach by superb teacher. Numerous amounts of thumbs ups