Skin. The Complete Course

Lesson 38 of 43

Importing a Background

 

Skin. The Complete Course

Lesson 38 of 43

Importing a Background

 

Lesson Info

Importing a Background

Now I've refined the edge and I got a decent mask including the hair and I'm one a dropper on another background um so now the trick is to find into the background so let me use the get the mini bridge set up so many bridges like a quick little browser if you always go into the same folder uh it's pretty good so let's see uh let me see what you have to have bridge launched first so I know we were here on dh there's my folder let's let's just go back to the old school way because the guest bridges asked is was working a little slowly here uh ok uh the important pictures where we're we're not there okay? So I've got this image still sky image it's kind of dramatic sky maybe we'll make it a little bit brighter um so I will I'll make all these pretty curves adjustment on it just brighten it up right in the blue part of this guy okay, so then I want to put this figure on onto this background um and it's there's a size mismatch here so you have to kind of decide what is the what's the more i...

mportant resolution if I want to keep this in full the maximum resolution I'm going have to resize this guy and I'm looking down here at the percentage that view so twenty five percent view this is how big this images now this image looks like it might fit just fit over but it's a sixteen point six seven percent so I know that I'm going to make this smaller um so I can I can go ahead and drag this now now on to the other background but you'll see what I mean it's going to be much bigger so I drop it and yes it's a lot bigger, right? So, um I have to resize it to make it fit and, uh let's kind of rotate it just a little bit we're going to sort of exaggerate that that pose give her a little bit of room to move into this. Okay, so that when we when we looking we look at that hair adjust pretty it's a pretty decent blend all right? So I could have done of the color the color in contrast, work on this figure before we put it against the background but I think it's important to be able to see how it relates the background before I start getting into color correcting so, uh we consider sort of evaluate of um evaluator our skin tone numbers here um we're pretty rich in her skin town. So uh, it's we got more yellow than we have magenta everywhere it's not bad, pretty good, pretty good um some areas or yellow were redder than others s o I don't think the color is necessarily bad um and way could do the threshold thing just to see where black point is I'm not necessarily gonna just it yet so that the background I know this these hills drop in tow zero right? So well their level of six so actually I don't care about the hills so much but I do no I don't want to have a black point in the hair that's too high so maybe we'll just go ahead and place a point I don't think it's too dark right now but we'll see what happens with it later ok throw away that threshold adjustment okay, so here we are I'm I'm feeling right now a little bit like the interior of the figure the rim lights nice but sort of in here it feels sort of flat like it just needs a little more substance more pop a little more dimension and that suggests the high pass of overlay technique now I've got a composite going here have got figure over a background so I don't want to apply this this high pass overlay thing over the whole thing so I'm not going to merge the visible which would be everything into a new layer I'm just going to duplicate her oops sorry about that I'll just dragged her over because I only want apply the overlay to her so I only need a duplicate of her de saturated, and now we'll runner filter other overlay, high pass, and I'm looking for some sense of modeling, of the musculature, so I'm I'm seeing, like, the the highlight show up in the middle, here it around twenty pixels, and see if I can make it a little stronger, but thirty pixels past thirty, it starts to weaken again, so I'm I'm I'm kind of looking for that center highlight in here, you know it, seeing a little bit of shadowing and stuff like that is also going to be good, so I accept, ok? And I'm going to put it into overly mode, so you can kind of see, uh, it really is taking away that really flat look, giving it some some three three dimensional shape. So that's a it's a really good use of this, this particular tool, and I don't think it's, really, you know, I'm okay with these rims going toe white here, uh, that's not bothering me. Um, may want to do a little smoothing here now after the fact, or maybe just, uh, mask off that part of it. So here, here's the thing, uh, I can I can just paint with black into the in the mask, which shows the this is identical to the mask for the figure. I can just paint to kind of pain in that armpit kind of smooth that out. Yeah, yeah, I'm just confused. Why you didn't fix the lower thigh before you drag the image over into the background. I didn't fix the what? The lower thigh? Well, this yeah, I probably should have list let's. See if that if I turn off the mask would see what that looks like. I'm turning off the mask by holding down control, and then I can select disable their mask. Eso itt's what's happened is its mast off this little portion right here. Okay, I'll fix that. You're making me look bad. You caught something. There's a reason you don't know. The reason was I just wanted to move on, and I got, you know, so I it's like a tone on the, uh, on the leotardo that somehow got picked up his background when we calculated that the mass. So I'm just going to kind of put that back. Um, I don't think this this overlay is gonna mess with that so much, so we'll let that go like that, ok, so I could mask this off, but I want to show you something now about a layer masks structure, because if I if I mess with this mask and maybe get to be more difficult to return to that if I change my mind in this case we're inside the mask could be easy to paint it in her out I'm not that worried about what I want to show you something we can make we can make a group unkempt e group I'm just going click on this little folder icon at the bottom of the layers panel and make a group and right now there's nothing in the group right I can put this layer inside that group and now it's you know it's acts the same way it has the same layer mask but I can add another layer mask that's a composite that will be a composite of this one which I can leave alone so I can add a mask to this group by clicking on the layer mask icon and now in this mask I can mask off uh the sort of armpit action going on here so that let's paint exchanging ex key chain exchanges the foreground with background color so I want to paint with black now toe hide the extra contrast that was introduced there so that kind of it's an attempt to smooth out that armpit so it's not as exaggerated okay now what if I you know I'm looking here and I'm going to you know I'd really like to see this shadow a little stronger along her jaw um and I've already emphasized it a little bit with that overlay later but there's nothing that says I can't add a little more uh wait to that shadow by burning, dodging or burning or uh I could even paint in a little with a little black but I don't want to do it right into that overlay that already filtered high pass overly layer so here's another kind of advanced layer structure thing things to be thinking about so that you can change your mind later on so I'm going to make an empty layer that's grouped with this larry is it's in a clipping group with this layer okay, so I'll hold on the option key before clicking on the new layer icon click on I get new layer options and I'm going to check this fuel checkbox use previous layer to create clipping mask okay? And uh we're I'm just going toe we'll leave it at normal this is going to be, uh, extra shaping so you know you see the relationship here this layer sort of offset to the right there's a little arrow kind of pointing down that means that this layer is going to be calculated over this layer before this layer is calculated into the rest of the document, so anything I do in this layer gets applied to this high pass over layer before the high pass overlay is applied to the rest of the image so I can now uh I will I'll just try brushing in very subtly a little black to darken that part of the high pass overlay which is giving me this shading along the job okay, just adding just a little more weight to that that jaw line and you can you can get quite creative with this shaping, dodging and burning and kind of, you know, adjusting things that air they're already there so for instance uh instead of painting with black which would be darkening let's paint with white and kind of just going to kind of work that little rib just a little bit so does everybody understand what I'm doing here? It's a very, very powerful retouching technique, so I want to increase the edge the rim edge along the edge of the leg here so I'm just brushing I'm rushing into this empty layer if we solo that layer let's see if I can solo it holding holding down the option and clicking on the I uh this layer is constrained to the visibility of the high pass overlay, so I'm actually I end up soloing both of them so let's let's just turn just this one well, I can't okay hang on I'm going on group it so you can see what what's happening there is that white stroke and it's it's going across the edge but as soon as it gets clipped so I'm clicking with the option came between the two layers as soon as it gets clipped into their it's, constrained to that edge so it can't be working outside that edge against the background. And it's it's ah it's, working it's, little, um, it's magic against the underlying layers. Yeah, yeah, its mast off by this layer mouth. Ok, so this group means that, you know, this layer underline layer is controlling. You know what happens here? This is being applied on top of the pixels, but it's being masked by this one layer mass, so I could kind of go in there and, you know, do little subtle tonal work. You know, trying shape the edge of the figure here.

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.