Advanced Portrait Retouching

 

Advanced Portrait Retouching

 

Lesson Info

Create Hair Highlights

Another thing I like to do with hair is I like to add contrast to the hair. What? I like to add some contrast or highlights to the hair. So this is, once again, a curve, 'cause you know I love curves. Channels and curves are the best thing in the whole world. All it is is a contrast move. I'm taking the highlights and I'm sliding them over. But I gotta get it into that hair, right? And we just talked about how hair can be a little challenging to draw. I'm gonna use channels to make a selection to do my hair. So I'm gonna show you how to do that. Alright, channels are your friends, yes they are. Alright, I tend to do this after I've done my drawing of the hair, which is a little ballsy, because what if the client doesn't like the hair drawing? Live a little, it's all right, you'll be all right. And the idea here is you go to your channels and you pick a channel that gives you a good contrast for the hair. Now, as we talked about the freckles in channels, you were looking for the separat...

ion of the dark freckles and the white skin, when you're looking at this channel, you're looking at hair highlights. So your needs are completely different, and it might be a different channel. The blue channel, I can see the highlights. They're separating from the hair, not bad. Green is about the same. Red's about the same. Well, how interesting is that, her hair is basically the same in all three 'cause it's kind of a neutral color, so cool, it doesn't really matter which one you pull. In old-school terms, the blue channel, if the green and the blue were the same, you never picked the blue channel 'cause all the noise of the file, all the grain was in the blue channel. It's old-school. So, I gotta tell you, I tried to pick the green channel, 'cause old habits die hard. Alright, you'll see I've got all these channels here, all these copies, I was using this for a variety of retouching needs, and I kinda wanted to show you, I have a gazillion channels. I use them all the time. I'm doing a contrast move, Lisa loves her some levels, Command-L. Often, when I'm doing a highlight move, I don't move the whites too too much, I really am pulling in the blacks. Now, when you're doing this move, you really wanna see, well what are you doing it for? You gotta stop, take a moment, and go where am I driving? I want hair highlights. So, don't look at her face, you don't care about her face, don't look at the background, just look at her hair. Yeah, I think that's pretty decent. Again, I'm just trying to get the highlights. So, what I'm gonna do is, I'm gonna turn that off, I'm gonna say great, I'm gonna say yes, and I already made the contrast move, do you remember that? I already made the contrast move? And this is how I do it. I make the contrast move first, I have a a black mask... Can't see it, can't see it, go to your channels that you just made, and you might wanna call it green channel for hair. So you can remember. Command-click on the icon for that channel, done this a bunch of times already today, you're well-versed at it, go back to your adjustment layer, make sure you are on the mask, not on the adjustment code, but on the mask, get a brush, and I know you're picking up what I'm putting down, you wanna have white as your foreground color. You're probably gonna wanna do Command-H to hide those marching ants, just so you can see what you're doing. Forget that tiny little hair brush, it's not gonna serve you now, you need a big, fat, beautiful, full-throttle brush. And you're gonna paint in... Some hair highlights. And this is how you bring photos to life. Make it look shiny, this is a L'Oreal, not L'Oreal, but, oh yeah, L'Oreal hair ad. There you go. You guys good with this? Yeah. Alright, how we doing on time, sweetie? We're good, we still have another fifteen minutes or so. Perfect. On the hair, so, on her hair color, there's that original contrast, 'cause of the highlights. But on somebody that's really blonde, would the technique variation be the same? Yeah, you'd actually be amazed, and that's a really good question, Bob, thank you for that. You'd be amazed how much detail is in there, and that might be one of those "uh-uh-uh" moments where you go back to the raw, and you pull out the texture with the raw. Yeah, you picking it up? Yeah, so, it's why I save the raw.

Class Description

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