Skin. The Complete Course


Skin. The Complete Course


Lesson Info

Removing Tattoos and Adding Effects

We at some point would you mind just for people that are requesting at home would you mind taking the tattoos off so people can see how to do that as well? Take the tattoos off you would have to ask me to do something hard is that um I mean you know I could do it but it's it's that's sort of now at this point it's an illustration issue so I would literally have to just cover them up with pain and there's no riel tricks to do that it's just being really good at illustrating parts of it we could probably, uh, clone away or uh you know, I could do like healing brush type things if we make an empty layer here um yeah, it made for some people who are not as advanced. We could do just a little bit of that, right? So you know what I what I would probably attempt to do is, uh you know, it's parts it's really kind of let's see sort of difficult to do. I would copy the layer here. Parts of this air going toe react well to the patch tool you know, kind of patch in area here come on, work with me ...

so I'm on the actual pixels of the image I'm using the patch tool patch to drag a selection around the area that I want to cover up and then I dragged it off to some good skin, let go and it it blends the edges. Ok, so we could do this a little bit a little bit of time, uh, and sort of gradually work into the image, and then we would we'd have to come back and fix, uh, some of the edges around the patch tool very carefully, kind of go around and work this out so that I'm slowly covering up, patching the skin, and then I'm going to have to see now is, like, created kind of extra wrinkles in her skin and, you know, now he is maybe the healing brush. Uh uh, current blow and just kind of, um maybe I can't use even maybe you can use the spot healing brush sample they got turned this later on. All right, so trying time. And I'm going to try and hide some of the the extra wrinkles. Believe me, this is going to be hours and hours and hours of, like, you know, messing with us to try and not create a mess. Um, because as you as you kind of work over it's really difficult to make sure the skin stays really, really smooth. Oh, and natural looking and we still got a kind of cover up this tattoo so I'm just not going to take the time to do that now because I want to show some other things, okay? The tools that you just showed us would be where you know that that would be, you know, the basic strategy and there's I don't know a really good way of, like, magically hiding this much tattoo, you know, it's sze trick to get all that skin covered up and still get the shading that would normally be underneath the shot to do to be there. So anyway, thank you we'll go back to our where we were, ok any any questions about what I was doing with the l a b or we're blending modes and all that kind stuff. Okay? Um yeah bring back any like the bird looked to be a bluebird at all. This motel is in there that you know, so this this color, if we zoom in the color that's in the bird now is is in its hasn't changed, okay? It only looks blue because it's kind of against the really red skin so it's a kind of a color contrast thing, so when I take the you know, the saturation away, you can't see the any color there that wasn't there to begin with and it just now just returns to its kind of gray. Look, um, I can cull arise. This certainly way could get in there and colorized if I make a color layer underneath here, I can, uh, let's make a blue color saturated booth. The layer color layer changed with mode to color waken just paint inasmuch as we want that maybe a little too too much reduced capacity where we think it might work on, uh, since it's already the grayscale effect is massed appropriately, I could just paint a little sloppier and they're just put in a little blue color. And again, this is so much easier when you're using a walker tablet and you're not trying to draw with a bar of soap, which is what the mouse kind of training is. Ok, so, you know, you can get in there and read it's sort of like color colorizing the lia tardes what we did before, I'm just really using a color layer that kind of put in some cold. Okay, let's, uh, let's. See if I can add a little more kind of shaping with a high pass overlay. Uh, kind of act is a little review how we did that it's kind of the sharpening technique, so I'm gonna hold down option and merge visible, which will put emerge version of all these layers up there and I'll go ahead de saturated and run my high pass so filter other high pass and you know, kind of look for a sculpting sort of effect and you know, again this is sort of just I'm doing it by feel and experience I've done this enough times that I kind of know what the image is supposed to look like it's hard to get you know, to get this to preview appropriately uh how it's apple applied over the image um let's do that an overly mode now and you know again I think some parts of this may be the dark shading is probably good uh but other parts are not so let me just sort of duplicate this so I've got two copies and this one uh I'm gonna make it highlights so we're gonna we're gonna blend out the dark half of that calculation so I go to one twenty eight, okay? And you can see if I toggle the preview on and off here how the dark you can probably see it best in the halo around her her figure in the background uh when I have after I've done this adjustment in the blends mode advanced blending options you can see it takes out that dark halo but it's leaving the lightning effects which I kind of like um what is doing to the rim the rim edge and in her skin and also on the tattoo oddly enough, it's it's kind of bright ning that up giving me a little kind of, uh a little more contrast. Okay, now let's uh let's see let's put a let's put an effect on this let's let's do kind of a rock and roll grunge kind of thing this so I'm gonna make a new overlay layer so I'm going to hold down off the option key while I click on make a new layer can I get a new layer options ok, so we're gonna change the mode from normal toe overlay and then it says phil the overlay neutral color this is what we did when we wanted to make a dodge and burn layer they were now going to make a noise later okay, so this is going to be like noise gritty like film grain follows purist that just love film so much um and so overlay layer it's playing gray everywhere now has no effect where deviates from gray it's gonna have a corresponding effect so we're run the noise the noise filter on this overlay layer and add noise uh gaza and noises clumpy er okay and uh we can leave the color speckles in there for a sort of point a list kind of effect pointillism effect, or we can change it to monochrome monochrome. Generally looks a lot more like film grand. So here's, like, really grainy. Uh, try ax film. Okay, um, and, you know, if this just seems you like, the size of the grain, but it just seems too intense, you could just reduce capacity. That layer right now actually probably looks a lot more like film. Great. Um, it's, in order to get the appropriate effect, you have to run this noise filter on the overlay earlier, if we ran it directly on the image, we would get something that looks like this, where the noise is applied uniformly over everything, right? Uh, running down on either over layer, soft light it it is applied less in areas of black, where it finally reaches black. The noise doesn't apply it all. So you don't get white speckles in the black, where you have a white highlight. It also ramps off and doesn't doesn't apply, so you can actually add a lot more noise without disrupting the image. So I mean, again, looking at the difference is sort of an approximation, you know, here, there's like white speckles in the hair and dark speckles all over the skin when we change it to overlay, see how that it's sort of procedurally applied over the image so it depends on how bright or dark the images how heavy that noise effect is going to be and it's even more subtle with softly so we will go to soft light getting even more subtle effect we'll stay with the grungy effect here okay? Let's see what else can I do? Let's let's add some kind of chemical staining right we've got we're gonna finish this off right? So, uh don't add another we'll have a latte a layer of what? Another overlay layer okay and, uh I'm going to run a uh let's see let's run clouds filter so the clouds filter puts this this kind of pattern of, uh it's sort of fractal noise what is it makes this sort of cloudy thing applied an overly mode it's really? You know, it's kind of very heavy. I can reduce the capacity a little bit, but I want what I want to try to get his likes bigger modeled in a random modeling and I'm not going to use it uniformly over the image, but I also need the pattern to be a little bit bigger, so I'm gonna I'm just going to grab some section in the middle of this and, uh, in the middle of this cloud, you know, this is our kind of chemical stains, right grabbing a section of the in the middle and we're going to do free transform command t gives me free transform, and I'm just going to enlarge it now on we'll stretch it to fit, okay, so now you see the the modeling is a little it's not as small it's a little bit bigger and now we can just sort of hyde uh I'm gonna make a black layer mask and hide it dropped that selection and then I'll use, uh, paintbrush get a nice big of lips nice big brush here painting with white and the mass to reveal the stains because I want them to kind of go around the edge. I had the the pixel air selected instead, the nasa I'm going to go and re select alaska the mask, and then I'm just going to kind of put it around the edge for that sort of grungy background look on duh kind of maybe work it into the image a little bit here, um, and now let's do a vignette effect, so I'm gonna darken the edges to get kind of dark, burn it in really, you know, kind of enhance it, so I'll just make it an empty layer I'm gonna paint with grady and into this layer we'll be in multiple I'm owed on that layer, so this is kind of like what used to do in the enlarger you're feathering it in on the sides hoops uh here's the mistake back that back that up I have to have a great in here on almost always use a black too transparent radiant so that's the second one over in the grading editor presets so I changed it to black too transparent so so now it's the four grand colors black so it's going to fade black and then fade too transparent okay, so well now we can go around all four edges and I cannot has prince is easier to see this if I change the opacity from one hundred percent to like thirty percent, then it will be more gradual may we have a little more control over so that city okay, my capacity thirty percent can't photo shop without a net? I don't know, you know I didn't know I was going to be making this image I started this so just I'm tryingto constrain me the direction of the er great with the shift key held down so it makes it kind of more perpendicular and I'm now just sort of it's almost like edge burning in the large you're right just going around and burning edges and we'll do kind of multiple passes and get it to get the kind of really dark closer to the edge, okay how we looking so far? Maybe that's it it's a little too much reduced capacity there? I don't know. Right? I'm running out of noise. I'm running out of ideas. Let me just reduce the passage. That noise is maybe a bit too much. Um I don't know. I think we're probably cool. Kind of created an interesting image. What do you think? Any questions about this way? Have you clap your hands? You clap? Yeah. Bandit once is phil from valrico, florida wants to know how you learn so much about photo shop. How I learned so much about photoshopped. Well, it's a long story. Uh, you know, the advantage that I have, you see all this gray and my beard, you know, I the first version of photo shop I worked with his version two point oh, just pretty much the first general, you know, generally available version. There used to be a version before that it was bundled with some with a scanner, so it was sold with barney scan. It was the image editing program that got bundled with this. This scanner on the fourth before I started working with photo shop, I worked with program called color studio, which was unique because at that time it was it worked with seeing like a photo shop did not so, but color studio didn't do gray scale and photoshopped did so I had to get both programs, so I had color studio had photoshopped to point out. Now I really feel for all those people out there now that are trying to learn photo shop in their first version is cs six. This thing is a monster it's, so complicated when version two point oh, it had the tools I had, like a paintbrush clone to a selection tool, no layers. You know, it was really simple. So I learned photoshopped very gradually over many, many years and every version that came out. I kind of pushed the envelope a little bit, and I was able to I learned that little bit more. Uh, but it seems like it's been accelerated and they keep adding new features, a new features and their eighteen month released cycle. And by now the program has gotten really complicated, and I think that's what makes it really hard for people is it's just too much to try and absorb all at once.

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.