Body Shaping: Overview
I want to discuss body shaping and just like everything in retouching land, body shaping is really a personal conversation and can be done badly or great depending on who you are and who your aesthetics are. There's a reason I picked Skinny Minnie here to do body shaping on, because this is what I have to do. I have to shape people who are in phenomenal, phenomenal shape and make them look unrealistic. Unfortunately, it's the business I work in, so there might be some ethical issues for people or opinions. For the purpose of this class, I am not judging. I am not saying this is good, this is what should be done. I am telling you if you need to do this, this is how you do it. I'm not telling you to do this. All right, I just want to be really, really clear about that. It's the world I live in. All right, so this is the original image and I want to kind of go through some changes and some files, some working of this file and body shaping. What I'd like to do for just a second is walk thr...
ough what's been done to this file and then we're going to talk about body shaping. So this file is in a pretty standard working condition and I'm just going to dissect it completely and we'll talk about it per layer. I'm going to go from the bottom and go up. Once again, this is the top file, this is the original. This is the file you will find online, just like this. So real quickly, I'm gonna turn everything on, I'm gonna talk a little bit about what got changed and then I'm gonna talk about how it got changed. So before and after, before and after. This is very much like catalog work by the way, and there's a reason it looks like this, and it's because sometimes we have to do extreme stuff. So she is masked out first of all. We have not talked about masking at all and it's kind of not in scope with this class. There are some excellent masking courses here at CreativeLive, but I just want to talk about, sometimes you have to mask. A lot of the corrections will then be above or below the masking, so there's a production layer or protocol to file based on that, and you have to know when you deliver the file, are you delivering it masked or not masked? And what I am doing here, is I am turning a color correction on and off and it's affecting the background. The color is affecting the background. What that might mean depending on how you have to deliver your file, is that color may have to go underneath to not affect the background. Then if that is the case, did you do your hair with color on or with color off? If you did the hair with color on and you moved your color corrections down, or excuse me, let me rephrase that. If you did your hair underneath the color correction like I told you to, and then you have color correction that goes above, and then you then move it underneath, you might have some hair that doesn't match the color of your file. So you just need to be careful with that. If that is the case, a workaround is you duplicate your color, you attach it to your hair. You do this in a separate layer, it's a little complicated. You merge that and then you have your hair floating. It's a little complicated so I don't want to do it right here, but that is a workaround. I just want to call attention to it. On this file, it doesn't really matter. All right, the color, I didn't spend a lot of time in this class talking about color because I gave you some basics and some tips, but color really depends on your job. It really, really depends on your job and where it's going. This kind of coloring and this really flat toning is very common for me in catalog work. I can't say that this is good or bad or desirable. This is what I have to produce for a lot of my jobs that I get that like exactly like this. That's just a caveat I'm saying that, as you will. I need to call attention to some stuff. Some of the colorization is masked. Some of the colorization is masked and if that's the case, then if you change the mask down here, you're gonna have to change the mask up there. So you just need to be careful of that, if and when you want to do that. Why is some of the coloration masked? Because sometimes what happens, and this happens to me a lot, I'll do a job and the client doesn't want it masked out and then all of a sudden they do want it masked out. Then they want it masked out later and then oh my god, can we body shape her? And I have to be fluid with my masking. Now I am not afraid to say okay, I did the color, now we're body shaping, now we're changing, okay, I'm gonna have to change a mask. All right, I can redo a mask. You can do that. I'm just trying to talk to you about some pitfalls that you can have. In addition, because of catalog work, I do want to reiterate I am a print retoucher so I do print work. Often I deal with issues of saturation and red is a killer. I often have to shift my reds and darken them down because the tone is too dark. Excuse me, I didn't mean to close that, excuse me. There we go. Sometimes my tone is too dark and I need to shift my reds, so I am increasing the density of my reds. Now in the color class, I talked about this before, you can increase your density many different ways. You can do it with curbs, you can do it with selective color, I just happen to use selective color on this. You can do it any way you want, it doesn't matter. That's the beauty and the crazy-make about Photoshop. You can do it any way, so which way do you like? Do you remember I talked about having three or four methods for making your change? Throw something in fast, take a look, see if you like it. If you like it great, if not try another one, try another one, and do it fast. Don't spend two hours adjusting her dress tone. Spend 15 minutes trying three different ways of addressing her dress tone, okay? And then oftentimes we have to change color. I felt there were some business questions, questions on the business of retouching. I thought I might mention something really quickly. On catalog work, this happens all the time where we actually have to change out the color of dresses and I do not know why clients think this is a nothing job. They think it's absolutely easy. Now I showed in the color class some quick ways of shifting color, but there is always the seaming section. And what the seaming section is, it's where hair is overlapping, you know how hair sometimes is translucent and it picks up the color underneath? So this would have to be hand-painted out and that's gonna take some time. And I want to let you know that so that when you have to estimate a job and your client tells you, you have to change the color of the dress, you say, "That's fantastic, "I'm happy to do it. "It's gonna take extra time, "especially where the hair meets." Now, some of us have talked about retouching, and how you do it, and when you're on set and how you determine your job flow, and what you're gonna do. If you are lucky enough to be invited on set while a job is in motion, you can say, "Great. "Are we doing multiple colors of that product?" And they say yes, at least say, "Excellent, "do you mind photographing the model "with her hair behind the dress "so I don't have overage issues?" Cool, very big deal 'cause that takes a really long time and a good hand to make that look realistic.