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Retouching & Adobe Photoshop Techniques

Lesson 8 of 28

Beauty Image Retouch Review

 

Retouching & Adobe Photoshop Techniques

Lesson 8 of 28

Beauty Image Retouch Review

 

Lesson Info

Beauty Image Retouch Review

00:00:02.04 --> 00:00:04. going to grab a beauty image from yesterday, and I'm 00:00:04.4 --> 00:00:07. going to go through a lot of what we talked about. 00:00:09.4 --> 00:00:09. Such a creepy 00:00:10.98 --> 00:00:14. Halloween go through a lot of what we talked about 00:00:14.04 --> 00:00:18. and just analyze this photo. I'll do the beauty, retouch 00:00:18.86 --> 00:00:21. the portrait, retouch. And then I'm kind of done with 00:00:22.17 --> 00:00:24. general retouching. We'll kind of move on to creativity. 00:00:24.73 --> 00:00:27. So if there any remaining questions out there, I will 00:00:27.88 --> 00:00:30. get to some frequency separation. But, you know, send 00:00:30.65 --> 00:00:33. them this way. This will be the end of it. All right. 00:00:33.58 --> 00:00:36. So I made sure that I made a few little adjustments 00:00:36.31 --> 00:00:38. here in light room before I open up in photo shop. 00:00:39.06 --> 00:00:42. Um, what I did let me just reset. I brought up my 00:00:42.85 ...

--> 00:00:44. exposure a little bit if you noticed I don't have 00:00:44.94 --> 00:00:47. any weight. I'm not losing any Do telling the white. 00:00:47.79 --> 00:00:49. So I thought I'd bring that up a little bit. 00:00:51.14 --> 00:00:53. And then again, I don't have a black point, so I brought 00:00:53.98 --> 00:00:56. down my blacks a little bit. What I usually do is 00:00:56.92 --> 00:00:59. I don't increase the contrast to the point that there 00:00:59.08 --> 00:01:01. is definitely a white and definitely black. If I know 00:01:01.38 --> 00:01:03. I'm opening in floater shop because I can do that. 00:01:03.87 --> 00:01:06. I can darken down areas selectively and kind of control 00:01:06.84 --> 00:01:09. the I better. So I just make sure the contrast looks 00:01:09.51 --> 00:01:12. nice on the skin on the face. And then I'm gonna open 00:01:12.66 --> 00:01:16. it up. Perfect. And I have this whole other thing 00:01:17.12 --> 00:01:20. really bad eyesight. So if you see me squinting Sorry, 00:01:20.7 --> 00:01:23. I'm making funny faces. Okay, great. All right. So 00:01:23.46 --> 00:01:26. looking at this image, um, the first thing that you 00:01:26.23 --> 00:01:29. wanted to do is get rid of any problems with, um, 00:01:30.29 --> 00:01:32. contrast in light, and we've got that taken care of. 00:01:32.5 --> 00:01:34. So I'm going to duplicate my background, 00:01:35.61 --> 00:01:38. and I'm going to open up my navigation panel so I 00:01:38.53 --> 00:01:39. can quickly zoom in and out. 00:01:41.54 --> 00:01:44. And for cathartic reasons, the first thing I'm going 00:01:44.23 --> 00:01:46. to do is click around and remove blemishes, and I'm 00:01:46.75 --> 00:01:48. going to use my spot healing brush. Now, if you look 00:01:48.88 --> 00:01:52. at her skin, I really know already. I don't need to 00:01:52.28 --> 00:01:53. do it. Hardly any skin softening. I don't think I 00:01:53.91 --> 00:01:57. need to do much at all. It would be unnecessary. In 00:01:57.14 --> 00:02:01. this photograph. I may do a little bit and kind of 00:02:01.12 --> 00:02:03. smooth out a few details, but mostly I'm just removing 00:02:03.68 --> 00:02:06. blemishes and then seeing if there's any blotchy areas 00:02:06.6 --> 00:02:09. of skin that I need to smooth out. I make this full screen. Okay, so I'm gonna grab my spot healing brush. This is going back to what we're talking about today. Yesterday gonna make the brush slightly bigger than the blemishes click around. And if I click on them, it kind of doesn't algorithm where it says, All right, this blemish doesn't belong. Let me replace it with similar tones around it. Now, you should be retouching sale. I'm at 34%. Ideally, when you're retouching skin like this, you want to be around 100%. Because sometimes when you do a spot removal like this is a spot on my sensor. Sometimes if you look there, see how it didn't quite do it correctly, You wouldn't be able to see that unless you're zoomed in at 100%. Um, I don't think that that's like I need to worry about that particular spot because it it's not something I would actually process. Um, and I click around here. It's a couple blemishes, but really, she's good skin. Most of it is my dirty sensor, which I'll pretend I did on purpose totally for 10. Okay. All right. So you guys know how that goes, the next thing that I want to do, and this is just kind of me personally, as I want to fix that opening in the lips. And there are a couple ways you can do this. Um, the first way that you want might want to open a six. That opening is you could use the Parker tool and liquefy. And with the park ritual does is it pulls the top in the bottom down, and it closes up that hole. You could do that. You could go ahead and clone. You could take 100% capacity clone stamp and clone across the lips so that it closes. But the way that I know that I'm most comfortable doing it would be using the warp tool and kind of pulling the lip down from the top and pulling it out from the bottom. So we're going to do that. I'm gonna grab my lasso tool, and I'm first. I'm going to just loosely grab an area around the mouth. Okay? when a kid command J it's a copy and paste it into a new layer. So now if I turn off the bottom two layers, I just have the lift. And then I would hit command T. And it's going to put a bounding box around, um, the selection. And if I right click, all right, we switch masses. How do you right click with this mouse if it's not actually right, Click. All right, So if I click work, what I can do is drag If you guys watch this before, if you haven't tuned in. What I did is I hit command, gave a copy to a new layer command T to bring up my transform, transform controls, right click and select warp. And it gives me a mash that I can warp what's within the mash. So if I pull down on the lip, I can actually anchor in the top part of that selection so that it doesn't warp and it kind of holds it in place. So if you go appear to the top next to where it says warp, I can give myself an anchor, and I can pull this lip down a little bit so I could do that. So if I hit OK, I kind of hit Enter. I can blend this or I can erase to kind of blend the top part in and bring it back to the way that it waas. So if you see before and after, it did shift the lip. But I did get kind of the warped area down here that I liked so I could go ahead and we make sure I have a soft brush and I'll pick kind of a relatively high capacity. And so I can kind of just bring this lead back to the way it waas. But if you notice it's blended and so now I have kind of a lower area for the lift and let's try just erasing it around here. So you see what I'm doing? I was able to drag it down, and if you want, you can drag it down, Maur. You can blend it more control Z is my favorite tool, and so I would go a little bit more carefully if I'm doing this myself. But yeah, so did an easy I just kind of maybe blend a little bit more while I'm here looking at the lips. There are a few other things that bother me. I know for sure that I will definitely increase the size of her lips or make them fuller with liquefy. If I zoom back, I think the lips look a little small on her face. I hope she's not watching. Sorry, I don't mean it that way. Saying for my retouch. Um, so I would come over, baby, don't be a bad person. So I'm gonna merge that down, and I'm going to do a couple things later on. I will make them larger, but I am going to clean up right down here. Um, that's not a straight line What I wanted to be. So what you can do is you can take your clone stamp. Wanna make sure I have kind of a medium, um, softness brush if it's really soft and I'll get kind of a haze is really hard, it'll be too harsh the line. And when people ask me what percentage it's going to depend, so that's why again, the controls, he is an awesome tool. I'm making my brush a little bigger, and I'm going to select it on clone stamp normal. Gonna select an area click and then I hold my shift key and that will draw a straight line. And so what you can do is you can do lesser capacities. You can do it not as full strength. Or you can also, um, if I let me just put this on a new layer real quick If I put this on a new layer and I'm gonna make strong my clone, I can also a race. If you are expecting and cloning from a new layer, you have to make sure that you have current and below selected because otherwise it will think that's empty. So it's like current and below. I'll pick a little bit less a pass, itty little less hard brush and then try it one more time. Same thing. Old click. I'm holding my shift key. It will draw a straight line over. And so I kind of clean up the whole area. Very wobbly. Say so I would just clean up around her mouth, same thing here and try to give myself kind of nice straight lines I'd clean up underneath. So just give me an idea of what my mind is thinking so cleaning up around. The next thing that I would do is I'm looking at her eyes and she doesn't need too much help. The couple things that I know that I want to get rid of is I want to get rid of those veins and rise, so I'm gonna zoom into over 100% and over where my spot healing rushes underneath. I can grab the patch tool, grab the patch tool conflict veins in the eyes, click and drag and eliminate those veins so and you can go in and get us careful as you want. I could go in and move all these. The thing that you're being careful for careful of is right now the eye has shaped. If you go in and clone, you kind of get rid of the highlights and you get rid of the shapes that make it look real. So that's what you need to be careful with. And that's why you've been really, really, really tight. And neither use the patch tool or a spot healing brush on a very, very small brush and click and drag because I find most times people clone. It looks like flat, lifeless eyes, which is really creepy. Um, all right, so the next thing looking at her eyes, I could do a little bit of cloning underneath if I wanted to, Um, I would select my clone stamp and as we talked about before, and so that for beauty, I can eliminate the bags under her eyes and I don't care. Um, and how I could do that if I switched to lighten. I pick a brush, maybe it mid length capacity for a portrait you wouldn't completely eliminate under the eyes, but for her since its beauty. And maybe it looks that way because of makeup. It's more believable, and I can kind of just fill in and clean up bags, and I would select a soft, slightly softer brush. It's all about what looks good, so selecting in here kind of cleaning up underneath her eyes. Um, something I noticed is the bridge of the nose. I think that's because we had the glasses on that. She had a red spot on the bridge of her nose. We talked about yesterday. If somebody has blotchy nous in their skin, there's a way where you can select the color channeling, select, read or another color. Channels the whole deal. Create a mask out of a creative selection and then just paint the correct color in, and it will hold the detail. But it will get rid of the wrong color here. Honestly, since your skin is so fine and beautiful, I could just clone it out. You know, I could just select from a couple different areas noticed. I'm selecting above and below, and I just don't want to see any repeated patterns. I would also go ahead and clone away smile lines because I don't need them for a beauty image. It's not about kind of on image representing personality. I would also clean up a little bit of the color around here. All right, and next. Let's make the eyes look big and beautiful when emerged on the lips and to make her eyes look beautiful. I'm gonna go in and I'm going to select the iris of her eye. And I think this time what is? I'll just use the lasso tool. Hold the shift key so I'll select one iris. I'll click over Select the other, and they were using the tool that we use yesterday. So when used command J copies and pasted to a new layer. But I already know and you pick up this from doing it so often is I already know that the contrast is going to look really beautiful in her eyes when I plug detail so I could go to image adjustments, shadows, highlights. And if you watch, I mean, it pulls out a ton of detail in her eyes to the before and after and pulls out a lot of beautiful detail. Okay, so if you were also going to make her eyes bigger, if you were in, use that blow to him liquefy, um is does it matter which you do here first? Good question. Okay, so it doesn't matter what you do first. What does matter is if I go in here and say, all right, I like her eyes, but I could make them sparkle even more so if I select her eyes, it's gonna feather it. Maybe in a 15 pixels. If I do that and then I go into my levels and pop the whites and then I change this sort of size, it doesn't match up anymore. So if it's a layer mask that depends on the size of the change that you're that you're doing that it'll make a difference. So I am going to do that in this example. If I goto levels, I can pop up the weights and bring down the blacks. And so basically, increase contrast and notice. You know, I'm really able to pop thighs there for people who are wondering about one of the things I haven't done has made the eyes look too much whiter. Um, I haven't had any photos that really needed a lot of whitening in the eyes. But that's one of the other things cloning eyes get rid of veins, make them look fake and over whitening. So I even will tend on the underweight inside, just in case so that it doesn't look creepy. Um, and so I'm gonna paint a little bit more. I'm gonna paint a little bit more of my slicked Wait a little bit more of this selection to see over here, gets to white, so I'd have to back it off. Tell me that Pop out perfect. Okay, so I will grab my black, and when I paint black on the mask and kind of back off that witness a little bit. And I only selected this size. We have to pop over, select the other. I paint white, lighten it up, but increases the contrast Aiken waiting up the eyes of it. Now I'm looking at this in this picture is all about color. Um the pretty purple in her eyes. So are the pretty purple around arise. But I want her eyes to glow as well. So let's make them blue conflict arise I can go into saturation is where this is kind of all review staff That's I'm going so quickly hue saturation I can hit colorize And then if I drag the Hugh I can pick a different color for the eyes so I can make her eyes really blue And maybe that's obviously too much So I can pick something, maybe see something there and then you can back off the opacity. I'm gonna back way off if you look at before and after. What I need to do is basically clean up my selection so I can grab my black brush paint black on the mask to hide the blue where I don't want it and I also wanna paint off if you if your pupil changes color, you do want to make that change. So you guys have seen what I did before and after with the eyes, it's night and day makes a huge difference. You do that in a beauty image, A huge difference. Um, I'm good going would then this hair is really bothering me and the hair on the face. So I'm gonna talk about what I would do to deal with this hair. And if you can hair spray the crap out of that beforehand so you don't have to fix it in post. That's the better way to do it. But I will show you. I run into this all the time, especially if one looked that had a hat on. Then they took it off. So I'm going to merge my layers down just to make this file go quick and I'm gonna duplicate the background and we're going to deal with this area of hair. First, I'm gonna show you one of two ways. This is way number one. If I come in, I can go ahead and come over here to my quick selection tool and I can try to basically select everything but the face. So if I can select kind of the contours of the face and I'm just clicking and dragging, that's how quick selection works. It's basically looking for areas off high contrast. So I'm clicking around the face. Same thing, just any place where I don't want the hair right next to the face. All right, so it worked pretty well. Now this would be a little bit. This would be much more difficult if, say, you photograph somebody on a uM, kind of a brown or skin tone background, something that would blend more, it wouldn't work as well or if there's hair that's similar to the skin tone. But here it's a nice area of contrast. I'm going to create a new layer next, the trashcan and now I'm going to clone 100% to get rid of that hair and it will come right up next. The face. When a clone, I just need to make sure that I have current and below selected. I'll come over to clone perfect. Let's do normal 100% and right now this election is going to be really, really really hard, like it'll be really crisp on her face. So I want to soften it a little bit. I would feather just like a pixel. We're two pixels. It makes it look a little more believable if I go to select Modify Feather. I was going to do two pixels in this example. Grab my brush, my clone stamp, and I could do big clone stamp. It doesn't matter and just kind of clone this out and get rid of you. Notice. You know, undo is always good that I don't want. Okay, So notice it protected the side of the face when I hit Control Z and undo when you zoom in, it's obviously not perfect, and it's not going to be necessarily. You have to make a few changes and I see here, you know, I would blend better, you know, given more time. But what I will do is I will add a mask and what I see the problem is is my cloning kind of went on to the face and places that I didn't want it to. So I'll take a brush, a black brush, really, really small. Just kind of use my brush and I'll hold the, um, the shift key and just kind of clicks that makes kind of straight lines and start bringing back the parts of the face that were cloned over from painting and pictures. So my mask good and I'll blend it and see how I'm kind of bringing back those areas, especially since it's hair that we're cloning out. It's It's not gonna like if you go over kind of extend beyond where you cloned, it won't be is noticeable. If it were up against a red background and then you went beyond the area, do you would notice it? But here you're not going to. It's going to very small and subtle, so I would just go along and kind of blood. And, like I said, I would blend Here is well, but if you zoom out and if that were blended, you know it kind of quickly gets rid of hair. Same thing you have to come up next to the eyelashes and just bring back where those eyelashes are really small brushes and just clicking and making sure that it's realistic. So that's one way that you could do it. But let's look at And like I said, I would be nice and careful and just viewing at 100% trace around here. Nice. That's one way. But what I would also look at is okay. I want her bun gone. I don't want it there anymore. So what do I do to get rid of it? There's a couple of things you can D'oh. I'm going to create a new layer, and this is going to be for that side of the face. And this tool, um, is very useful. But I will tell you, it's scary to start off with. Um how many people are familiar with the pen tool? Okay, so the pento, I think it was so I have, like, traumatic memories in college, we had a trace of rubber. Ducky is their first assignment. Our eyes are like and like, you would fail if you didn't correctly trace the rubber. Ducky was scary. I'm totally serious. So, um, how the pencil works? You could use another selection tool if you wanted to, but what it lets you do is if it's a short cuts P. But it's the thing that looks like a stylist. I'm gonna click a second point. And what it does is it gives you a handle that you can move and vary to fit the shape of a curve. So I can exactly trace the outline of her neck and her year and make it perfect. So I'm gonna click another line here and gonna vary it just a little bit. All right? I'm just going to this really fast as I could stick forever. Um, click up here. Good. Resume in, do a selection next to her ear. Good. And I would do it all up, and I'd make sure that it was a nice, smooth line. So what would it ends up doing is you click. And then you get this line that you can vary and move and try to fit the curve. All right, so I'll just do one more perfect and so I can click around and just like, normal selections. When you click around you conjoining at the end. And then the option you have up here where you just create a path that's the pencil does it creates a path, a selection around something. If you click on selection, you can add a feather of one pixel and now it turned what you just created into a selection. And so that's another way. And maybe the magnetic lasso tool or a magic wand tool or the quick selection tool wasn't working. You can go in view of 100% and use a pencil, and it will get really, really, really precise, as precise as you want it to be, and so that I would do the same thing as before in this new layer. Grab my clone stamp and clone out her hair. It would be the same thing, and the little halos you're seeing is my clone stamp gives me a preview before I actually clone. Depends on what version of Photoshopped that you have, whether it does that or not, and so I can zoom in and just like before, there may be a couple areas that I need to clean up, but I'm just keeping in mind viewing distance. I might not want to be as crisp as you see here, but I can clone a few things out. Clone up further around the ear again, kind of for a demo. But that's how I would get rid of hair. What I try to avoid doing. Is this doing like cloning something? So it just gives you a hazy edge because you can tell. So you're better off using a more crisp edge and cloning it very crisp. What I'll do as well as, let's say, um, let's say that I get rid of a bunch of hairs over here. Um, and this is I'm sure you guys run into a situation where it looks really, really fake, and you could just see the edge. What I'll do and like, see, see there you can see how it's kind of hazy where I cloned it out. What I then do is a back off the opacity of that layer, just a little bit, a little less, and I grab, um, I could do a layer mask, grab a black brush that's really, really, really small and just paint back in a few hairs. Maybe it's less opacity, but something so it's not a crisp end or it's not a hazy edge, and so sometimes you do have to make it not completely perfect. I had a little too bright for me. Maybe here I could just bring back in a few hairs or if I bring it back to full capacity. See, I was Look, it doesn't look is hazy. Now I've added those hairs back in, so it's more believable. And all I'm doing is I have my blush, my brush on black. And I'm just clicking to make it look like some of that hair came back. So for this, I'm going to get rid of a couple more hairs. But I'm gonna keep going with my retouch because I think you get the idea for how to remove Hair. 70. Will questions regarding that, everybody. Okay, let's take a look. Always questions. Any in the audience. Okay, Bill, um, they're so using. Okay, so I didn't quite catch us, but Doug, be photo noticed that you were using an eraser tool earlier, and he was wondering about the distinction on when you use that and the black or white. I've pretty much always used the black and white, the layer mask, and so I don't know why I grabbed it. I just I probably just but yeah, it's There's non destructive ways. It's a much better way, and you can always go back. Um, and six things. So and you guys over here. I'll just tell you spending more time. I would blend in this here a little bit better and make it look realistic. But this is for Demo. So I have her hair kind of fixed up. Let me show you what we have so far in a before and after. Remember, if you hold the all key click on your bottom layer, you know, so it already looks significantly better. I want Thio get rid of the strap next, and there's a couple of things that you can do. I know that what I'll probably do for something like this is my patch tool. Because of where it is, you start to learn what will work well and what what, what's not going to work. So if I go ahead and grab my patch tool, I can select around the This is ah, dress strap. And what you probably know is up here where I created my edge. It'll make it quick, make a hazy kind of a smear. But I know I could just go back in and do it a couple times, and that's because of the area that I'm retouching on. So if you watch and get rid of it. It'll give me a smear right there. That's okay. I can zoom back in and do a few of these and just kind of even it out. I also know I could grab here and I'm looking toe line up the neckline, and if you don't line it up, that's what it does. Something else you can do is if you're trying to line up the neckline instead of doing that. I can copy this selection of skin hit command J copies and paste it into a new layer. And I could just line it up over and then blended in. So there's a lot of different solutions off what might work for you. So, for example, if I'm gonna go grab the mass tool, add a layer mask, grab my black brush and then I could just kinda blended in. Susan kind of low capacity. So and the question for you from Matt Blue Ali. If I close the pen path, can I read it again? Or do I have to go through the history for that? You can edit it again. You can open it back up and convert it back, but if you it's also if you just want to add to it, that's easier having to step back. But you absolutely can. Just like other selections. You can load the selection, but you can take a selection and convert a selection to a clipping path. So just look that up. It's goes either way. Great. And then she also has a strap over here to get rid of. I would do the same thing. Um, it's like I said, There's not It's not It's an art, not a science. So I would select, and it's probably gonna give me kind of a blur up there. How to make it look good. Unbelievable. Okay, so I'm not gonna spend too much time in this. Is that the idea? I'm gonna move on to a few other changes. I would just clone across here tryto we use a harder brush and get rid of that top part of the straps of the sea. So Okay, so the next things that I know that I want to do is I do want to fix her lips, but I know I want to do liquefy. So when I'm liquefying, I want all those changes applying. So I'm going to hit command option shift key and it takes everything below that top layer, merges it down and puts it into a top level. So here's your way to liquefy. Duplicate my background, sizzling new to work on, coming to liquefy. And that's what her neck looks like. That's awesome. Her neck is already very, very long, so I don't really need to do much. And that's one of the things I look for. Models is longneck sunder features. I know that I want to liquefy her here in a bit. I just told you I do. Here's my gosh. Okay. True story. So embarrass my boyfriend this morning after watching creative life, Um sent me a picture of his armpit because I said, how much of a armpits? So I woke up this morning. He's like, I sent you something based on what you said on creative life. I hope he's listening. Okay, um, I would pull down her shoulder just a little bit. Here, clavicle. Little bits are her next already long, so I don't want to overdo it often with people. If I see how it pops up just a little bit next to her jaw line. For some reason, I find a beauty shots. If I make that kind of flush and straight, it looks better. It looks like more angular jaw line. Gonna pull that in just a bit. Um, also, I want to give her a little bit more of an angle on her jaw. So I'm gonna pull up on the jaw here and put over. So I just basically gave her more of an angle and I could pull down. You know, the hair line here if I wanted to. It's up to you guys. I can make her eye larger and that's what your question. Because I did the command option shifty and copy and paste it into new top level air. Now I don't have to worry about things moving because I kind of flatten it. Also before, if I had done a blow to Lemaitre, I'd bigger those levels effects and the color wouldn't have stayed appropriate. Wouldn't have stayed matching the iris, but it's okay now if I take the blow tool I wanted just a little bit bigger than her, I and let's see if the brush pressure's too much so you can just click a little bit. I'm just clicking and Iris and its strongest in the centre outwards. So you need to be really centered. I could just make it a little bit bigger. I know that I'd want to enlarge her lips so I can zoom in and make her lips bigger. And I can bloat them. If I wanted to, I could just kind of raise the peaks and valleys I want in and give her a little bit more full bottom. Live bigger. I mean, it depends on how much of the effect that you want. Okay? And that's pretty much all they would d'oh for my liquefy, More or less. That's all I'm really saying that I need to dio, um, I actually, when I did this, I did kind of a part of a test at home. Um, this morning actually made her nose a little bigger, which is, like, the opposite of what I do for most people. But, you know, just go a little bit bigger. All right, So what head? Okay, a couple more changes, and then you get the idea of more or less I do the beauty shoot the beauty retouched let me show you before and after again. Um, I think that I wanted her lips to be a little bit shiny. Er, and here's a tip. This is something that applies throughout photo shop when you increase contrast to increase saturation. So that's when you see a lot of times if you want to pop the eye on something and you go ahead new increase, the white point dragged on the black point. Now the colors all messed up. So one of the things you could do to brighten something without messing the color is changing a blend vote. So let's say that I want to make her lips look shy near here. If I select her lips, let's just select there. When a feather it and I go into levels, I can bring up my white point and drive down my black point. But see how it messes with the color. So can you. Can you see that it went super saturated? What? You can change your blend mode, toe luminosity, and so it will only affect the luminosity values, the brightness and the shadows in the highlights. So if I go here in my blend mode, change its luminosity. It's affecting you. Notice how the color's fine now, and it just made it brighter. Now course, I kind of bled over onto the skin a little bit with my selection, so I could just paint that off. But the difference between what luminosity did versus normal, I'm sure you're normal again. He was normal. It goes super saturated. Here was before. So I'm able to pop my highlights, but switched to luminosity. So I popped my highlights without changing the color. And Aiken, you know, add that throughout the lips if I wanted to. Okay. All right. Um, couple other little changes if I wanted to. And I see that I need to clean that up down there. I would do the last things where I start painting in the shadows and highlights like we talked about before to summarize that again. I'm gonna add a new layer. I can zoom in, and I'm gonna put that layer on softly, and I can paint in my highlights. So I'll take white, a soft brush, lower rapacity, and I can paint in the highlights on the cheeks, paint in the highlights and the cheeks of basically top of the cheeks. I also see down here that I can emphasize this line and I can put light highlights on top of the clavicles. And that's something that I do a lot for. Beauty photography. Miss Try to emphasize those favorable elements, like popped out clavicles and high cheekbones. You can flip over. You can add another layer, but this is gonna be for your shadows. So I would switch over to soft light and now select a black, darker, low opacity brush paint underneath. She was just a little bit. I could decrease my capacity when it's too much. And so if you notice I think the highlights are too bright. I can back off. I can do Goshen Blur. I can make them later. The very last thing that I wanted to change was the color of her lips, and there are definitely things I would fix, like, you know, the little crease in the side of her mouth. But if I select your lips and I could do so, I could make a rough selection with the quick selection brush. So Aiken, roughly select your lips. Here, General, create a new layer. I don't even need to create Miller. I can go to an adjustment layer with my layer mask, go to hue saturation, and I can adjust the color of her lips. So maybe I want them to be kind of pinkish this time. The Izumo and maybe I think that looks better, for example, than the red, and I can tweak it. However, why give her purple lips if I want whatever, whatever I think is appropriate. But when you zoom in, what you'll see is that I made a really, really rough selection, and you can see how it's kind of wiggly. I would just paint in with a soft, small soft brush and pain in my lower mask and adjustment layers and just kind of hoped, something wrong way. And so I could just paint along the edges there to clean it up. So cannot give any questions out there because that's it for this beauty retouch. It's more or less summary of yesterday with a few more advanced features, and then we're gonna move on to our portrait, no question in the audience. I just have kind of a odd question, I guess. But if you had a model and her head was just not tipped enough or you just needed it a little bit this way, that way. And you wanted to use the puppet warp just to move her a little bit. I know it's kind of an odd question, but, you know, if you look through all of them and he thought if she was just you know yes, I've done a little bit that way. Yeah. Um, would you do that after you did all this, or would you do it beforehand? Does that change? I haven't played with it. So that's why it's just looking at her head thinking Well, what if you wanted it just a tiny bit? I won't wear the other all of those changes first on and then would do it after the fact and kind of blend, because then I have, like, the correct skin tone and textures to work with, and then I'm just kind of blending it. You could do it before. I don't think it would make a big difference. But anything that like is actually degrading the quality of the image or like changing something major like that, tend to stay save for later, but you'll be fine doing it either point. Yeah, All right. So I'm gonna say that's the end of it. Let me just do the quick before and after. So you guys can see we have a couple questions about your technique for when you're merging layers. Mary, sign ass when you merged layers. Don't you have to be sure that you that you've got what you want because it gives you no chance to change it, right? So I What I avoid is I never do kind of the merge down to flatten things to get rid of it. When I wanted to liquefy, I had a couple things that maybe had the lips on a separate layer. And they had the eyes like I definitely had the eyes on a separate layer. So if I opened up and liquefy, it wouldn't have all those elements to work with. So I do need to work with a flat and layer for something like liquefy. So that's when I hit the command option shift e. It doesn't get rid of everything below. It just merges it into new layer that it puts on top, which means I have to go back and grab pieces from below. If I need to go back, like I would have to erase your mask off for grab. Maybe, you know, whatever it is the eye from below or something. But it keeps on the information, um, and lets me actually do my liquefy using the entire photo. Okay, so is then This might answer next, but she asks when you're using that merging layers once you do that and begin retouching on that merged layers, any real advantage of keeping the layers that are that are below that. Yeah. So it's basically, if you're like crap. Actually realized that I needed that piece of skin or the I made too big and I need to change it. It's more of the security of having it. And then also, you can kind of foot through before and after and see. OK, what's the change between these three layers? Was it a good change? It's It's more security. It definitely takes up more file space the more you keep them. But it's fine. It's, you know, just try not to duplicate the entire layer for every two steps. You D'oh! Okay, so, Lindsay, we have about 15 minutes before our first break. We have a number of questions, as we did yesterday as well about facial hair, how men's stubble or fuzz on women's faces. I don't know if that's something you've been addressed without actually having a photo for that. Or if anybody has a photo that you consent, that would be awesome to work on there. It depends on the photo. So I was telling a story that I actually I have this situation often with people that they don't realize they have facial hair. And so in certain places. Or, um, have models that come in and they're like, very, very hairy, like I don't know, um, a couple things. So if it's a little bit of a five o'clock shadow, you can go in and kind of clone enlightened and just lighten it a little bit. The next technique I'm going to show for skin softening. What allows you to dio is you actually separate the detail area, the texture from the kind of color and total areas, so using that you could actually kind of soften around the texture area of the stubble. Keep the color, keep everything else the same, but smooth out this double. Another thing that you can do is well is if you do the technique. If you watched yesterday where I took the Red Channel, made it a selection, copied it over and made it into a mask. What you can then do is take skin tone and paint it over the darker hairs, and it lightens it up said. It's kind of depends exact with the hair. Looks like if it's just some woman who doesn't relations chin hair, I usually just use a spot healing brush into spot. Hell it out and zoom in, so it depends on the severity of it. Great, that helps. Thank you. Sorry to give me so many choices like that's That's what it is like. You'll see me regularly. I'll try something. I mean, you guys have seen me do it where it didn't work at undo what's my next tool? And that's why it helps. There's 1,000,000 different ways to do pretty much everything, but it helps to know them because sometimes one doesn't work. And so sometimes I love my image, gnomic portraiture, its what I use all the time. Sometimes it's not quite doing it the way that I wanted to. So I have these three other ways, like we'll talk about in a second

Class Description


Learn in-depth techniques for retouching images to perfection, helping your clients look their best, and expressing your creative vision! Whether retouching skin, whitening teeth or reshaping body features, Adobe® Photoshop® allows you to perfect reality as well as express your creative vision. In this workshop portrait and fashion photographer, Lindsay Adler will cover essential retouching techniques and teach how Adobe Photoshop allows you to make the impossible possible! Lindsay will cover countless creative Adobe Photoshop techniques: creating porcelain skin, changing colors, displacement maps, adding textures, adding makeup in Adobe Photoshop, quick retouching plugins, and dozens of other techniques you can apply to your own photography.

Let Adobe Photoshop become your next realm of creative expression through this workshop. Lindsay will also include a couple live shoots and live retouches so you can see an image start to finish and learn the nuances between a portrait, beauty or avant-garde retouch.


SOFTWARE USED: 

Adobe Photoshop CS6

Reviews

Sean
 

Fantastic Photoshop course. I knew Lindsay was great at Photography, Lighting, Posing and Public Speaking, but I am really blown away by her mad (great) skills at Photoshop. Lindsay really is a fantastic teacher. She turns what might be a more or less dry topic into a fun and entertaining topic. Thank you Lindsay and thank you CreativeLIve. You have a real superstar with Lindsay Adler.

a Creativelive Student
 

This is a great workshop for photographers wanting to learn and hone in on their retouching skills. As a photoshop user and photographer of 10 yrs I have been able to take away some further techniques to help better my skills and more or less tailor them. I would suggest you have some adv beginner knowledge of photoshop because I don't think some of the techniques you will be able to keep up with unless you buy it. There are two things that I wish she did better in her teaching and that is to teach new users to label all their layers and what they are as you are working. As you can see Lindsay ends up with 20 layers and unless your the one doing the editing you will have know idea what is what when you have to go back to it. So its best to teach this in the beginning so people get into the habit of organization early. Also I wish she used a Wacom. It really does cut your editing time in half and you have more solid movements in precisely selecting areas of a photo. From a photographer to other photographers. Use a wacom. You can start with a basic baboo for $89 and when the apple wireless mouse cost $69. Time is money, and a wacom truely save time! I used to use a mouse and my trackpad and once I switched I was like OMG what was I thinking before! So I wish she just emphasized that point more. Overall I think it was $99 well spent.

Christian G.
 

Not only is Lindsay very knowledgeable and a very good teacher but I REALLY TRULY appreciate her no-BS, straight-forward style.. No time wasted on long tangents talking about herself (or what have you), on cute remarks or on off-the-mark humor. She has showed us many great techniques, has presented to us various creative/different ideas AND she has also really been able to explain "how she thinks of a solution", how there is a bit of trial and error, "even" at her level.. All in a all, a truly excellent course and worth every penny!! Thank you Lindsay and thank you to the CreativeLive team for a great course!!