Skin. The Complete Course

Lesson 43 of 43

Final Portrait Edit

 

Skin. The Complete Course

Lesson 43 of 43

Final Portrait Edit

 

Lesson Info

Final Portrait Edit

I'm looking at the numbers again seems like we're a little areas of her face that are a little red and maybe these fingers or kind of a little on the red side little red on the end of the nose, right? So so right here, looking at the cm seemed like a numbers that seem why numbers eighteen percent it's okay for science that's not a problem, but a magenta said forty seven and yellows at forty nine it's a little close it's a little close for comfort sits giving her it's, giving her just a little too ruby red look, so I want to have a little more spread between magenta and yellows opening need toe, increase the amount of yellow or take out uh magenta, but let's check and make sure that other areas of the skin or not seeing now here on her arm or maybe on the side of her cheek here uh, we could probably use an overall color correction. This side is actually a better color right down in here, so we may have to do a combination of things, but let's, just see if we can take care of it with the...

curve, we also have to find our black and white points, so I don't think I'm going to be well, you know, she has a little bit of of acne and these the sort of red freckles have gotten to read so maybe what I need to do is is do my hugh saturation thing uh not these things back so let's let's do that um I'm going to make a huge saturation adjustment layer at the top and let's work on reds and I get the eyedropper and select the reddest kind of pimple or freckle or whatever that is and that region sort of centered over it let's subtract here this this color of skin is better ok and I'm gonna constrain again from the l aside just to now just to make sure I know what I'm selecting on crank that over and I you know I can see I've got the kind of red blotches on the face pretty much covered and it starts to peel off the good color skin so I think I'm probably good with my selection, so bring that back to the center and then gradually go towards yellow until I think I've got it pretty good now the the areas that were read and blotchy are also darker, so sometimes I like to just go a little bit push the lightness can't go too far okay s o that's that's probably even doubt her complexion enough um well we'll do some color correction at the end here but I have to also mask it off the lip so we're going to mask it off the lips and more than likely off the tattoo and maybe some other parts so let's let's do start with the mit lips I paint with black um over the lips okay way go there on duh probably need tio take it off the off the tattoo because it's taking the shifting their red and red elements of that tattoo uh we're probably ok everywhere else okay so now now I'm just wondering if this this these air freckles mostly they certainly looked more like freckles now than they did before when they were to read um so now the issue is like well do you remove freckles? You know it's part it could be part of the personality you've got to be really careful about destroying that um so it's it's something that you'd have to consult with your subject and say well what do you think do you like these spots she may hate them I don't know you know or she may say, you know, this one bothers me or something you know, I I'd be inclined to leave most of it maybe take out just the ones that kind of bugged me I'm a freckle gal my freckles yeah I mean certainly really I wouldn't want to take it off referred cheeks because that's part of the thing that makes you so cute you know, if he's got that cute freckled face um way can we can brighten up the eyes certainly um otherwise your skin is really not that bad I mean, she doesn't have this may be a few things waken dio so debbie lee dvd is asking and I was looking at this to do you ever remove the under the neck creases that occur with the extreme attorney? Yes sometimes sometimes I mean I don't think they're particularly objectionable here but you could you know, just not that I think it's really necessary but I'll show you in this case um you could probably effectively is the, um the healing brush so I make a brush size big enough to cover that and sample from area right next to it just kind of painted over there and that you know, the the healing brushes does a pretty good job of blending it in that sometimes it you know, it needs some help, you know? So I'm kind of trying toe cover up all of it here and you can kind of go back over when you've got a you've seen that sort of showing up if you go over it again now see here there's this is an area I've created a a multiple so abusing area as you can see there's an obvious repetition so you have to kind of watch out for those sort of things that he's the spot healing brush on top of that is all islam has sample all layers and you know you just kind of go around and make sure you're hiding any repeating elements as much as possible um ok and then you know again maybe it's like maybe what you need is not to take it out one hundred percent but just kind of bring back a little bit of that so I just reduced capacity just a little bit and I think that's kind of more believable than eliminating it altogether you know? Um you know, while while we're in the the healing spotting the rush I would look for things that you know, maybe a little little things that bug me just a little bit and take them out you know, uh thing that might look like a bump or might look like a pimple or something that I'm trying to leave as much of the franklin is as I think looks good maybe you know, something that's isolated it's kind of all by itself in there I just you know, this just the spotting brush very simple tool to use and you know, if if it seems if after you've done this it seems like two you've taken too much out there I can just turn that layer off you know, we do something you know, so always keep those layers uh let's while we're here and we're using the spot healing brush let's take out some of the the mascara mistakes here you're reading the internets mind people rally that how would you do the dark circles under the eyes with a fearful that discoloration yeah the dark circles under the eyes you know, I think it's we can we're gonna lighten up the eyes overall uh the colors there's a kind of a color shift here you know where they got kind of a gray color uh so I can possibly colorized those back I'll make another color empty color layer and let's see if we can successfully do this uh yeah it's kind of hard for me because I'm pretty sure what I'm seeing on my monitor is not exactly what everybody else in the world has seen so you have to bear with me here but I've sampled the color of of skin near the this sort of grade out I hear and I'm just going toe kind of slowly thirty percent opacity I'm just going to gonna brush that color in to see if I can hide some of that grey look, uh I think the trick is not to go too far with this maybe a little bit under this I just a little bit and then we're going to brighten up of these eyes anyway so let's go ahead and do that now uh make a curves adjustment on dh okay hide the curve by inverting the mask and then we'll paint in so I'm gonna actually paint a bit more around the eye uh with white into the black leather mask okay, um I wouldn't I really wouldn't get rid of this crease uh but I might knock it back so let's do that uh dodge effects that we're going to use an overlay layer or maybe a soft light let's use a soft light layer philip wood fifty percent gray and I'm going to use the dodge tool in here and just sort of dodge into that crevice just a little bit see if I've done anything at cia just I'm just tryingto lightened it a little bit like a little bit into the other one zoom in a little bit smaller brush so I'm not I'm really not trying to eliminate that that increase um just lighten it, okay? We see that I think that's probably as much as I'd go and I definitely wouldn't eliminate these lines either. Um one of the things you could do with eyes if if you have color in the eyes that you'd like to bring out she has a nice, beautiful brown eyes this lower part down here is receiving the light the upper parts being shaded. I could kind of bring out that colored by dodging into it um I'm actually going to make an additional we'll call this the creases or bags I'll make a separate and I'll just make an empty er layer and turn it to overlay and I'm gonna paint into that overlay of layer with white um just to overlay has a little stronger effect in in this dodging kind of thing and it also has a kind of color saturation effect so that's going to help me bring out some of that that brown color in the eyes let's let's go ahead and go for the gusto here I'm dodging into an empty layer no wonder it's not right to use the paint brush to paint with with white boy uh you know again if it seems like it's too strong you know introduced capacity and I might also liketo to hit that that's little speculate highlight I'm going in there and just I'm applying overlay on top of it so that's just released popping it it's not actually painting into the black area but it's it's making the intensity of that catch light a little stronger and then uh you know lord knows there's there's lots and lots of things to do here but I'm not sure they're worth you know, maybe this little scar on her face over here just kind of is the spot healing brush to take that well, they lied that kind of leads me to my final final question and by the way, carrie brian says this is a great way to close the class working on this image is a good every rule ofwhat overview of what we learned over the course of true that's true. So my final question is because this is always a question with photo shop is how how do you know when you are done? We can each have spent hours and hours on a particular yeah it's so easy to kind of overdo it you know and she just has such a great fresh faced you know, look here uh you can get lost in the in the leaves of the forest on not see the overall effect so I think it's critical to kind of like back up always do your work and layers because then you can recover when you've overdone something you khun you throw that layer away or you know, like come back to it another day and look at it and trying to so I think I overdid it you can kind of back up, but as you go through things you will gain some experience in a sort of sense of you know, what is working, what is not working and you know you also develop your own style, you know? So uh I'm gonna do one final thing here put put my find my black and white points I am not going to make her teeth the white point of the image and that would be a mistake and we probably have a good black point in um in her hair here so and put a color sampler right in the dark shadow in her hair and, uh, we'll throw away the, uh, threshold adjustment, and I'll put my final curve on top because I just feel compelled to finish this image so it won't take me very long. Um neutralized my black point, ok, so we're at fifteen in the red channel, we just need to make green and blue also hit fifteen, so we're gonna do that on blue on dh double check my skin color I think we're still we're good. Mostly this is sort of ah, you know, a judgment call whether to go make the skin a little more yellow or not. I you know, uh, at most, I would maybe maybe going here, let's just, you know, maybe brighten it up just a little in the green channel. Take some of that magenta down and I'd almost rather just look at this the cia making, making the gray seamless kind of green here but it's not that bad, so ok, let's let's, lookit! I'll toggle down to the background used the option king turn off that I that's what we had before that's what we had after we turned this off here so we can get a nice before and after toggle before after

Class Description

Skin. Everyone has it, everyone wants it to look good, and if you're a photographer who shoots people, you need to be able to light, shoot, and retouch skin. Hollywood photographer Lee Varis has shot celebrities, movie posters, and magazine articles where the skin has to be perfect. He is the author of the popular book Skin, and he's coming to creativeLIVE to share his knowledge with you! Lee will take you beginning to end through multiple shoots with different types of people covering how to pose and light them well, and will then cover in-depth how to post-process in Lightroom and Photoshop. You'll learn how to fix blemishes, smooth out wrinkles, and address other skin concerns so you can make your clients look their best.

Reviews

Luis
 

Skin tones correction and portraits editing are new to me. This course provides a set of tools for me to improve my portraiture work. Lee doesn't just show you how things are done, but also the reasons for the corrections. The delivery is a bit dry because the topic is quite technical. You can have a break between lessons, if it becomes too overbearing for you. I highly recommend to take this course, if you are planning to do portraits, head shots, or even senior pictures.