Lesson Info
44. Quick Retouching: Eyes
Lessons
Day 1
1Course Intro
05:55 2Layer Masks
15:37 3Adjustment Layers
23:47 4Clipping Masks
08:38 5Intro to Groups & Smart Objects
23:44 6Quick Mask
09:18 7Defining & Creating a Brush
14:49Smart Objects & Filters
20:56 9Smart Objects from Adobe Camera Raw & Lightroom
13:23 10'Blend If' Sliders & Blend Mode Shortcuts
09:35 11Photographing & Scanning Textures
28:08 12Scanning Objects
10:23 13Photographing Smoke
30:17 14Building Frames from Illustrator Brushes
16:59 15Using Adobe Brush CC
35:59 16Managing & Saving Brushes
13:13 17Changing the Behavior of Brushes
23:25Day 2
18Type Techniques
17:22 19Type Tool Presets
18:06 20Patterns
33:52 21Overlaying Texture
15:31 22Layer Mask Edges
45:01 23Refining Edges
08:05 24Adding Borders
15:53 25Displace Filter Edges
20:45 26Using Illustrator Elements
15:33 27Creating Reusable Effects
09:27 28The Role of Actions
35:46 29Smart Filter Techniques
30:56 30Basic Painting Tools
05:53 31Turn a Photo into a Painting
19:43 32Oil Painting Filter
18:45Day 3
33Making Color Pop
23:48 34Color Grading
20:10 35Split Toning
08:50 36Luminosity Mask & Feathering
16:57 37Other Artistic Effects
12:22 38Creative Layout Options: Layer Comps
17:26 39Building Basic Templates
23:26 40Creating Smart Object Templates
25:44 41Quick Retouching: Skin
32:49 42Quick Retouching: Teeth
09:04 43Quick Retouching: Hot Spots
08:05 44Quick Retouching: Eyes
08:32 45Quick Retouching: Content Aware Move & Extend Tool
19:41 46Quick Retouching: Glass Glare
03:44 47Adding Finishing Touches to Photographs
19:57 48Displacement Filter
10:21 49Adding Suggested Elements
20:14 50Saving Files
19:20Lesson Info
Quick Retouching: Eyes
So here's my son, and you can see there's that little family trade he has. Look at how well that photograph is taken with no glare on the glasses. Yeah, took a few tries, but that's 11 way to remove blast players. Make sure you don't get any in your photography, so that helped a whole lot. So in this case, I would look at let's get a little closer here, talk about eyes now of anything where it's a good idea to do that split screen thing. It would be here because eyes end up being so small on the finish photograph that if you're zoomed into this far and forgetting that in the end result, they're not gonna be anywhere close to that size. So again, this will be another case where I would choose to make a second window and tile and make sure I'm keeping things in perspective. So I'm still gonna work on this Excuse me, work on this one, but I'm gonna make sure that I'm not over doing things to the point where I can't even see it in the final version. So there's a couple things about his eye...
s here that I would want to address. There's a bit of readiness in there, and they don't look quite as white as I might like. The whites of his eyes a Gilmore bluish. That's again very typical of what happened. So we want to adjust that slightly, but not in such a way that's gonna look overdone. So I'm gonna use exactly the same theory, and I'm repeating techniques because I use the same techniques with a slight variation. But it's the same approach to a different problem. The gentleman that had read on his face. I use a hue saturation just were saying Reds on Lee the teeth I used the attachment, said Yellow on Lee, and it's the same kind of I d here. I'd say he's got still got a bit of red in there. So let's lower the saturation. Invert this. Take my paintbrush. Taken really small and start painting at first is gonna look like I'm just making his eye whites of his eyes gray now because I did it so dramatically. So then we come back in second. Now let's just de saturate not quite so much and then master like I like to do that first to see if I can make things less, and then the reality for most situations is on top of that. It's still there a little bit. So I would go back to like, a spot healing brush and see if we can't just make some of those red things look not quite so noticeable. And I'm gonna spend as little time as possible here because again, look it in the context of how small that is in his actual I don't want to be spending forever. I did it on one I, but because is a adjustment layer now. I could go back to here with my paintbrush and paint on this one upside. Doing that with the healing brush by mistake, starting about that money. Why nothing was happening. We go, but I have to start again. I already have that adjustment layer active, and I'm just painting Mawr on the Mass to get that part that come back to this layer healing brush on, do any little tweet that's necessary. Now let's assume that I've done a lot of work to his eyes, and I'm getting happier with them. Perhaps not so much. There's a it's always a difficult challenge. Franklin. You're talking about retouching. You don't want to sound like you're doing things that are gender specific but needles to say. There's a lot of situations where you would probably do less work on a male's portrait than you might on a female's By the nature of who the subject is so not trying to insult anyone. But that's just reality. We tend to work more on fashion photography than a quick executive porter or something, but I still want to make it look as good as I can as quickly as possible. So one of things that I always pay attention to is eyes on if they're smiling teeth, because that's where our eyes tend to look. We've done those studies where they can measure where people look at a photograph of someone, and it's almost always eyes and then mouth. If there's an expression there, so I want to really focus on those areas, so I want to try and make his eyes look even a little nicer and sharper. Eventually, I'm gonna sharpen the photograph overall, but I want to do a little bit of sharpening on the ice to really pull out a little bit of eyeball pop, make them really come a little bit further. So I'm gonna do this in a the very quick kind of way. I'm going to use my elliptical selection tool and try and make a relatively accurate selection off his eyeball. Switched to my regular lasso tool, trying to get just the eyeball, not these eyelashes or anything else. That's not gonna be a perfect circle selections gonna be something like that now, because I've done several layers. I haven't actually done anything to his eyeball, so I don't have to do copy, emerge, cause I'm really copying is the background. If I wasn't sure that I might have done some overall adjustments, I could do that. In this case, I can just go back to the background layer and Jews duplicate and then do the same for the other layer. I wish I should have said what I was doing there. I find it easier when I'm trying to make a circular selection rather than trying to guess where should I start up here? I aim for the center hold down option or alter, and that allows me toe drag the selection in the centre outwards, which is sometimes easier. And then, if I'm not quite in the right place, I can hold on the space bar to kind of move it up or down, get fairly close than L for Lasso option were all to take away that part right there. Then back to the background layer duplicate and put it up here. So now I have two eyeballs. That's weird. This would be another rare example of I might just merge those together is that there's no reason for me to have them as separate layers. Then I want to sharpen these, and I want to have the opportunity to go back and change my mind. So I'm gonna convert to a smart object. Let's put everything back in so it's in perspective. Zoom out this one just a bit so weaken. See what's happening here really necessarily to see all this. But I want on this side kind of see both eyes as best I can. So now I sharpen and I'm gonna sharpen in a way that I just think looks good. Normally I use is we'll talk about in the next segment some rules of thumb about what numbers to use for sharpening here. I'm trying to sharp and I'm looking right there. See how that's That's too much because it's pulling out a lot of the information flowing in the pull it back. But I'm trying to do is almost ad a little sparkle. Let's see if we can't see the difference there. So if there's any catch, Light is probably gonna pull that little bit more to the challenge with this is and we'll talk more about this. And when we talk about sharpening next is that the biggest challenge was sharpening. His sharpening always looks much more obvious on the screen than it does when you print. So when I'm doing this eyeball Scharping the prime, pull out some detail. I have to think a little bit about what am I doing this in preparation for a printed photo or this is gonna be like a head shot he'll use on linked in or Facebook or something like that. If it's the latter that I'm gonna pay more attention to, how does that look to me if it looks good on the screen, that means when this photo was put on the screen, it'll look good if I'm preparing for print, I am preparing myself for the fact that it's gonna look a little too sharp to my eyes on the screen. When I printed, it will come out looking really nicely. So something in that neighborhood, probably. And let's look at the difference. It's not a huge amount, but it's just enough to bring that little bit of extra kind of spark to their eyes, okay?
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Ratings and Reviews
karlafornia
I like Dave's teaching style: methodical, well-organized, VERY knowledgeable, interesting, relevant, and delivered with a really good sense of humor (he's a very snappy dresser, too!). Most of all, his lessons are most useful in teaching me how to save time processing my photos in a NON-destructive way and with a stream-lined workflow. This particular class is not only versed in technique, but I LOVE how he encourages creativity through experimentation and "playing" and pushing the envelop with the program. that is not as scary as it sounds because Dave is all about working with smart objects, smart filters and other such ways designed to save us from destroying our photos or work that has to be redone or scrapped because we went down a road of no return.
a Creativelive Student
Dave has a brilliant (as well as humorous) way of teaching and I always learn something new from him. I have purchased many of his previous classes and love every one of them! Thank you for another great course!