Retouching Plugins

Lesson 1 of 1

Retouching Plugins with Lindsay Adler

 

Retouching Plugins

Lesson 1 of 1

Retouching Plugins with Lindsay Adler

 

Lesson Info

Retouching Plugins with Lindsay Adler

Is one that I wanted to start with that when used selectively it's actually a really cool time saver so there are endless retouching plug out plug ins out there on dive tried all of them and don't like most of them and most of the time when people use them they use them too much they leave them on their custom on their default setting so they leave them on whatever presets air there and typically those pre cents I feel like the designers just want to show like the possibilities off their software so they're way too much on dh so I want to show you a couple of the retouching plug ins I use now when I say retouching I use that term very broadly so I'm going to start with the actual retouching plug ins just the two that I like and then I'm going to switch over to plug ins are typically retouching but I've used them for creative effects so I'll talk a little bit about negates chair pro and I'll talk a little bit about sharp sharpening softwares and things like that so I will run through th...

ose but let me get started first with a program that's not technically a plug in even though I referred to as a plug and it's not really um it is portrait professional and they open that up and they're a couple different versions of it but you can there's an easy to download trial the biggest thing is, once you download the trial it word marks trial across your word a posture photo, so you can't use it until you actually buy it. But you guys look at the idea. So how this program works is you give it a photo and has facial recognition. Now, if anyone has the older version, you have to recognize the face for it, meaning what you have to do is you have to define where the edges of the mouth are, the chin, the sides of the face, the eyes, the nose you have to tell it in the newest virgins you don't need tio it's already set up in there, and it gives you a lot of different control. I would say right off the bat typically for a portrait. It's it goes too far, it's too much, but it's knowing how to use it in kind of backing off of some of those. So this is a standalone program, so if anybody out there doesn't have been toe have photoshopped or has elements or anything like that, it definitely will work. And then also, if you just work in light room it's its stand alone it's, let me open up this image and we showed you a little bit quickly by hand. How much work it would take to retouch this image? I just didn't really quickly in the beginning because I wanted to give you an idea of how retouching plugging can save you time so selecting the gender what it does basically is it guesses what the skin should look like and then it suggests based on our common understandings of beauty how to change somebody's face have a change someone's facial features so I'm gonna turn that off um so it's default settings gets me there by doing nothing which is pretty good on so this is what it did um if I want to fix anything I can actually it would say it's wrong it didn't know where the sides of the face where the smile I can drag any of these edges to define the face so it knows what features are the face the nose, the eyes, the eyebrows you can change all of that ok, so let's go through is going to hide this let's go through the different options here. Um I honestly really like this for me when I did high school senior portrait um it's not that I was doing a ton of volume but we know most commonly people are given getting say eleven by fourteen state by tens and so this saved me a ton of time, especially in situations like this especially when they selected maybe told images or something? I could get it done pretty quickly. So let me let me zoom in real quick, it's going a little bit further. All right, so you can kind of see already that it still maintains the skin detail over on that right hand side. So let me just go through. All right? So the first option that we have here that you see is the show face sculpt controls if I turn this on and off by default because it thinks we have certain standards of beauty, it changes his face to better fit what we think is attractive. So this is what he actually looks like. And this is what it says he should look like based on what we perceive to be beautiful um, for a portrait you want to turn this off, so to do so, you just simply green means go or green means that it's on you just turn it off. But this is one of those things where, if it's a beauty image, it actually could make a really big deal, it can change the offset nous of somebody's eyes. It can make them larger. So I'm going to open that up. Just you have an idea, but because if you see there made his eyes larger, close down his smile a little bit I would never have any of these on for a portrait so one of the first things that says is you have the ability to shrink the forehead right in this program it's been kind of shrinking and the top of the head the four heads in the years like all all as it's happening you can make a jaw line a little bit more square if you want you can change the shape of somebody's nose for the eyes you could bring them closer apart a closer together further apart change the mouth state plant the lips the one that I use if I am bees in this program is I definitely will elongate the neck not isn't required for him but remember how I said that we perceive longer next being beautiful well that's why they built right into this program so anything that changes that you see here are all things that in her head contribute to beauty so I definitely changed that for his portrait it goes off it's him all right so the next thing is the skin smooth controls so if you go through each one of these it's imperfections and so imperfections it was show you when you mouse over which is really nice this is saying ok when we're talking about imperfections were talking about blemishes if you look it new pretty well imperfections were and it got rid of a lot of them wrinkles find shadows moving pours usually have that turned off because I want to keep the force notice if you go to the after well that's when it starts looking like fake skin so that's why I usually turn them pretty far off it can actually kind of lighten up under the I see how it's a little bit later under his eyes that was for the around eyes options okay so you see all of that um what's really nice is if I minimizes and I zoom in if I come in a little bit more it did a really good job but not a completely perfect job there's still a few areas that I could go back into photo shop and fix this but the other option you have here is the touch of brush if you click on the touch of brush you have only two controls set to this you have your brush size and then the strength basically if you have it full strength when you pain over at once that's for this is going to retouch versus if you have a lower strength each time you paint over adds more and more of that perfecting effect now these settings right here the brush strength and that the touch of breath they're based on the settings you have down here for texture and for imperfections it's based on that so basically if you backed off of all of these so it's just overall kind of smooth well this brush I can keep layering it up and going over and over a part of the skin that maybe it didn't touch so for example five human and I know that it's say didn't fix right there when turned my brush strength to twenty four and as I paint over it notice how it gets her from imperfections but I still have a decent amount of detail there and I can also paint over the scar a little bit if I want to and so this is really quite easy for painting over in perfecting skin so that's good something else that you might want to take a look at this guy I think it's helped a little bit by this change it's the skin smoothing in the shading bleed what that means is if you look at his skin it's a little bit red um there's a little bit of watching this so when you drag those sliders it's basically done a slight amount of frequency separation it's actually giving you the ability to kind of smooth out the tones underneath and keep the detail but it does give an overall perception of less sharpness, so if I do this if I go over here and click skin smoothing and see if I can drag it up so you see it quickly okay see that so it even doubt his skin tones and after okay, so notice when you do something like that, all of his skin tones are very, very even. But he also steps alou's shape to his face because you've gotten rid of some of the shadows that may be decided to find his cheek bones in his jaw line and then some of the sharpness there. So if somebody has really blotchy skin or it's really uneven, you might want to pump that up just a little bit. So, so far, if I show you this, I mean it's looking pretty good. All right, someone close this couple other things I controls. So this is the biggest place where I see people way overdo it. You get really bright white eyes and, like, really sharp and people look like, like, creepy vampires, like, you know, that's, why the posters or whatever with the hazel glowing eyes like that? So you just I mean, you could run down through these are really taking through these but it's whitening eyes brightening eyes, burning the entire area. This is, for example, with the, um shadows in the eyes from being outdoors from having overhead light the raccoon eyes, you can sharpen the izing breaking island iris, you can darken the people, all of that also, can you read I, um but what it would do the things that I would like to show you a couple other things you might find interesting, you could change lighting, they also have the ability to change hair and it doesn't work on this photo, so I'm going to open up another photo, but it detects the hair, the hair tone and it will fill it in and smooth it out. So that's just another kind of random things that you're doing more beauty photography and you don't care is much what somebody looks like this is really good for instead of maybe using local fight, you use the controls right in here, back with the eye controls. You did have the ability to change the shape of eyes as well for people that have let's go uneven eyes. If you goto eyes here, if you watch, I can move and change shape and position of the left eye or the right eye. So if you ever have somebody who has one eye that smaller together, his larger it's simple it's predefined here, you don't have to try to do it and photo shop for liquefy and then worry about nudging the facial features like the eyebrow and whatnot. So with this, um I am going tio a couple things about this it does work with to file that does work with larger files but I think that it kind of is a little slow if you're working with files with layers or anything to large. So I recommend you there flattened tiff or a j peg. Um, anyone hit? Ok, lovely. All right, so, overall, just keep this in mind. If you do use this for portrait turnoff face controls on be careful that you don't go too far, but it has a lot of settings that allow you to smooth out blemishes and wrinkles. And then if it's missing certain areas to apply it's it's, kind of like with portraiture, you don't want to do the highest common denominator where it seems that everything you wanted to kind of the lowest, and then if you need to go ahead and selectively apply, you can all right, someone to close this cool open of one other image in that as well. I'm going to skip over to nick. How many people have any nick software? Do you guys have a nick? Okay, what do you use it for? Ok, like that? I have it e have it. Okay, so I'm going to explain the big companies out there that exist for plug ins, there's, nick and there's on one. Those were kind of the two biggest names industry, no gun and there's a ton of other ones, but I'm not going to show you the ins and outs of all the software. What I decided would be more valuable for people watching means what I use them for because you can go ahead and go on the nick website or go on the on one website and learn how to use the tools with their little tutorials of what to click. But it said I wanted to talk a little bit more about concepts, so I want to start off with creating a composite image how I would put together a composite now a composite image, joe grams is going to be here and he's the guy to watch if this is something you're really interested in, but what I thought it would do is give you a simple overview. He has some very specific techniques that he does. I do something very different composite there when you take a subject and you typically shoot them in the studio and you put them on another background or in a different environment that they didn't exist. This put it bluntly, makes me a lot of money, and so does everyone else who shoots it and does that for a living, because right now, it's what's, extremely popular for tv pro mose and for professional athletes and for advertising like this is what people like they like this look in this effect, so it is going to give you an overview of how I would do it. And as I mentioned before, I'm not artistically inclined in the painting and drawing area, so I had I forced myself to kind of learn this, so I'm going to try to explain it in the simple, simplest way possible for the non artistically inclined among us. So it's open up photo shop and the program that you need for what I'm going to be covering right now would be the nick, a cherub effects pro. Um, I tried all the other plug ins that exists for each daryn, this is the only one I liked, and it gives you the most control, the best results. I tried, all of them, none of them made sense until I tried this one in particularly this version on, but this is hdr fx pro, too, and this is the nick program, so this is the one I like, you have two options. Merge is if you have multiple images that you shot that you want to put together and told man thing is, if you have one image that you want to have that kind of crispy detail hdr look, so I'm going to open up, merge multiple images so the effect that people like nowadays often is they like the background to be this is not everybody they tend to like the back yard to look a little bit surreal and so in hdr stands for high dynamic range and it means that basically what you do is you shoot a minimum of three images one image where you exposed for the highlights so you have every highlight detail in there one imagery exposed for the shadows so all the shadow detail and then one for the middle and if you want a ton more detail you could shoot, you know, even brighter and even darker and combine them together. This is most common arone for landscape photographers, travel photographers and architectural photographers, but we're going to use it right now for portrait and also for commercial work. So what I did is I shot a siri's of images that I'm going to put together in hdr and I was basically basically trespassing and an old building um and is there was a flood in this area so it's, you know, lots of, you know, molding walls and all of that stuff? Um it was very creepy and cool so I'm going to do is and ask me for my source files so it saying ok, what images do you want to put together? You have to have shot raw images it technically can put together jfx but it defeats the point you need wrong so when a mouse over to my images and I shot more than I needed here and you can combine them all so if you look I have the brightest highlight in here I have the deepest shadow because I shot basically won the correct exposure and then one minus one minus two and you know plus one plus two plus three okay so I'm just going to select maybe this one this one in this one so three images hidaka it opened and I'm going to hit merge dialogue so what is going to say is it's going to give me the options for how to put this together um a couple people that I would look at for successful each yards so jordan just one of them for landscaping travel I take a look at trade ratcliffe he has a lot of really beautiful work his website is stuck in customs and I see that most photographers who do hdr push it too far and it looks a little bit too cartoonish particularly if you're trying to look like you're doing high end photography if you are doing some commercial portrait looks too much all right so you open up to this dialogue so just take you through a couple things that is talking about here this liner down here is saying how bright do you want the overall image to be so I can actually say, well, I intended my image to be a lot brighter but to the slider is or intended the overall look of the picture to be darker so I want it brighter um if you were supposed to shoot you, try your hdr images on a tripod because it needs to line them up exactly you can shoot them hand held a ninety nine percent of time it doesn't work but if casey had camera shake you can tell it to automatically lined them ghost reduction if there's something moving perhaps in your frame you had leaves well believes obviously moved in the hdr so if you tell it that there's something moving it will basically pick one part of the frame that was constant and then maybe you told matt thinks that which mean it tries to make it looks hdr even though it doesn't have all three of the exposures on dramatic aberrations you guys ever seen in areas of high contrast where you see sometimes magenta or purple or green highlights around the edges um we're doing hdr those become even more apparent because you've pulled out that detail s oh, you want to reduce it here so when it could hit create hdr if you have an old computer, you can go have a coffee I'm not getting I'm not getting totally serious it's not something that you I don't recommend doing on a laptop andi don't recommend trying this on a very, very old computer I don't mean to bash the program, but it's the very process their intensive so you could have a coffee or wait this is obviously a wonderful computer that was good. Okay, so how all of the next offer works? I'm going to go over another one of their elements called control point I'm going to talk about that, but what they let you do is save presets if you guys are familiar with light room when you get basically a formula that you like, you can save presets and you can create recipes combine combining thing so they come with some that are pre made already and so you can click on it and it will give you a preview of what it looks like. Um what I tended to like is I liked dramatic but it's a little bit too dramatic for me so what's great is any of these presets that you have over here the controls to modify them are on the right and that's what's cool about any of these plug ins it's not like they just give you a preset you're stuck with it, you can always go back and modify and change, so if you go to tone compression tone compression is basically how much of this so called hdr effect do you want and so it's saying ok for example the hdr method right here it's you have you know deaths too subtle so like how much detail do you want here for grungy how much drama which is going to be more of the contrast you can kind of slide these around and see what's going to give you the look that you want you can also kind of back off the overall look of it what tone compression means is how close do you want like how much of all the detail the highlights you want to bring in and all the shadows so if you look if I bring the tone compression all the over to the right it brought all the detail in the shadows in and all the details in the highlights in but that means no contrast this there's no real white point there's no real black point so it looks kind of block on so it's all about well it's best to you and methods strength just this whatever you chose how much of it doing apply some backing off a little bit okay you guys get the point you can try all of this stuff you can change colors I'm going to talk about control points later so remember later when I teach you about control points there in here is well that's why I love this one is because I can go in for example and say this wall I want more detail this some background over here I want less of that grunge detail so unlike another program where just applies it all the across the board you can go through and be really specific I'm going to enter and hope that's ok, since I can't see it in the bottom of the screen yes it worked okay, so if you want if you want one of these images to work, this is what I would write down if you wanted to have a composite each day our image that actually is somewhat believable. The first thing you need to know is the light what's the direction and intensity of that light. So if you look at this picture, if I'm going to composite another individual on top of this picture, the lighting is from the background, there needs to be some sort of light coming from the background. That doesn't mean you can't have a light coming from the front cause if you think about if I stuck an individual here if I had them there I could put a light on their face but they would also be some light from that doorway pitting their shoulders hitting their arms so that's ok that's one way to make it believable on the intensity also helped write this all right that's number one um the next thing you're going to ask yourself is contrast so in order for that to be believable when you put the two together the contrast a match so if the background as a lot of contrast you have to go in and make your subject have more contrast and then lastly when your considerations is color if he's really cool tone in the backgrounds really warm tone it won't match you have to adjust all those things you're thinking about light you thinking about contrasts and you're thinking about color, other things that does make it easier for trying to have a really realistic composite is having shot with similar lenses so you're distortion is similar um sometimes the most dramatic images are shot with, you know why dangle lenses and things like that? I know that joel, for example, shoots with twenty four millimeter till shit flynn's a lot of the time for his composites next tip if you actually make this realistic, I'm telling you from my non artistic point of view, don't try to include the feet it is so hard to match the angles to make it look like somebody's actually standing there if you like. When I did this once I like actually shot from the tripod at a specific angle and measured the heights and made sure I had the same lenses it's a pain don't include the feet like it's much easier so it's my tip for you um all right, so I'm going to open up the image that I shot and I shot this on my last creative life and it's one of the uh one of the guys here in his halloween costume um it was cute s so this is him pretty cute I saw it was going to lead this mask real quick so you can see what it looked like. All right, so this is it on a background so when my head in my head what I was telling myself is it is easier in general to shoot your background first so you can like for it in the studio to match, so if I wanted to be realistic, maybe I'm shooting evening scene and it's going to be a street scene if there are tungsten colored street lamps, I can light my back and my back lights maybe with a ceo color temperature orange gel so it looks like he was actually standing there or maybe you know that there's a strong lights, the left, whatever it maybe it's easier to know where you're going with it. So for this image I knew that it was going to be lit from the background so major they were kind of two rim lines and they pretended I put another light above so I'm going to go over this in a little bit, but I cut him out using a plug in that I recommend that you check out if you get stuck doing a lot of cutouts and the plug in is on one perfect mask on one perfect mask basically allows you to look at a photo and say more or less these colors and tones stay these colors in tones cut out and you can go around and refined this and just keep adding and subtracting and saying you define this is the edge of the photo so cut this out it's pretty easy to use on de so I got this cut out all right so what I'm going to d'oh is I'm going to drag and drop this individual into the frame so already there's a couple things you can see that don't match so the lighting doesn't look quite right the detail doesn't quite look right it's not terrible I mean the color is all wrong and the contrast so what your job is to do is try to judge how you can make them match together so I am going to fit him into the frame notice definitely not including his feet saying I need tio link these two when I was in the other program when I was turning this officer you guys when I was working with his file let's make this full frame in the shortcuts not of my choosing okay um when I had that other file open when I was showing you unlinked the mask and so I drag and drop it the mask wasn't linked to the photo in case you're wondering why that was sliding around they weren't actually linked together let me plead that real quick case you ever see that happen? All right, so, um a cool shortcut is if you hold the shift key and click and drag if the photos of the same size it lines it up in the center but they're not in mine doesn't like too many good all right, so I'm on my transform controls if it's not selected with these bounding boxes its command t and it gives you the edges and I am going to resize gonna resize him so he kind of looks like he's standing there may be something like that I know I'm analyzing okay, well what I want to start by faking let's start by faking the direction of light someone's human and to fake the direction of light I need a stronger bath light behind him you can kind of just paint that in so I went at a new layer going at a white brush and I want this to be really, really soft and pretty low capacity and I start just making up where light would come from and what I think would happen with this light so it would kind of come from behind something like that and I can blur it I can add another there were like, right behind it would probably be really white that's where the brightest part is if you're looking for the lower rapacity flight doesn't just come from behind him, but I'm kind of smear out into the edge of the frame, so they took a late brush you could say, ok, well, maybe light would just kind of shoot out that way. I'm just thinking like a low capacity brush if you look at it probably to you right now, it doesn't look so, really, but if you didn't see it before and you just came across that it would look more realistic. Um, there's a couple of techniques where you could go ahead and add a little bit of grain some people call it, like, kind of dusty nous or particles so it looks like dust in the air. Maybe you could do that by just going up and adding grain is it filter here? Um filter noise and then you could add some noise. We can add noise using a plug in, so that looks okay. Um, a couple other things that I might do is well, if you wanted to, you could add some yellow light you could paint more behind him. I usual paint a little bit of lack of contrast kind of around, so it looks realistic and you contrive one modes sometimes adding blood moons makes it look like it interacts with the environment a little bit more so I'm switching to soft light soft light but maybe needs a little bit more maybe it's hard like that I prefer something like that all right, so so far I've kind of taken care of light again for and after um when you have a cut out if you're looking at your cut out and you see that maybe an edge is to crisp the giver season it looks to cut out that just to chris, what you can do is you can click on your subject or click on the on the mask and you can get select load selection and what it's going to dio is right now it loads a selection of the individual, so wait and let me just go back real quick we got that one more time click on the mask select load mask okay, right now it's selecting on that background so ok, so if you look if I contract this election meaning if I contracted and it depends on which way this selected so right now I can't figure out I can't tell if it's selected the background or him I think it's selected the background me in this black area what I really want to do is kind of coming a little bit blur it in a race like with a soft brush so what it will do is it won't be so crisp it'll be a little bit softer edge so I'm gonna try expanding this so ideally, if this background selected it'll expand into him ok? So if I had expand by one pixel or to zoom in, you can see just a little bit outside overlap let's see which way it went so if you look in real close, you can tell that I need to go the other way so it's kind of out so I'm going to go ahead select contract current contract like three pixels ok, so you see others a little bit overlap no if I go ahead with a soft brush low capacity I can kind of just soften the edge, make it look a little less harsh and really, really tight um, I mean invert my selection public right? So that's like one of the things that you have one other example of I added texture background that I'm going to show you in this selection in this section as well to show you how to put a subject on a background that where you don't have to go through all this hassle of trying to blend and trying to make it look realistic to the background so any place that there's a rough edge that you don't like, you can kind of just soften it all right, so right now you've got him, you've got the light. What was the next thing I said is contrast, um, I think that he looks a little contrast in the background, so what I have to dio is remember how I said, if you take an adjustment wearing a leather mask, it affects anything below it, so if I don't select him vice like the layer below him, if I had contrast, it doesn't affect him, it only affects everything beneath, so can come in here, grab levels, and I could just watch at what point, you know, they look like they are starting to match, you know, maybe something like that I'm just dragging my black points, dragging my white points, so if you notice they're starting to look a little bit more similar, I matched the contrast, so first thing match the light second thing match the contrast third thing matched the color, so the quickest way to fake color? Um, if you want the easy way out, which I'm all about for something like this could kind of a pain. Um, the easiest way to think is to go to your half moon cookie, and the first thing I dio is I pull out a little bit of color, so I made the actual initial color of the entire scene less apparent so I don't have to try to like fight with it like I pull out whatever color existed so when a pullback on virus a little bit so it's pretty dull it's looking a little bit more realistic the last effect that this is the easiest way to fake color is the add some overall color tone to the entire picture on the top so it looks like it was all shot at the same time because it would look like oh it's all warm it's all cold how I do them as I go to my adjustment layers goodhue saturation and I go to colorize so colorized is going to make everything the same tone and I can pick like maybe this image I want to really warm because with me triumphant image or something so I can pick something kind of brown warm talyn's now obviously this overpowers the entire photo so if I back off my capacity like the transparency of that overall color if you look I want to start kind of from the beginning there's that you fake the light you make it more contrast e you add him in you pull out color and then you make everything feel warmer so it looks a lot more believable so that's kind of a very basic composite so make sure you another composite real quick that it's not exactly a plug in composite but it's that same concept so one thing also to fake it is well if you wanted to flatten it all down put on the top where you could add green so it has the same amount of noise throughout the judge or you can sharpen it so it has the same amount of sharpening or something to that effect that kind of end step unifies everything together so I'm going to open up another image this isn't exactly a plug in but while we're on the subject of composites okay all right so I personally very much dislike cutting subjects out of backgrounds personally I find it a pain and I know is a working professional um I'd rather not like I just rather not do it the best solution is on one perfect mask that's going to be the easiest way to do it but the other easy way to do it is to pay somebody and it wasn't a copout but I wanted to pass this on to all of you um the website that he was searched online is clipping paths like p ay th s clipping pads asia so what I did and they sent them this image on this was shot for a magazine and they wanted it there basically it was shots show off the designer it wasn't supposed to be cool and creative and I shot it and like it's so boring like just for me creatively I needed something more exciting so my vision was to put her on a background that looked like her clothes that was the idea to me but how would I make that look real so I'd have to cut her out and then put a shadow on the background so I sent this picture to clipping pow's asia and I told them I need a cut out of the shadow and a cut of the subject and it cost me four dollars so it depends I mean obviously if you want more control and you understand how it works that's great it cost me four dollars for each image I sent twelve and I had it within seven hours so that's a whole other thing is knowing it's going to take me a lot of time and they wanted this was actually really tight deadline it was a new collection for fashion week they wanted out for a deadline that was just coming up so it was mostly done within you know, eight hours I could do what I needed to do all right? So to give you an idea what they sent me back is something called a clipping path and a clipping path is basically a selection more or less um and you may have if you've ever played with the pen tool you guys know the pen tool you can make a clipping path a selection around an individual there's lots of tutorials online on using the pencil I'm just sharing my heart with you I don't know if I should be a lot better at it so what they sent me are two things if you look I have to pass I have a shadow path he's got selected it and I have a path surrounding her it's also really good if there's hair in the picture they get the hair they do the whole thing and it doesn't have to be on white you could be on any background you have and they do it I'm happy about that so ok so here's what I need to do I need to put these on two different layers I need one layer for her and one there for the shadow so when right click and I'm going to make selection and so is asking you is do on a feather the edge it all no I just want to cut in pay stir so it ok if I go overto layers that selection is maintained and I hit command j so she's all cut out go back over to pass so see what passes it goes lairs channels and pals if you're in your layers palate that's where it is to order pass click on the shadow right click makes selection okay go back over the layers click on the bottom layer with that shadow is command j so now I have her with the shadow all right, so my idea was that I would have a background that and I could I could cut paste or anywhere on any wall wherever I wanted to um the biggest thing would be if you put her in someplace with death there's no light direction from behind her so it's harder to fake when she just against a flat background so what I did is a photograph the clothing and I just took a picture of the clothing and it ok and open it up what I want to do isn't gonna drag and drop that piece of clothing behind her and put it in the bottom there so as you're looking right now, it doesn't look believable there's something not quite right so there's a couple things need to dio first of all, her shadow way to crisp was not a big deal honestly can just blur it it just has to be believable that's the general shape the shape with her arm sticking out and that they were head is an address so we're going to filter blur, causing blur and blurt obit it whatever looks right to you and this is where we go back to once again our blend modes somehow got to interact with the layer below it the blend most used for faking shadows is multiply if you listen to any composite er's, they're trying to fake a shadow or they've cut and pasted a shadow it's multiplying so change that blood moon to multiply it looks like a real shadow. The next thing is that color of dress, it wasn't quite the same it's a little bit off. So as I said, if you do any of these adjustment layers that only affects what's below it, so if I open up a few saturation and I drive the hue and make a little renner, it was something around there it matches a little bit more and if you're looking, you know it's, a way to fake a background notice I did not good her feet, just something to watch over and over again any places that same thing? If you load a selection, any place that you see that it may be missed a little bit of an edge, you can load that selection and do a soft brush to a race, just a race in a little bit. So this is actually technically a composite anything we take a subject, you put them in another background that's a composite or any time that you're combining multiple images together, so my cheating answer is sometimes as a working professional, you outsource its great to understand how to do it yourself, but if there's someone, you could do it for four dollars, do ten, twelve of them in six hours, sometimes a better use of your time on that's what? I know how to retouch everything I know how to do it all and that's why that I know, okay, if I did it myself, it would take me four hours and therefore it's worth investing elsewhere so you should know how to do it anyway. Some kind of balance what's worth time and money. I will tell you that sometimes I all sorts of retouching for time, but every single time I end up going back over it in some way because it's, not my vision and so it's, kind of a matter of creative vision and control that I know what I want out of that retention no one else quite understands, all right? So let's, go on to the next thing. All right? So I went in to take a minute to talk about the visa on how this program works. If anyone out there is uncomfortable with selections or uncomfortable, basically with layers and adjustment layers and layers masked faces, another solution this is this is why the nick programs, so I'm going to open up this image. Ok, this is an image that I took on creative live in june of last year for my fashion flair for fortune wedding photography classes. I did mirror in this image and she did look really creepy that's ok, that's what I wanted to, um yes, I can just show you real quick what's nice about that is you khun retouch half of her face and then the rest is good it's a time saver. Um but I'm just going to do that for the sake, so you can see they did, um I use my rectangular marketable mirrored half of her face and said I need a little bit more if you need a little bit more selection here I can always over select and then shift my selection so I can just use my narrow tool went up the silver face okay, hit command jay copies and pace it to a new lair and I can grab and mere over my mirror it two hundred roughly a hundred up. I can hear this. I'm looking for this number right here. See, words is with I'm looking for to read exactly one hundred so that I know that it's correctly married so it's fine and I went in and to make it look slightly less weird I, uh, blended in her hair so it would look more believable and I blended in her nose a bit changes shape a tiny bit. Ok, so the real point of this has nothing to do with my weird liking to mirror people's faces it's absolutely nothing to do with that, um what I want to show you is the technique that everybody wants to know is how do you get that really pure white skin everybody always asked me how do we get porcelain skin um so for this example really quick is bothering me I have to look if I turn her nose ok see I told you I was going to change the shape it's it's to ground for me ok that's good enough for now so okay so what I want to show you how to do is it will show you how to um whitener skin all right so the first thing if you have light room if you guys know in light room um in develop module there's an area that says h s l q saturation illuminates if you go over to saturation and here's adoration ruminants there and d saturate reds and yellows the skin will go white caucasian skin tones are made up of reds and yellows so if there is no other red in the picture that's why you need to do to make skin look pale but we've talked about this before when you pull out color a picture looks dull so for example fine go ahead to this picture and I go to she's saturation I better reds I can decelerate the reds can go two yellows eye candy centric the yellows she starts tohave pale skin let me go a little bit further with the rents she starts to have that pale skin, but her pale skin looks really, really dull. It looks kind of dead kind it needs it needs some contrast to it, so what I can do is they can go ahead and first off, I want the hair to be read. We did a lair mask with an adjustment layer doesn't lear lear mask so I could go back in and anywhere that I want to paint black, I can bring back that red color when I show you how to do this more accurately with a plug ins that it really just selects the hair so you can bring back that color pretty easily. Okay, but the next thing I'm looking at is that skins dull, so in order to make it look that creamy smooth you're going to increase levels would increase your contrast or you can do it with curves. So if I go into levels and I was watching your skin, I pop up that white tone and they lay in it up, then increased contrast if you look from the beginning picture, you know, gotten most of the way towards that pale skin, so the last section is where I'm going to talk about portraiture, we talked about portraiture before how to correctly use it, I'm going to tell you how to incorrectly use it but if you want fake porcelain skin than its correctly, okay, so going to duplicate this background and when you go to filter in genomic portraiture, um, I'm going to reiterate for people who weren't watching before a little bit about how this works, huh? Portraiture is the retouching plug in that I use most the time for my my beauty work. I use porter professional aa lot for basically basically people that maybe need a little bit more retouching may be really, really harsh blemishes or scars, or something like that handles it really well, but portraiture is what allows me to really take control of exactly how much I smooth every part of the face portraiture portrait professional is general it's kind of global, so overall, just does everything the same, but here I can go in and just select maybe the cheek, so just the jaw line to smooth things out. So if you're looking up where details moving is find these hill think of is your pores and think of is the hairs on your face? Well, typically you don't want to smooth that out. You usually want to keep that detail the medium details going to be more like blemishes and textures to the skin. A large detail is more blocking us throughout the skin. You can actually select the skin tone right here during skin tone mass so anywhere I click it selects that it gives me a preview over here on the right of the skin tones that I have already selected um you never want to touch sharpness and you want to be careful not to overdo your you're smoothing survives him in if this were a traditional portrait perhaps it would be over smoothed but I'm going for that really porcelain skin looks so I can actually pump up everything and kind of really, really smooth things out if you look here and show you before and after, I've just kind of even out all the skin tone more less gotten rid of a lot of those freckles someone to hit ok and you'll see now this is the closest you know this is a really quick and easy way to get to that porcelain skin effect so if he looks at the beginning to the end it gets you towards that really pale look and this is something that I do all the time in fashion and charles it's very requested by clients not just fashion clients but also portrait clients they like this look, if you just want someone have slightly paler skin that's fine you just go ahead and you back off a little bit off of that original color that you pulled out and so there's a little bit more subtle version but just still giving you kind of this lighter creamier talons ok so that's one way to do it but let's imagine that somebody is wearing a lot of red or there's a lot of red in the background or their jewelry like they have read make up whatever it may be and it's not easy if you look here when I painted I mean I got her cheekbones I got her jaw line so what do you do to make that selection easily if you don't want to go through all this there is a way to do the whole thing through the vase and I want to take you through because I want to show you how control points work so the visa is the knicks software plug in there's a little public money whenever you have the sweet installed that usually shows up on your screen it's right here or you can also get it get to it through filter nick software right someone open up the visa and the visa is basically what I showed you in the very first section how you need to control the eye you can darken down the edges increase the contrast on your subject and we did that all through adjustment layers in their masks but you can do that right here in the visa using saying they call control points so I'm going to zoom out and show you basically how these control points work every single one of the nicks software programs uses this technology. So once you learn on one it's not overwhelming, to learn on the rest of it defies all the way across. Let's, take a look here, all right? So right here, where it says and control point it's basically saying ok, if I click on her skin, for example, we'll go down here and I'm going to turn the mascots that you can see it if you come. No more assists control points. The other's a mask we've learned about layer masks. If I turn this on its showing me the area of the picture that it's selecting. So what a control point does is you put a point on the face and you say, ok, um that point select similar tones in that area and apply these changes. So if you look here this right here this point, aiken, make it larger through each further out into other pixels. Or I could make it smaller. Just a target. A very small area. So maybe I could target just her eye for eye. I wanted to lighten it up. I could could put a control point on her eye. And just make it very small, so notice that conflict a lot of the picture for a very small amount. It's looking for similar pixels, so notice, when I made it very large, it didn't select the reds the red hair, because it knows that it's not similar to those pixels where I put the control point, so it makes selective guesses for you just pretty cool. All right, so the next thing as I select into here, if you go through all of these are different options you have, so you're brightness. I can adjust the brightness of that area or the contrast of the saturation, the structure is equivalent of detail. If you guys have played on in wrong, you have clarity you guys played with kind of clarity. Clarity is an equivalent of kind of smart sharpness. What it is is it's increased contrast on lee in the mid tones, so typically when you drag contrast, it makes the highlights goal over exposed and the shadows go too dark. You get your contrast, but you lose detail. Clarity takes that contrast only applies it to the mid tones, so you're protecting the highlight for protecting the shadow, but you're just popping the mid tones, and when you do that it looks sharper and structure is similar, it pulls out more details you have that, um you have shadow adjustments warmth red green blue hues I mean, you have all these different options so if I go ahead I'm going to turn off this mask you could just watch it when drug brightness so notice I lightened up that area the face I could come down I wanted a little bit of contrast they want to do what I was doing in that other picture I want to back off some of the saturation maybe my reds I wantto pull out my reds right that's what I kind of describe to you before I can pull out a little bit of the reds how about we're looking at structure with structure makes things sharper one if I wanted smoother skin I don't have portraiture perhaps so maybe could go minus on structure so if you look this skin area is getting closer to what I wanted but you think ok, maybe I have to do it to the whole face it's really easy all you need to d'oh its hold on the altar or option key and it duplicates that control point and I can click and drag it and duplicate it as many times as I want so it applies everywhere that I wanted ok and so I can kind of scroll down and I can still click and drag and apply it to the neck and you can apply all over so if I back up I've certainly started to get closer to that white out skin effect and in this case it's without having portraiture it's without having these other plug ins and it does makes a selection for you accurately by hand so you didn't grab onto the hair um I'm going is about one more time and show you something that's cool so as you were working on the photo if it accidentally let's say that you duplicate this control point so that you duplicate this control point and you want to drag it over here because they feel it's a little bit red on that skin tone you wanted to lighten it up but you think it's reaching into the hair I want to turn it all my masks ceo it's reaching into the hair during all the mess you can see everything that I did so if you're looking, it started to reach into the hair, which I know I don't want to touch you don't want to change the color don't change lightness whenever you go ahead and drag another one of those points it locks that in so it doesn't let everything else changes this and blessed by ad control point I click on her hair now it's making a selection for that hair so nothing else will be able to affect it if I didn't duplicate so if I go back and turn these all off it's all off if you look I can kind of lock that hair in place and I can do the same thing by adding another control point on the other side of the hair so if you're looking at any photograph it's actually kind of an easy way to make a selection because you can make multiple points and make a selection that way and then you could lighten things in dark and things so if you have a scene it's just like I did with that little girl I could put a control point on her face select her face increased the contrast that could have put a control point on the background darken it down I could put it if you were black and white could put a control point instead of affecting her face but remember how her face is red and yellow if I just want to pull out the colors in her red jacket I could put a control point just on the jacket and just see saturate the jacket or make the jacket a totally different color could make the jacket now green I could make the jacket teal because I put a point there and one of my options here issue and so I could go ahead and grab and change it any color I wanted and so the more control points add the more control that I have all right so that's fundamentally how the base the control points work it's really good for making detailed selections. It's a lot of people like it because all I have to do if I don't like one in click in a race, if I want to duplicate it, I hold and duplicate it makes nice selections. So, that's another way to do that pale skin. Look, I personally I do it using portraiture and pulling out reds and yellows in the skin. All right was going to the next thing. All right. The next one that I want to show you is silver effects. Okay, um, for this portrait, um, I knew that I wanted to convert it to black and white, but when I was converting it to black and white using just plain old black and white conversion, like I told you, is the right way to do it. Even when I was dragging reds and yellows. It's not an interesting black and white. I know that I have to go in and out. In contrast, I know that I have to go in and make me sharpen. It looks kind of flat and dull. So there's a program that nick makes, which is silver effects and silver effects, is meant to give you more controlled black and white conversions and if anything, the thing that I like best about it is it has a bunch of precept that you can mouse over until you see one that you like and it got you most of the way to the what you're looking for because sometimes if you're doing it this way you're just kind of stumbling around trying to figure out what you want versus when you have a whole bunch of presets your mouse over it like oh that's close and then you can tweak it some all about time saving so I'm going to say ok I'm not going to do it by hand I know that that's not the black and white that I want so and duplicate this background and I'm going to go to silver fix all right click on silver effects all right so if I look here with my pre cents I can look and see what is closest so what I was looking for that one so far with closest to what I wanted that looks pretty good it looks kind of edgy again I don't know I mean I know kind of but I don't know how they get there doing it the other way so it's more time saving and if anything and I could just glance there and pick what works best for me okay but because this is based on the nick control system the control point system I have all of those the ability to add control points so the photo and process everything that way so I'm going to zoom in oh it's a little truth and then still ok fine so when is him into his eye and I'm looking at is I hear and I can add a control point and the options that I have for control point brightness contrast structure feel looking here amplify the whites amplified the blacks so if I want to go ahead and plug detail in his eyes I can do it through a control point so if you watch I can adjust my control point to be just the size of his eye it's right there second brighten it up a little bit I can go ahead and plot structure so plus in detail there I can go ahead and make it whiter and I can increase the contrasts okay when you go back and a definitely to wait it wasn't keeping up with me there we go something like that fine structured so on so forth okay, so if I click on this and look at the before and after, this is what the black and white looks like originally when I just had black and white conversion and then here's once I've done this preset and pulled out detail in the eye and so it is easy enough as if I want to zoom out that means I'm out it's as easy as grabbing onto my option key clicking, placing it over the eye and duplicates that same effect um you have a lot of other control as well for example I can apply a control point to the background, click on the background, darken it down, expand that outward so I can darken down the whole background and click and drag and do the same thing over here so it makes for a much more compelling black and white, so I'm just going to compare the two options side by side needs to help quickly, you know I did that with pre set so the original black and white wass said that so it's significantly better so that's something that I recommend you try especially if you're a wedding photographer and you doing a lot of black and white conversions it makes it easy because sometimes you want selling high contrast in dramatic you can mounts over and see that or maybe you want something a little more soft subtle versus trying to have to tweak it yourself on dh these do give you a lot more control then say doing it with pre set in light room you have all those control points to work with. All right? So that is silver effects I use it for converting to black and white um if one of the things I did want to show you is the program that wasn't working before um if you did want to use this in color or I was gonna increase contrast all right, so that I'm just getting trying to get close to a kind of working color image. Ok, so that's fine. So if I did want to use this in color there's a program that one of the last ones that I really used because much of the program, so they're hdr for making each years they have the visa for having those control points changing over overall contrast in color making, select, I use it for making selections, they have color effects, which has, like it sounds calder effects has endless presets and things that you can use silver affects your black and white, but probably the tool that I use more than any of the other ones is their retouching plug in I mean, they're rich, they're sharpening, plugging it's called sharpener pro so it's for those people that I said shoot at really wideout pressures in the pictures are quite sharp, or it just makes for a little bit of pop to your image. So I'm going to show you, for example, how I might go to output sharpener and I'm going to zoom in. I'm just going to select around his eye and that's pretty sharp that's pretty sure, um, but I know that I need a little bit more sharpness let me just like this more time what I can dio is if you look right now, if I if you were all turned off, this is what it looks like on the left, it's sharpish, but if you come over here, their options are our output sharpening structure is detail talked about detail local contrast is like clarity and that concept like local meeting, not the entire contrast of the picture of an overall focus. So if I go ahead and I modify a couple of these let's pump a beloved local contrast a little bit, give myself a little bit of structure, the pictures like a million times sharper, I liked what it did, but there's a little bit too much noise and that's why you can come up here and you come back off the overall sharpening of the entire picture but still keep that same effect. So now the noise doesn't bother me so much, but it is that much sharper, so I won't hit ok, and you'll see that it makes the eyes really pop. But if I look at his face, probably I don't want all that detail and all that contrast in his face because I wanted to be flattering to skin tone five human it made a huge, huge difference with the focus, but if there's certain areas, I'm not sure what everyone else can actually see, but on my screen it's not over sharpen over there it looks over sharpened next to his eye but it's not too bad but it's just like anything else you go ahead you grab onto a uh later mask you grab the black and you could just you know paint it off of wherever it's been overdone it's still really really sharp so I would say out of any of the knicks offer rooms that I use this is probably when I use most because I tend to shoot for portrait if I'm doing something romantic on location at like two point two and I missed the eyes by like three millimeters so it's sharp but not if it's not sure but all I started out it's you know it's not worth saving so um I love this thiss plug in and his eyes are awesome sort of ton of detail the plot of his eyes okay all right so I think I have one more thing that I wanted to cover make sure um I'm not going to talk about too much when she really quick and easy this photo portrait that I took this summer um on santa monica pier out of santa monica pier you can go to color effects and then you can just like mouse over a million different options on dh each one of these that you click has like ten options within it and then over here you can pick ten different options, and then so I bet you combinations there. There's. Probably a million. I'm barely exaggerating. So you have all these everything sometimes for me, it's. Just inspiration to see how you know. Ok, this this picture takes on a new life when I add this color effect to it. So I really want to focus on it too much. It's probably the most well known of the nick programs because it allows people to add and some cool effects. All right, so last thing that I wanted to show you was the program that I was referring to before. And I wouldn't explain how the on one program works and I'm just for the sake of it. I do want to run you through what exists for on one to tell you, it's staying up to do the research on one does have anything. You see the word perfect it's, their conversion. So they have perfect black and white. So it's an equivalent. So perhaps you find on one what they have in their lineup of their sweet, actually more useful to you. It has has all the same concepts is nick. As faras has a black and white conversion, which is like silver effects, it has perfect effects, which is like color effects, um but it has a couple of things actually does have a retouching program I don't like it as much as portraiture or torture professional, but the two things that I like the best as perfect mask, which is really awesome and what I'm not going to show you but wouldn't talk about ism perfect resigns used to be called genuine genuine fractals and let's say that you shot an image and you love the client loves the subject's face you know loves that heard your daughter's face in this picture, but her daughter's face is like an eighth of the frame and they want it cropped in and blown up if you ever had a client ask for something like that and you're like really annoyed because you like no, it doesn't really work that way especially that say you're shooting on a ten megapixel camera it's an eighth of the frame and they want that to be an eleven by fourteen well to make that picture big enough to actually print that is what perfect resize does perfect resize allows you to open up the photo and you tell it what its target sizes so you tell it what the target d p I is um the peanut pixels or inches and you wanna constrain that proportions and so when you hit ok, which really cool is if you know what its end result is going to be you can actually tell it with the end paper the un result would be and optimizes the upsizing based on its final output so especially if maybe you have a smaller camera or a smaller megapixel camera or pictures that you shot in the past on a lower megapixel camera that you'd like to blow up that you never were able to this program is awesome it's a it's amazing I've taken pictures that were shot with my five d the first finding and blowing them up like huge like wall size like and then it looked really really good so try that out especially if you keep finding yourself clients asking for large files and you can't quite push it there this is the program that you need the other on one program that's really really great um is perfect mask so basically what perfect mask allows you to dio is in general tell it what pixels you want and what pixels you don't want or what colors you want what colors you don't want so I can look at a picture like this and I shot it and I hate in the background because she said she wanted a red background and you know what I had in my studio not a red background either red tablecloth and I did not have a steamer at the time people were asking about helping my studio my small studio thing it was ten feet wide by seventeen feet deep um and I'm a beautiful pictures that you've all seen in my portfolio that you wouldn't know so small studio space or inexpensive equipment is no excuse okay now that said um but then I produce crafty backgrounds like that horrible so in the end I had to go ahead and cut her out so there's a lot of different tools here I recommend if you want to see the full did they cover this in the break? Did he cover this tool? Do you know I'm not sure okay um on one has a whole bunch of different tutorials on this but fundamentally what you're doing over here on the right where it says drop you go ahead and you select any colors that you want to drop that you don't want to be included uh kid the red it sucks and it's ago anything that you want to keep you hit in the keep area and you click to keep it and so I can click on her skin tone and her hair and so in the end you know as you do more clicks and you add you can click as many times as you want I can click all over the red all over her outfit it gets rid of most of the stuff gets rid of most of background so that I can then dio as they can go in and they have different tools for refining and I can trace her outline and so it says, ok, you're telling it this is a border everything to the right hand side get rid of everything the left hand side keep in area for hair where the splatter is right now it's a mixture of both what you want to keep, what you want to get rid of will you tell it that it's the spill area so you paint over that and you're indicating it and so it still takes a little bit of time but it's pretty much faster than every other solution besides sending it out, it really is the fastest, so if you end up doing a lot of cutouts, um the best thing you can do for yourself is to either send it out he's perfect riva, perfect mask and be sure that you're shooting on a background that is different enough from your subjects that's what people do green screen if you're shooting them on a very detailed background like trees and they have a pattern shirt, then you run into a little bit more problems, but you can't make it easier for yourself doing it this way. Okay, that was so much great information that I know you're gonna have some questions we've been holding no unquestioned for a long time who wants to be first or not we could just go to the first so you talked in the last class about to smoothing out the wrinkles? Yes, how would you do that? Okay, so first of all, I would probably just cut this out and start again because it sucks, but if I didn't if I didn't, um, this helps these air a little more severe, then you would really want to work with, but if you watch is if I go up to filter in economic portraiture and I turn off my mask and I pump this whole thing, way, way, way up, see that so it didn't get rid of those wrinkles, but it got rid of all the little stuff that looks really bad, so I can then go ahead and okay, and then just pay off of her so I could just grab at a mask painted off of her face at one hundred percent and, you know, paying off the hair and and what not, but if you look if I could do the before and after, it makes a really big difference, what I'm talking about more is when I have I'm talking more about those wrinkles get those wrinkles on backgrounds these I just shouldn't refuse the tablecloth, but do you usually get more the small and you talk about big ones? I'm talking about big ones, yeah, so for something like that my next solution is I'm going tio emerges down and I'm going to clone but it's not as bad as you think because I'm not really trying to keep detail here if the solid background you're all set the pattern background a little bit more of an issue but if I grab my clone stamp here really what I want to do is I want to darken light in the darker is and dark in the lighter is so I can grab my clone stamp on lytton and go through here and I can kind of philly and the shadow there yes, I can feel that all in and then I can go back through wherever those highlights are and do the opposite darken it down and so I can go back through and click maybe this highlight for example appear so higher open stay here so I mean you'd basically be doing a lot of clicking but if you look at the differences and then I was attached tulloch's well yeah, you can use the patch if you know what I would do if you use the patch is do the patch but you'll be able to see the difference of texture like you're able to see the edges a little bit run porcher on it afterwards and it gets rid of it like that's what I do I think let's say we have one more test sorry slightly distracted but um if I selected this one for example I click and drag it over let's see if you can see the edges now you really can't well you can see it a little bit so I just run in portraiture one more time and it gets rid of what you could see so nice thinking that so you think she's got some ideas now is leaving question from the internet phil birdie to is asking does portraiture work with multiple people in an image and if so how absolutely okay so we multiple people in an image what I recommend that you d'oh is do portraiture run it separately for each of them unless they're like twins or sisters of the same age that happened have the same skin tone what I'll do is you can even select part of that image and do um command j copping pace into a new layer and then apply it just for them or what you can do is run the portraiture paying attention that person's face and then when you mask it off on ly appliance that individual because by default that apply to anything in that skin tone so for example if you were standing um like if you're standing me up against a very very light colored wall like is that one I feel like I'm that pale it woods without my skin and the backgrounds anything of those tonalities so it apply to anybody's face in the picture okay, thank you. Another question from unit internets. Lindsay, what are the colors for brown skin tones? If you want to give them more of a porcelain look, ok, so what I usually do it is I don't go for, so we've turned up smooth. For example, you're not you shouldn't get dark skin tones to look person saying, but if you're trying to smooth, smooth the skin turns out, first of all, what I do is I watch for the things that I watch for to make them look creamy and smoother is in the shadows. Watch for red, because sometimes and darker skin tones too much contrast in the shadows, it becomes kind of red and blocky, so you can just select those areas and pull out read a little bit. Um, I use portraiture, smooth out skin tones, and then I'll give you an example. This is one of the clients. When I flew to turkey last week, this is one of the shots that we did, um and so this is one of her images, and she wanted something that this's cappie pondexter, she's was an m v p, the wnba professional basketball player, and she plays over in turkey right now, and so she like this image, but she also wanted a shot that looked a little more high fashion, a little less portrait answer said ok, what can you do to do with it? So what I ended up doing it's going to get rid of these layers will quickly so you can show you so what I am doing his first thing answer that same question I always ask myself, where does my I go? And I felt like it was looking a little bit of the later tones so I did go ahead and dark and down the edges, so obviously I don't want to apply to her face, so I grabbed my black brush I was going with that and grab a black brush and we'll paint that effect off of her okay? So basically want to focus more on her and I'll back off that affect a little bit so far, you know, brings ryan a little bit um the next thing that my formula usually is for african american skin tones when I'm trying to do I go for almost like a silvery effect the kind of silver skin tone um my formula is you go into vibrance, you decrease vibrance, increase saturation and then see if you need tio darken down the skin toner in case contrast, but it tends to make a picture look and like a little bit much, but it tends to give you like a slightly paler look what's this it's like the lost their skin tone um so something maybe a little bit in between and when my final image what I did with her is I popped the contrast here feathering on her face so what I did is they made it a little more contrast t but I also darkened it down a little bit that much let's say so maybe something like that so much shade before after so just looks like a little more dramatic, but if you're trying to actually go for porcelain, the national reports just just don't use portraiture use a program like that very cool. Another quick question from the internet katie james photo from nashville is asking if you ever use the knicks software just directly from light room okay, so I personally don't but if you're most comfortable my room that's fine, especially if you're maybe saving multiple layers or saving because there's also a program the on one has to allow you to do layers within light room I don't personally use it so to say I don't but if that's what's going to be best free workflow it's fine cool, we have more but we dio pro photographer asks what is the best way to move files from one software program to the other for editing what foul extension is best? Are there any other things that we should consider when we do that okay, um, so you're best off in general is something safe. Sixteen bit files is your best often later on if you need to convert it down. That's fine. Um, tiff or psd are both fine, but you want to work in the broadest color space. So if you have rgb nineteen, ninety eight is usually used for color space. If you wantto close it down, make s rgb or something later on. That's fine. Um usually what ideo talk about light room usually does open up an image in that room I'm working on it and photo shop and save it as a test if you keep the name the same when you save it shows up in your light room catalog if you change the name were changed the directory where it goes to it doesn't. So if you do, if you saved an image, you change the name it's not showing up in light room. What you can do with light room, um, like one three and four is if you are in that left hand side of light room in the library module. If you are, go to one of the folders. If you right, click, you have the ability to synchronize and so when you right, click and synchronized, it'll search and update for any new images added so if you saved in the same directory, will add it and there's also another. I think it's under either under file someplace up there you don't have in front of me file that also allows you to synchronize folders. You're update any of the folders that you select to see if you saved anything new. This is totally unrelated, but it reminded me if anybody doesn't back up their images because what happens is ok, maybe you're a good little photographer and back up your images, but you on ly back up the originals right away, and then those retouch ones never get backed up. There's, a program the two programs once called kronos inc c h r o and oh that's. Why n c and n sync back both of these programs thirty to forty dollars, and what you can do is you can schedule it to mirror to drives every night at midnight or continuously mirror them. So in case you're forgetting to actually save those retouch files you have, it doesn't automatically for you, it's like thirty, forty dollars.

Class Description

Sometimes Photoshop isn't all you need: this class will cover various plugins and tools that can help you save time and be more creative with your retouching.


Software Used: Adobe Photoshop CS6

Reviews

Việt Zũng
 

남수 임