Body Shaping Through Masking
Body shaping through masking. Body shaping through masking. One of the ways you can reshape a body is how you mask. I'm gonna turn this off and on a couple times. Look under her armpit, her waist, her hip. This is the most common and easiest way to body shape. You just tuck in on the file. I'm gonna turn the original back on, and I'm gonna put it at an opacity of 50 so you can see this. This is the most common way. I would say a good 80%, if not 90%, of what I do is masked out and stripped onto another background. So for me, masking makes a lot of sense because I'm always putting it on a separate background. Other people's job flows might not, so if you are not putting it on, if you are not masking it out, you would do the same process only you'd be re-touching the background into the dress, as opposed to masking the dress out. And we did that on the hair. Do you remember I brought the hair back in? It's the same process, you're gonna only just do that on the hips. So, number one way o...
f doing body shaping, and the easiest way to do body shaping, is with the mask, and it is flexible. What I mean by that, if the client comes back and says, "Girl, you lost your mind. "Put her bottom back," you could go back in, re-draw your path, if you saved it with a path, if you did it with path or an airbrush. you could go back in... (swish) I'm doing this very quickly, just to illustrate a point. Select her hiney-hiney, and fill it back in with white. Awp, I gave her too much. Take some more back out. You understand what I'm saying? It's really easy. It's an easy fix. I personally am not afraid to have to re-draw this. Folks who are uncomfortable drawing a path again will double-mask their item. I'm gonna say that again, slowly. Folks who are uncomfortable with the process of masking, like it's uncomfortable, it's hard for them to get a good mask. What they will do is they will mask the figure to her actual form, the regular form, not trim, nothing. They will take the entire set. They will put it in another layer set, and then they will mask that out. That way, if the client comes back and says, "I don't want her to look like a Lilliputian. "I want her to have bottom back." It's done. Double mask -- it's a very fast way of doing it, and if you're slow at drawing a mask, or it's a problem for you, do it that way. It's perfectly acceptable. It's a double mask. OK? Very common, by the way. Also, you know what I would say to you guys, for those of you who are working with new clients and you're not entirely certain of what the client wants, that's a good way of doing it because you can provide image A and image B, and you can undo it very quickly. All right, now the next thing I want to talk about... So that was body shaping with the mask. Very simple, you just go in, it's nothing exciting. The one caveat, by the way I do want to make sure, is make sure you watch your blur of your edge when you're masking. So the blur of the original, you want your edging to have the same blur, otherwise it's going to look cookie-cutter and scissor-y. When you body shape with masking, you have to watch out if you have a bubble, like that, and you have a highlight and a shadow, you might have to go in and lighten the shadow, because it's an unexplained bump, like, why is there a shadow there? Doesn't make sense. For the purpose of this class, I think you get the idea. Second way of shaping is by contouring. So I'm gonna add contour, and contouring is nothing but lights and shadows. So how this is done is, you guessed it 'cause I love them, (singing) curves, glorious curves. And what I do is I generally just take a standard contrast straight up in the regular curves. I bring down the highlights, and I paint it in. So that's the curve. It looks horrible when you look at the whole file. But when you just paint it in, into the area, then you decide how light or dark do you need it. It's really basic but it's really all you need. It's really not that hard. So curves, you can do them lighter or smaller. You can paint them in or out. So I'm gonna illustrate this with myself, let's say you have someone you want to darken them, you may have a thigh coming out. You just paint the curve out of the thigh, so the thigh has a highlight, or you paint a highlight on. It doesn't matter. I'll illustrate it here. Move this. Actually I may not have put enough of a curve. See if you can see this. I'm gonna kind of do it heavy so you can see. Can you see that? So you can paint it out in an area, if that helps. If you have to do folds, and you have to actually give someone folds, you can do it this way too. It's a rare day. I've only ever had to do it on a tablecloth. I'm serious. I had to actually paint folds in the tablecloth, and the client didn't have much money, so what we ended up doing is I didn't work the fabric. They didn't have money to do all that. I literally just painted lights and darks. All right, whatever you want. You'd be amazed at what people will take for a job. It's embarrassing sometimes, but there you go. It's all about time and money, isn't it? All right, I hope I don't offend anybody, but it's always boob watch. You always have to add volume or take away volume. I do it a lot in entertainment, and a quick way of adding some... Bulk? I don't know quite how to say this, is to simply use soft light. So I'm gonna add a gray layer just so I can show you this. A little awkward. (Lisa and audience laughing) All right, it literally is just like doing the eyeballs. You know how we did the eyes and we did soft light? Or adding soft light contrast to the hair? It's the same thing. All you're doing is adding some highlight. I generally do it on soft light because it's lighter. That mask is just for the arm. And it's subtle, but there you go. Uplifting, it's uplifting. There you go. So that's body shaping through a mask and body shaping with tone.
Consistently make the people in your portraits shine by knowing exactly how and what to enhance or alter when retouching. Lisa Carney is back with the ultimate portrait retouching class. She will dive into working with a variety of skin tones, facial hair, body shaping, and clothing. No matter the person, lighting or portrait - this class will help show you how to enhance it in your post-processing. She’ll explain how to:
- Prioritize your workflow
- Use the clone/heal tools
- Match skin tones
- Work with lighting/shadows and volume
Lisa is one of the best retouchers on the Hollywood scene and will be sharing her professional insight into how she approaches workflow and technique to create amazing portraits.
Software Used: Adobe Photoshop CC 2017.1.0