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Correcting skin tones in a portrait

From: Color Correction in Lightroom

Video: Correcting skin tones in a portrait

In this project, we're going to do a color correction on a portrait-based image. So, by moving our whites up, we've really isolated

Correcting skin tones in a portrait

There might be some in the background, but the background's not a concern. In this project, we're going to do a color correction on a portrait-based image.

This image is all about the skin tone. And we're going to use these two portrait images, one of Karin, and one of Taz. So let's just go dive right in. We're going to use Karin as kind of our sample And take a look at the skin tones. image of what a good skin tone looks like. All right, we've got 48, 43, 42, 48, 43, 43, 47, 42, 41. We've got two stars applied to them by pressing the 2 key. So, it looks like the red green separation is pretty good. And let's go ahead and just isolate those It's all right. two images so we simplify our view on screen. It's about five points of separation. And let's go first to Karin, now let's open her But the green blue is just too close. up with the Develop module and just to review what Now, we could raise the green instead of lowering the blue. a good healthy skin tone looks like, let's put our But we want to keep some good separation between the green and the red. Eyedropper over there and take a look at those RGB values. 'because there's only about five points there. Red should be greater than green should be greater than blue. So let's go ahead and lower the blue. And then you have about equal separation between the red-green and the green-blue.

So we can choose a representative area. That's the foundation for this. Should be as well lit as possible. Then you can fine tune from there as to And then adjust the blue values to suit. whether you want things to look a little bit redder. So let's click here to select the temperature field. Or a little bit greener depending upon the skin And then we'll look at our values. tone, or the lighting, and the nationality and so forth. And then we'll just lower our blue values here, while we watch the RGB values. So, in this case we've got red 82, green You can see what this does is it actually 75, we've got our 7 points of separation there. raises the red and green in relationship to the blue. And then 75 to 67, we've got about 7, 8 points of separation there. Now, here we have about 54, 55, 47 and then about 41 for the blue. So, that's a good healthy skin tone. So, now we've got good separation between the green and the blue. Red greater than green, greater than blue, it's about equal separation between them.

Alright, so using that as kind of our guide.

We've got about five or six points of separation there, and we've Let's take a look at this portrait image, and first of all we got about seven points of separation between the red and the green. see that it's a relatively low key image, we can see that here. That's a good adjustment. We have almost no data in the image at all in the highlight and the quarter tone. And you can see by looking at the RGB values and taking the time Start to see a little bit of data here. to evaluate that and deciding, oh, okay, the blue is a little bit too high. And then deciding whether it was the green that Looks like it's broken up, so it's probably was too low or the blue that was too low. some noise and a little bit of tail here.

There was decent separation between the green and the red. All right. So we decided to lower the blue. So we know we've got some brightening to All right, so the color correction is basically done. do, but we want to do color correction first. Then we need to redistribute our tonal values after the color correction is done. Now, there really are no neutrals in this image that we can use. So, we'll move down here to white. There might be some in the background, but the background's not a concern. We don't want to use exposure because, This image is all about the skin tone. remember, if you use exposure it moves everything So let's just go dive right in. over and it lightens the whole image And take a look at the skin tones. too much, including too much of the background. All right, we've got 48, 43, 42, 48, 43, 43, 47, 42, 41. Alright, so, we'll come down to the whites. So, it looks like the red green separation is pretty good. And, let's Option+Alt, and see where the lightest portion of this image is. It's all right. Now, there's really no diffuse, white highlight here, at all. It's about five points of separation.

We just want to make sure that none of these areas have too much data. But the green blue is just too close. Or too high a data values in there. Now, we could raise the green instead of lowering the blue. So we've raised it too high and now we're just going to lower it. But we want to keep some good separation between the green and the red. Select the whites field, and just use my down 'because there's only about five points there. arrow until the highest values in there drop below 95%. So let's go ahead and lower the blue. There we go. So we can choose a representative area. Not trying to create a neutral white highlight, Should be as well lit as possible. it's red and green or higher than the blue. And then adjust the blue values to suit. Which it should be because teeth tend to be a little bit yellow. So let's click here to select the temperature field. I just want to make sure that nothing blows out, we And then we'll look at our values. don't have any hard areas or flat areas in the image. And then we'll just lower our blue values here, while we watch the RGB values. So, we've lightened the image and then we can look You can see what this does is it actually at the background and do the same thing we did before. raises the red and green in relationship to the blue.

Hold down the Option key, Alt in Windows, and Now, here we have about 54, 55, 47 and then about 41 for the blue. see where the darkest portions of this image are. So, now we've got good separation between the green and the blue. There we go. We've got about five or six points of separation there, and we've And we can select the blacks field. got about seven points of separation between the red and the green. Now, this is less critical in terms of values. That's a good adjustment. This is all going to fill in. And you can see by looking at the RGB values and taking the time There's no detail here, preserved, but we can raise this to evaluate that and deciding, oh, okay, the blue is a little bit too high. if we want to maintain some detail in the background. And then deciding whether it was the green that See, as we raise the value of the blacks, a little was too low or the blue that was too low. bit of detail comes up, but we're also lightening the background. There was decent separation between the green and the red. So, is it critical to maintain detail there? So we decided to lower the blue. No. All right, so the color correction is basically done. But we probably just don't want to have any really big solid black areas. Then we need to redistribute our tonal values after the color correction is done.

Alright, so we just make a little bit of So, we'll move down here to white. a plus five to plus eight adjustment on the background. We don't want to use exposure because, So, by moving our whites up, we've really isolated remember, if you use exposure it moves everything the foreground image from the background keeping this dark. over and it lightens the whole image You could come in here just work on the shadows and darken the background just a too much, including too much of the background. little bit more, as you can see there, Alright, so, we'll come down to the whites. just to isolate that foreground portrait a little bit. And, let's Option+Alt, and see where the lightest portion of this image is. Now, there's really no diffuse, white highlight here, at all. And again, the RGB values in the background are not nearly as We just want to make sure that none of these areas have too much data. important as of course, what we've been doing working in the foreground. Or too high a data values in there.

And then finally, you could increase or decrease contrast to this image. So we've raised it too high and now we're just going to lower it. I would be more likely to decrease contrast just a little bit. Select the whites field, and just use my down Because it's a facial skin tone, just to lower the contrast in arrow until the highest values in there drop below 95%. the skin because you don't want the skin to be very harsh. Okay, well there we go and we hit a Y key to There we go. do a comparison between before and after and you can see, when you Not trying to create a neutral white highlight, first look at this you thought, oh it's dark but the skin tone it's red and green or higher than the blue. is okay, but you can see how much better the skin tone looks. Which it should be because teeth tend to be a little bit yellow. When you actually take the chance to adjust those RGB values to get the red I just want to make sure that nothing blows out, we greater than green greater than blue, you end don't have any hard areas or flat areas in the image. up with some really nice looking skin tones. So, we've lightened the image and then we can look Remember, color first and then tone. at the background and do the same thing we did before.

Hold down the Option key, Alt in Windows, and see where the darkest portions of this image are. There we go. And we can select the blacks field. Now, this is less critical in terms of values. This is all going to fill in. There's no detail here, preserved, but we can raise this if we want to maintain some detail in the background. See, as we raise the value of the blacks, a little bit of detail comes up, but we're also lightening the background. So, is it critical to maintain detail there? No. But we probably just don't want to have any really big solid black areas.

Alright, so we just make a little bit of a plus five to plus eight adjustment on the background. So, by moving our whites up, we've really isolated the foreground image from the background keeping this dark. You could come in here just work on the shadows and darken the background just a little bit more, as you can see there, just to isolate that foreground portrait a little bit. And again, the RGB values in the background are not nearly as important as of course, what we've been doing working in the foreground. And then finally, you could increase or decrease contrast to this image.

I would be more likely to decrease contrast just a little bit. Because it's a facial skin tone, just to lower the contrast in the skin because you don't want the skin to be very harsh. Okay, well there we go and we hit a Y key to do a comparison between before and after and you can see, when you first look at this you thought, oh it's dark but the skin tone is okay, but you can see how much better the skin tone looks. When you actually take the chance to adjust those RGB values to get the red greater than green greater than blue, you end up with some really nice looking skin tones. Remember, color first and then tone.

Show transcript

This video is part of

Image for Color Correction in Lightroom
Color Correction in Lightroom

33 video lessons · 3112 viewers

Taz Tally
Author

 
Expand all | Collapse all
  1. 2m 20s
    1. Welcome
      40s
    2. Using the exercise files
      1m 40s
  2. 7m 18s
    1. Overview of color correction tools in Lightroom
      4m 17s
    2. Using virtual copies for color-adjustment variations
      3m 1s
  3. 10m 40s
    1. Setting up the interface for color adjustments
      4m 33s
    2. Setting up the color tools
      1m 45s
    3. Using Lightroom's soft proofing
      4m 22s
  4. 29m 9s
    1. Understanding how the histogram displays tone
      7m 51s
    2. Understanding how the histogram displays color
      4m 35s
    3. Identifying color casts with histograms and the Info tool
      6m 54s
    4. Measuring skin tones
      5m 50s
    5. Using target-based measurements
      3m 59s
  5. 51m 54s
    1. Understanding the interaction of Lightroom's histogram and tone panels
      8m 27s
    2. Adjusting color balance with the Temperature and Tint tools
      5m 51s
    3. Avoiding highlight and shadow clipping
      6m 58s
    4. Adjusting color balance using the Info tool and the Tone panel
      8m 19s
    5. Using Lightroom's automated adjustment tools
      5m 42s
    6. Adjusting overall brightness and contrast
      6m 21s
    7. Using targets for color correction
      4m 0s
    8. Challenge: Evaluating and correcting color
      1m 2s
    9. Solution: Evaluating and correcting color
      5m 14s
  6. 1h 13m
    1. Evaluating and correcting critical highlights, shadows, and contrast areas in landscapes
      7m 28s
    2. Working with near neutrals and images with no neutrals
      6m 42s
    3. Correcting skin tones in a portrait
      5m 37s
    4. Correcting a faded image
      7m 54s
    5. Adding pop to product images
      7m 58s
    6. Making curve-based color correction adjustments
      7m 40s
    7. Color correcting product shots
      11m 26s
    8. Making creative adjustments
      5m 45s
    9. Automating adjustments
      4m 34s
    10. Challenge: Identifying and correcting a color cast
      1m 2s
    11. Solution: Identifying and correcting a color cast
      6m 54s
  7. 1m 26s
    1. Next steps
      1m 26s

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