IntroductionWelcome| 00:00 | Welcome. My name is Chris Orwig and I will be your host and
guide on this training adventure. I'm a pro photographer and
| | 00:05 | I'm on the faculty of the Brooks Institute
of Photography in Santa Barbara, California.
| | 00:10 | I'm really excited about this training and here's why.
| | 00:12 | You know some of the most impactful photograph
of all time are photographs of people.
| | 00:17 | And in this training title, we're going to at look
how we can make our photographs of people even better.
| | 00:21 | Well, we have a lot of ground to cover,
so without further delay, let the adventure begin.
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| How to use this training| 00:00 | Welcome back. After we have captured our images, we're
ready to work in Photoshop. Yet before we work in Photoshop,
| | 00:07 | I think it's worthwhile to consider a few things. In particular
it's worthwhile to keep in mind that as we're retouching our images,
| | 00:14 | certain images we'll want to retouch more than other images.
Now that sounds kind of obvious, yet it is somewhat profound.
| | 00:20 | We have to keep in mind, what's the story that I want to tell with
this image? And certain images and certain stories that we want to tell
| | 00:26 | will require a lot of retouching.
Yet not all images require a lot of retouching.
| | 00:32 | Another thing that's really important to keep in mind is this:
throughout this training we'll develop a hyper awareness of detail.
| | 00:39 | We're going to pay a lot of attention to detail and
it's almost as if we're standing really close to a mirror
| | 00:44 | and when you stand really close to a mirror, you notice all of
the small little blemishes and skin variations and that's really
| | 00:50 | important. We need to have an eye for the detail and at the same
time every once in a while, we have to step back and look at the
| | 00:56 | whole image and look at the composition of the image. You know
speaking of stepping back, throughout this training I'm going to include
| | 01:02 | a couple of little creative tips for you that will help
you step back and help you become a creative photographer.
| | 01:08 | You know as you work through this Photoshop Retouching Training,
| | 01:12 | here's what I hope. I hope to help that you learn a lot about tools,
but even more I help you learn how and why and when to use these tools.
| | 01:20 | Well, we definitely have a lot of ground to cover
| | 01:23 | and this training is going to be amazing.
I can't wait to dig into what we have ahead of us.
| | 01:28 | So without further delay let's begin!
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| The art of retouching| 00:00 | Portrait retouching really is an art
| | 00:03 | and a craft. It's something incredibly special. Now why is that?
| | 00:07 | Well stop to think about this for a moment.
Some of the most impactful photographs of all time
| | 00:12 | have been photographs of people.
| | 00:14 | There's something about people photography that draws
us in, it resonates with us, it connects with us and
| | 00:20 | in this training title we're going to look how
we can make our people photography even better.
| | 00:25 | We're going to approach portrait retouching from a photographic
perspective. So I have a couple of photographic thoughts for you.
| | 00:31 | The first one by Minor White.
| | 00:34 | Minor White once said, "Creativity with portraits involves the
invocation of a state of rapport when only a camera stands
| | 00:41 | between two people. It involves mutual vulnerability and mutual trust."
| | 00:46 | And you know,
| | 00:47 | the greatest artists that I know, that come up with the best
photographs of people, have this incredible respect for their subject,
| | 00:54 | for their models, for these people that they photograph.
Not only while they're photographing but also while they're
| | 01:00 | retouching them, while they're working on them and I hope
that we can bring that same thought to our own retouching,
| | 01:07 | because ultimately it will help us create more compelling photographs.
| | 01:11 | Another thought for you.
| | 01:14 | Henri Cartier Bresson once said, "As time passes by and you
look at portraits, people come back to you like a silent echo."
| | 01:23 | Stop and think about that quote for a moment.
| | 01:25 | You know one of the things that this quote has helped me remember
| | 01:29 | is that the portrait photographs that I've taken
| | 01:33 | only become more valuable as more time passes and as more
time passes, those photographs become even more valuable.
| | 01:41 | There's something incredibly special
about people and about portrait photography.
| | 01:46 | Another photographic thought for you. John Sexton once said,
"An amateur is someone who does something because of passion
| | 01:53 | and in that sense, I will always be an amateur." And what
we're going to do in this training title is bring little bit
| | 01:59 | of passion to portrait retouching, because ultimately
by bringing this passion, we'll be able to create more
| | 02:05 | compelling images and also get more out of life, because for me
| | 02:10 | photography is about savoring life at 1/100th of a second,
just as the famous French photographer Mark Riboud once said.
| | 02:19 | The goal of this training title is to provide you with some
inspiration, some creativity and to give you some conceptual
| | 02:25 | and technical skills that you can apply to your own people photography.
| | 02:30 | My task is to teach you the tools
| | 02:33 | and also give you inspiration for the final outcome.
What we're to do is dig into the chock, dig into the tools,
| | 02:40 | dig into Photoshop to really learn how these tools work,
but this isn't simply a tool based training tile.
| | 02:45 | It's even more, so we're going to use these tools in order
to create compelling art and we're going to bring a little
| | 02:52 | bit of that artistic passion to retouching in
order to create more compelling photographs
| | 02:57 | Now what do those photographs actually look like?
| | 02:59 | We'll take a look at some in the next movie.
| | 03:01 | See you then.
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| Training sneak peek| 00:00 | In this movie I want to provide you with this sneak
peek of what lies ahead. I want to show you a sample
| | 00:06 | of some of images that we'll be working on in this training title.
| | 00:09 | Now keep in mind that this is just a sample of some of the images.
We're going to be working on more images than what you're going to
| | 00:15 | see here and also keep in mind that although what we're going
to be working on specific images and using specific techniques,
| | 00:22 | my hope is that what you'll learn in this training title is
concepts and technical skills that transcend the subject matter,
| | 00:29 | that transcend the specifics of what we'll be doing, so you can
walk away from this training with these concepts and apply them
| | 00:36 | to your own images. All right well,
let's take a look at a handful of images
| | 00:40 | that we'll be using in this training title. Here's
our first image, here's the before and then the after.
| | 00:47 | You'll find a lot of the work that we'll
be doing in this training title will involve
| | 00:51 | cleaning up an image as well as enhancing the image. Sometimes
it's going to be something as simple as the working on the color
| | 00:57 | and tone and cleaning up a background
and then some minor enhancements.
| | 01:01 | Other times it may be a little bit more dramatic. In this case,
we have the before and the after. In this case there's quite a
| | 01:08 | bit of clean up but also some really important enhancements.
| | 01:11 | Alright. Another image for you. Here is the before
| | 01:14 | and then the after.
| | 01:16 | Cleaning up, enhancing color and tone.
| | 01:20 | Let's take a look at another one
| | 01:22 | and this is the before. This is a photograph of my daughter
Sophia and this is the after. One of the things that's going to be
| | 01:28 | important for us in this training title is to learn how to
retouch images in a way that's authentic to the specific
| | 01:35 | genre of the image. So this training will be valuable
for you whether, you're a high and fashion photographer
| | 01:41 | or you simply want to create better images of kids.
| | 01:44 | Let's take a look at another image. Here's a portrait of my
sister and my brother-in-law Ryan. My sister is due any day.
| | 01:51 | Here's the before and the after. Cleaning up, color and tone.
Let's take a look at yet another image. Portrait of a photographer.
| | 01:58 | This photographer is an absolutely amazing
photographer. Here's the before and then the after.
| | 02:05 | Very simple color and tone and clean up.
| | 02:08 | One more portrait of another photographer, Jay Maisel. Jay Maisel
is inspiring. This guy's absolutely amazing. Here's our before,
| | 02:16 | and then after. How do we improve or enhance portraits in a way
that's authentic to the subject matter and the genre of photography?
| | 02:25 | A couple more for you.
| | 02:27 | This one is a fashion photo. Here's the before
| | 02:30 | and then after.
| | 02:31 | How do we work on skin, on eyes, on hair,
how do we make something really compelling?
| | 02:37 | And our final image in this movie.
| | 02:39 | Here's the before
| | 02:41 | and the after.
| | 02:44 | My hope with this movie is that it will provide you with a
little bit of inspiration and give you an idea, give you a
| | 02:50 | sneak peek of what's coming your way. Well, I cannot wait to work
on these images and the other images that we have in our training.
| | 02:57 | I hoped that you enjoyed this movie and I'll see you in the next one.
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| Resources and inspiration| 00:00 | Welcome! You know becoming good at retouching is quite
a process therefore I put together a small micro-site,
| | 00:08 | a little mini-site to provide you with some resources
that will help you improve your Photoshop retouching skills.
| | 00:13 | The site is chrisorwig.com/retouching. Again, all I want to
do is share with you some of the resources that have helped me.
| | 00:22 | The first section you want to click on is Retouching Books.
There are number of good books out there on retouching.
| | 00:27 | Here are a few. Photoshop Restoration and Retouching by Kartin Eisman,
| | 00:31 | Skin by Lee Varis. Lee Varis is so good at retouching it's
ridiculous. The title of that book is a little bit misleading
| | 00:37 | because that book isn't all about skin. It's about
photography and about lighting but there's some great
| | 00:42 | retouching content in that book and there are a couple other books
here that I think you'll enjoy. The final book that I want to highlight
| | 00:48 | is Making Faces. Not a Photoshop book, it's a makeup book.
Now you may be thinking that's kind of weird. Well, maybe it is but
| | 00:54 | let me tell you the logic of including that book.
If you want to be good at retouching people,
| | 00:58 | you have to have a good understanding of the face and of makeup
| | 01:01 | and this book is about how to apply makeup, how to be a
makeup artist. It is worth at least flipping through so you
| | 01:07 | have an understanding of that. Now if you really want to go for it in
your retouching I recommend picking that one up. It will help you out.
| | 01:13 | The next section you want to check out is Retouching Links
here. I've included a wide range of retouching links,
| | 01:20 | everything from retouching studios to fashion retouching
to architecture retouching to conceptual retouching.
| | 01:26 | It's the whole thing in here. The reason I've included
all these links is to provide you with some inspiration
| | 01:31 | to expand your vision for what's possible with Photoshop.
Now this particular training title is going to focus
| | 01:37 | on retouching people so I want to highlight a few of
these links that are relevant to retouching people.
| | 01:43 | The first one is Fluid Effect. I love being able the see the before
| | 01:47 | and the after. Let's look at more image here just for the fun of it.
| | 01:52 | Before and after. Let's going to another site. This is turningpix.com.
Kate Turning's site. One of the reasons I included this site
| | 02:00 | is because she has a really unique vision with her photography
and because the person that does the majority of her retouching is
| | 02:07 | Amy Dresser. Check out amydresser.com.
I'm there right now, clicking on the Beauty category.
| | 02:12 | I can see before and after. You know one of the tricks of retouching
is not just having the technical skills to know what to do,
| | 02:20 | but to know when to apply certain things.
To know why, to know the what, the why and the how.
| | 02:25 | And so looking at all these sites will help
you in that way. Alright another site for you.
| | 02:29 | Digital Retouch. Here we have again a way to see our
before's and after. Really valuable. One more site for you,
| | 02:35 | Taylor James. They do some incredible work. In this case it's
not beautification, but it's adding mood and changing the whole
| | 02:43 | tone and expression of an image. Really interesting. Next
site is Intrigue Creative Studio and if you scroll down,
| | 02:50 | you can see some before's and and after's.
| | 02:53 | Here's another one. Before and after. Worth checking out.
I love seeing those before and after's. Another site
| | 02:59 | Mandy Strong, where you can see the before and after side-by-side.
One more site for you to katechase.com. Kate Chase is the
| | 03:07 | representative for some of the best retouchers in the world.
So make sure you check out all of their artists, and we've
| | 03:14 | already checked out Amy Dresser, but check out the other ones.
They're pretty cool. The final site I want to show you is
| | 03:19 | blue-soho.com. Again, I love being able to see
the original image and the retouched image,
| | 03:24 | the before and the after. It helps me think about OK,
what do I need to retouch? How can I retouch?
| | 03:29 | What am I going for here? What are other people trying to do
as they retouch? Alright well back to our little micro-site.
| | 03:36 | My last thought here is if you have retouching books,
if you have retouching links that have inspired you,
| | 03:42 | that have helped you, that have been resources for you,
click on the old Contact section and send me a link.
| | 03:47 | I would love to include it in this site so that we can
share with each other different resources that have helped us.
| | 03:53 | Alright, well my hope with this small site
| | 03:55 | is that it will provide you with some resources that
will help you improve your Photoshop retouching skills.
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| Using a Wacom tablet| 00:00 | Welcome. In this short movie we're going to talk about some tools
that are helpful with retouching. Now before we talk about retouching,
| | 00:08 | I want to talk a little bit about photography. I have a
couple of cameras here and I have this little camera is a
| | 00:13 | Leica 3 megapixel digital camera. It's a real camera, believe
it or not, and I love this camera. Now when I'm using this tool,
| | 00:20 | the images that I create are kind of interesting.
It's almost as if the images are shaped by the tool.
| | 00:24 | I mean the images are pretty fun,
because this is like a fun little spy camera.
| | 00:27 | Now on the other hand,
| | 00:28 | if I reach for this camera and I'm shooting with an
85mm F12 portrait lens, well my images are very different.
| | 00:35 | It's almost as if the tools directs the final
outcome. And you know the same thing is true
| | 00:41 | with Photoshop retouching. When we're retouching, we can of
course reach for the mouse. Yet a lot of times people say painting
| | 00:47 | with the mouse is like painting with a bar of soap. So if we really
want to go for it, if we want to take our retouching to the next level
| | 00:53 | we want to get a Wacom tablet. And one of the reasons I love using
a Wacom tablet is because I can paint with pressure sensitivity
| | 00:58 | and the pressure sensitivity is so incredibly helpful. What
it does is it helps connect the seams of my retouching.
| | 01:06 | Or in other words, it makes my retouching
seam-less and that's incredibly important.
| | 01:11 | Now while I'm using this Wacom tablet and I'm painting
away and let's say I'm smoothing the skin out.
| | 01:11 | I need a couple of shortcuts.
I need the Wacom tablet; that's an important tool,
| | 01:19 | but I also need the tool of these two shortcuts.
| | 01:22 | One of the shortcuts is the number keys, zero through nine.
If I press one, it takes the brush to 10% opacity, two to 20% opacity.
| | 01:30 | So as I'm painting, I'm changing my opacity. Yes! I'm using
the pressure sensitivity, but I'm also dialing my opacity
| | 01:37 | by using the number keys on my keyboard.
Another shortcut that's important is the bracket keys.
| | 01:41 | Here I'm using the bracket keys. Left bracket to change the brush size,
make it smaller; right bracket will make that brush size bigger.
| | 01:48 | So if you're really interested in taking your Photoshop
retouching skills to the next level, here's what I recommend.
| | 01:55 | Pick up a Wacom tablet. Now if you're thinking, 'OK Chris.
That's great, yet I can afford one right now.' No big deal,
| | 02:00 | put it on your wish list. It's definitely worth it.
It makes all the difference in the world for me so I recommend
| | 02:05 | you check one of these bad boys out because they are phenomenal.
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| Using the exercise files| 00:00 | All right. If you are a premium member of the lynda.com Online
Training Library or if you're watching this tutorial on a disk,
| | 00:07 | you have access to the good old exercise files used
throughout this training title. You can find those in this folder,
| | 00:13 | exercise files. You can see that they're organized by way
of chapter. I'll go ahead and open up the Adobe Bridge.
| | 00:20 | Here we can see that we have all the exercise files. You can
click on a folder. Let's say click on the folder Chapter 12, and
| | 00:26 | then we can go to the file Jamie_Nelson, where
we will be doing some work on makeup in Chapter 12.
| | 00:34 | So you can click through the chapter folders to find the
images that we'll be using in each particular chapter.
| | 00:39 | Now, if you are a monthly or annual subscriber to lynda.com,
you won't have access to these exercise files, but you can
| | 00:46 | follow along from scratch and use your own
assets. All right, without further delay,
| | 00:51 | let's begin.
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1. Retouching RoadmapInitial retouching considerations| 00:00 | One of the things that we need to do before we actually
begin retouching our images is consider a few things,
| | 00:05 | and the first thing that I want to consider is genre.
| | 00:07 | Let's talk about genre in regards to literature, in order
to understand how genre relates to photography in Photoshop
| | 00:13 | and retouching in Photoshop.
| | 00:15 | Let's say I'm a writer, and I'm writing in the genre of poetry.
Well I can then take poetic license. On the other hand, let's say I'm
| | 00:22 | a writer and I'm writing in the genre journalism. I'm going to write
very differently. It's as if the genre informs what and how I write.
| | 00:30 | And the same thing is true with Photoshop and with retouching.
| | 00:33 | Let's consider the photographic genre of fashion. Here we
have this image on the left of this amazing makeup artist who is
| | 00:41 | applying the makeup to this model for this fashion shoot. You
know is the genre of fashion photography, a lot of makeup is used.
| | 00:47 | In this next image we can see that make up is actually airbrushed
on the model. In another image or we has see that
| | 00:53 | the lipstick is applied with a small paintbrush. So when we're
doing retouching on fashion images we're going to do some pretty
| | 01:00 | heavy retouching. Of course it needs to be delicate, it needs
to be artistic, yet we're going to do a lot of retouching, because
| | 01:06 | we're in the genre of fashion photography. On the other hand,
let's say we're in a different genre of photography.
| | 01:11 | This image is a photograph of my sister and my brother-in-law.
| | 01:14 | In this particular image I want to capture this authentic warmth
and this excitement of their baby that's about to be born
| | 01:21 | therefore my retouching is going to be pretty minimal. It's going
to be about reducing and simplifying and warming the image
| | 01:27 | in order to capture this moment.
| | 01:30 | In this next image I have a self-portrait here that I've
assembled and the retouching that I'm going to go for here's
| | 01:35 | going to be again very minimal, because I want to create
an image that's a little bit raw, a little bit authentic.
| | 01:41 | And my retouching's going to be guided by this genre that I've
self imposed on this particular project of trying to create an image
| | 01:47 | that's graphic, that's simple, that's clean, that's authentic,
so all that I'm going to do is reduce some of the blemishes
| | 01:52 | that are in the background.
| | 01:54 | We do keep in mind that details matter.
| | 01:57 | That in photography what we're really aiming to do is to reduce
and simplify in order to create an image that has more impact.
| | 02:04 | In this particular image, the strap there, that detail, really matters.
| | 02:09 | Removing that detail makes the image so much stronger.
Here again is our before and then after.
| | 02:14 | One of the things that happens as we get into these details
is we can become overwhelmed by the amount of details or we
| | 02:20 | can hit a wall or we can get bogged down
by the amount of work that needs to be done.
| | 02:25 | And as that happens, I hope that you keep in mind that
| | 02:28 | this whole retouching thing, this whole photographic thing,
is about enjoying the journey. It's about enjoying the process,
| | 02:33 | that people photography is about capturing these moments
that are absolutely precious. Here's this wonderful photograph of
| | 02:39 | one of my best friend's son Dylan.
| | 02:41 | Here's another photograph of my daughter and
her friends and the retouching that I'm doing here
| | 02:46 | is about trying to create an image that has more impact.
And a couple a days ago, a good friend of mine, Greg, took some
| | 02:52 | family portraits of myself and our family. One of things
that I was struck by this process was that Greg helped us enjoy
| | 02:58 | the process of being photographed. You know being photographed
isn't really that much fun but somehow he enabled us, he empowered us
| | 03:04 | to enjoy this process. So he captured these images that
really captured the sense of fun and play in our family, which is
| | 03:10 | absolutely wonderful and part of what my goal is with this
training is to help you enjoy this process. Realize that what
| | 03:17 | this is all about is creating images that have more impact
and as we get into this, I hope that we keep this in mind.
| | 03:24 | One of the people that has really affected me has been Russell
Brown. Russell Brown is the senior creative director at Adobe
| | 03:30 | and one of things that Russell has taught me is that in order
to learn we have fun. In order to be creative, we need to have fun,
| | 03:36 | in order to come up with great results,
we need to have fun. Russell has a lot of fun.
| | 03:41 | And so my hope is that as you get into retouching that
you enjoy the process of retouching, you enjoy the journey
| | 03:48 | and as we're enjoying the journey, we also need to
keep in mind, we need a system of checks and balances.
| | 03:54 | Now Russell's very fun, but he's also a deep thinker,
a strong thinker. He has an incredible mind.
| | 03:59 | We need to evaluate things as we retouch our images.
| | 04:02 | Now I cannot tell you how many retouching portfolios I've looked at.
Student retouching portfolios, I should say, where the before
| | 04:10 | is better than the after. Every time I see those portfolios,
I ask the students, "Hey, what happened? How come the before is
| | 04:16 | better than the after?" And they say, "Well,
I don't know but you know, it took me 10 hours."
| | 04:20 | And I say, "Yeah well it's not better though."
| | 04:22 | And they say, "Yeah, but it took me 10 hours!"
| | 04:23 | And I say, "Yeah, but the before was better, what happened?"
| | 04:26 | "But it took me 10 hours!"
| | 04:29 | And it's as if
| | 04:30 | the amount of time, the amount of blood,
sweat and tears that went into the retouching
| | 04:34 | validated the retouching. What we need to do is create a system
of checks and balances so that doesn't happen so that we're not
| | 04:41 | overly endeared with our retouching simply because the
amount of effort, energy and time we put into that retouching.
| | 04:48 | And here's what that could look like.
| | 04:50 | It could be something as simple as inviting someone to look
at your images with you. You know when I look at my images on
| | 04:56 | my own computer by myself, I see certain things. When someone
comes up next to me and looks at that image with me,
| | 05:01 | I see a whole new set of problems and a whole new set of the things
that are good about the image, because I'm now looking at the image
| | 05:07 | through my eyes, and through their eyes as well. Or it could
be that you need to e-mail friends your photographs before
| | 05:13 | you actually submit them to your clients, but we need some kind
of a system of checks and balances so that we make sure that
| | 05:19 | our retouching's actually worth while and as we get in this
process of retouching another important question that comes up
| | 05:25 | when is the image finished?
| | 05:26 | I get this question quite a bit. Chris, how
do you know when you're done with a photograph?
| | 05:31 | Well, the answer is I often don't know when I'm done but what
I do know from photography is this. There's a lot of preparation
| | 05:38 | that leads up to the shoot as we can see with this fashion
shoot, but eventually we need to pull the trigger, we need to
| | 05:43 | push the shutter release button and take the actual
image. All the preparation leads up to that moment.
| | 05:48 | And the same thing's true with retouching.
| | 05:50 | A lot goes into retouching an image and eventually we
have to say, "Enough's enough! The image is good enough."
| | 05:55 | Because what can often happen in retouching is we strive
for this perfection, this unattainable level of perfection
| | 06:02 | that's impossible to attain and therefore we never complete
our retouching. So as you dig in this retouching process
| | 06:08 | keep in mind that it is a process. There's a genre that we're
entering into as we retouch. You want to reduce and simplify.
| | 06:14 | We're keeping in mind that details really do matter. We want
to have some fun along the way and then have a system of
| | 06:20 | checks and balances and eventually say, "You know what? It's
good enough or it's good enough for today." and live with that.
| | 06:24 | Look away from your computer and look back at it. My hope is
that as you get in the retouching that these considerations
| | 06:31 | will guide how you work and that ultimately
they'll help you create images with more impact.
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| Retouching workflow strategies| 00:00 | You know just yesterday I was talking with the colleague of mine
who is an amazing fashion photographer and an amazing retoucher
| | 00:08 | and I was talking with him about retouching
| | 00:10 | because I was getting excited about this training
title. We were talking about retouching
| | 00:15 | and one of the things that he said really
stuck with me. He said, "You know Chris,
| | 00:19 | in my own retouching workflow I try to keep things very
simple." Now that being said, his retouching is intense,
| | 00:25 | I can't believe what he does in regards
to retouching. Yet that really stuck with me.
| | 00:30 | And I think there's some wisdom to this idea that you
need to keep your retouching workflow relatively simple
| | 00:35 | and here's why. Retouching is complex.
| | 00:38 | So what I want to do in this movie is break up our
retouching workflow into four segments to give you some
| | 00:44 | overview ideas that will ultimately help you create better
images. Alright. Well the first thing that we need to do when
| | 00:50 | we're working on an image is get the color and tone correct. In
this particular image on the left we see that there's a color shift.
| | 00:56 | We need to correct that. So here's our before and then our after. Now
once our color and tone is correct we can get to cleaning up the image.
| | 01:04 | We need to clean up second. Clean up before enhance. You know a lot
| | 01:08 | my photography states love the jump to the enhancement becauase
that's worth the really visual, impactful stuff happens. That's where
| | 01:14 | the fun actually takes place. The cleanup works a little bit
more detail oriented, yet we need to do the cleanup first,
| | 01:20 | before the enhancements. So we need to come up with a roadmap. OK, what
do I actually need to clean up? Here are the things I need to clean up
| | 01:26 | and then we need to remove those items. Again here's
our before and then here's our after. Simple things that
| | 01:31 | will help make the image much stronger now. Now in regards
to the enhancements, there is quite a bit that we can do.
| | 01:36 | Here's an image that's been completed.
| | 01:38 | Let's take a look at the before. Here's
the before and the after quite a bit
| | 01:44 | on this image has been enhanced. Let's deconstruct those. Here
a number of things have been corrected on this image and let's
| | 01:50 | go ahead and dig into those particular items. In this case, the
original image, you can see that the cheek on the right-hand side
| | 01:56 | needs some work. Here is the after. Again here's the
before and the after. A little bit of work with the eyes,
| | 02:01 | a little bit a work with the shadows. That's enhancement. That's
not cleaning something up. That's changing something structurally.
| | 02:08 | Next we're getting to skin and smoothing the skin.
You know if I hadn't cleaned up the skin first,
| | 02:13 | my skin smoothing wouldn't have worked very well. So once the
image is clean, and I can go on to the enhancement of make it nice
| | 02:19 | and smooth. In this particular before and after, we're working
on the eyelashes and the eyebrows. As you can see see here's our
| | 02:25 | before, and here's our after. And then finally we need to
do some final, light color and tone and sharpening on the image.
| | 02:31 | And in this case, we can see that and that meant working
on the hair a little bit over there on the left and then finally,
| | 02:37 | working on the contouring of the face and the overall tone
out of the image. Here's our are before and then our after.
| | 02:44 | So as you work on your own images keep this in mind,
that it's helpful to have a very simple workflow.
| | 02:51 | First you get the light color and tone correct. Next you cleanup
the image. Then you get to the enhancements and that's where a
| | 02:57 | lot of the fun happens and then finally on top of all of
your retouching, you'd to do some final light, color and tone
| | 03:03 | adjustments in order to kind of connect all of the retouching
that you've done. Here are a few more retouching tips for you.
| | 03:09 | In regards to skin, we want a work
on texture, on wrinkles and blemishes,
| | 03:13 | and one thing that's important in regards the skin is to
reduce and simplify. We want to reduce the texture and wrinkles
| | 03:19 | and blemishes. We don't necessarily want
to smooth everything out so it looks fake,
| | 03:24 | but we want to reduce things a little bit so looks a lot better.
In regards to hair we want to look for fly aways, for gaps
| | 03:30 | in the hair, work on hair color. Eyes. We want to the work
on the whites in the eyes, the brightness of the eye,
| | 03:36 | the color of the eye, the sharpness the eyes. You know eyes
are incredibly important. That's one of the first things that
| | 03:42 | people look at in a photograph. So we want our eyes to look
really good. Our lips. We want to think about the shape of the lips,
| | 03:48 | makeup lines, teeth. We want to go for subtle lightening.
There's nothing worse than someone looking at your image
| | 03:51 | and saying, "Wow, that person has white teeth."
That kind of defeats the whole purpose.
| | 03:54 | So we want to keep our our teeth whitening subtle and simple,
but we want to brighten and whiten those teeth.
| | 03:59 | Our eyelashes. We want to burn down some of the detail. Increase
a little bit of the density of our of our eyelashes. Eyebrows.
| | 04:05 | We'll probably need to reshape them a little bit, work with
fly aways on there and my hope is that this overview of a
| | 04:11 | retouching workflow and that these tips will guide your retouching
process and ultimately lead you to creating better photographs.
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| Retouching roadmap: Making notes| 00:00 | Before you actually begin to retouch your images, it's a
good idea to create a strategy, to create some notes on the
| | 00:06 | image that will guide your retouching. Now there's two reasons
why you'd want to do this. One is it's nice to have some notes
| | 00:12 | that guide what you actually do and two, it helps you to
evaluate the image before you actually begin to work on the image
| | 00:18 | and I found this to be a critical step.
| | 00:20 | What I want to do in this movie is go through a few images
and show you how I would draw on these images in order to make
| | 00:27 | notes for myself so that I can complete the retouching. I'll
show a couple of different techniques here. I also want to do
| | 00:34 | this so it can help you begin to think about evaluating
images and you can see how I may evaluate images;
| | 00:40 | what I'm going to focus on an order to retouch.
| | 00:43 | Alright well, in order to create some notes on this particular image,
I'll create a new layer by clicking on the New Layer icon and then
| | 00:50 | naming this layer road map.
| | 00:54 | Next, I'll select the Brush tool by pressing the good old B key.
| | 00:58 | Now I'll choose a color from my color picker and I'll choose
a nice bright color and click OK. Then I'm going to draw on
| | 01:04 | this image here and one of things that I want to do is
thin out in this area over here. So I'll draw some lines there.
| | 01:10 | I'd like to flatten out the stomach just a little bit.
Next I think it would be nice to make the legs, the lower portion
| | 01:16 | of the body a little bit longer. So I'll draw some sketch notes
here to say that I want to lengthen that and then finally
| | 01:23 | I'll go up to the face here. I notice I have some nice
back side lighting there. I'd like to accentuate that,
| | 01:29 | bring a little bit more light into that area and work with that
that I already have. Now I've already retouched this image
| | 01:36 | and we'll actually be doing this later. So let's take a look
at the final image. So here's the final image. Now you can see
| | 01:41 | how those things came into play. With those notes I made
those adjustments. Here's the before and then here's the after.
| | 01:48 | Alright. Let's take a look at yet another image. This next
image is a fashion shot. In this case, rather than drawing
| | 01:56 | on the image, I've added some sticky notes.
| | 01:58 | I'll show those sticky notes by pressing
Command+H on a Mac, Control+H on a PC.
| | 02:06 | Now we can see those little sticky notes. I can also choose
from the toolbox over here the Sticky Note icon. Now when I go
| | 02:11 | to the sticky notes I can double click them and it says "smooth."
I want to smooth the skin out there. Double-click this one.
| | 02:17 | Remove the hair that we're seeing over there in
the bottom corner. Fill in color on the makeup.
| | 02:23 | Work on the color. Saturate the color of those pearls up there.
Double click that to be able to view that. To add another
| | 02:28 | sticky note, I would simply click and type away
and then to close it, click on the top left icon.
| | 02:34 | Now sticky notes I've found are nice when you're working with multiple
people and they need a little bit more description perhaps, above and
| | 02:41 | beyond the doodles on top of the image. Sometimes I'll do both,
sometimes I'll just do sticky notes. In other cases I'll
| | 02:49 | just draw on the image. Let's take a look at the after of this image.
| | 02:52 | We can see some of those sticky notes, removing some of the hair,
smoothing some of the skin out a little bit, saturating color,
| | 02:58 | filling in color in other places. Again we're seeing
how those sticky notes directed the retouching.
| | 03:05 | Alright let's look at one more image.
| | 03:07 | In this next image we have a nice fashion shot, and there's
quite a bit that I want to do in regards to cleaning up this image.
| | 03:14 | There isn't a ton in regards to enhancements, it's mostly
clean up. So I'm going to create a new layer, this time by
| | 03:20 | pressing Shift+Command+N on the Mac, Shift+Control+N on the PC,
| | 03:27 | and then with the Brush tool, press B on the keyboard,
I'm going to circle some areas that I want a work on.
| | 03:33 | So I need to remove those areas. The background color is problematic.
So I'll just put some dashes on the background to draw
| | 03:40 | my attention to those areas. Next I'm going to double click
the Zoom tool. What that will do is take this image to 100% and
| | 03:46 | then with the spacebar I'll move around the image. Now that
I'm zoomed in this far I can see that I have a number of
| | 03:53 | other problem areas that I need to work on.
There's piece of dust on this particular slide
| | 03:57 | I need to work on. Some background problems there.
| | 04:01 | Change my brush size by pressing the left bracket key.
| | 04:06 | I need to work on a bunch of areas
in the skin. Remove that zipper there.
| | 04:11 | Remove this tag.
| | 04:13 | Down on the hand there's so little
bit of texture I'd like to work on.
| | 04:18 | And some problems in the background.
| | 04:22 | And now I continue going through the image, making notes.
| | 04:25 | Command + minus to zoom out a little that so we can see
what we have here so far. OK so far, so good. Again, this is
| | 04:32 | on a separate layer, so I can turn it on and off to see the
before and after. Now let's see what the retouching looks like.
| | 04:38 | When we turn on the retouching layer and zoom into 100%,
we can see that those were the targeted areas.
| | 04:43 | Let me turn off my circles here and look at our before and after,
and you can see how the circled areas helped direct or
| | 04:51 | guide that particular retouching. Again I'll
turn them on and we can see our before and after.
| | 04:57 | There's even a little bit more that I didn't
circle, which is important in regards to retouching.
| | 05:02 | Yet my intent here is to help you to begin to think about
how you want to focus in on problem areas. Write some notes on
| | 05:08 | your images before you begin so that that will guide your retouching.
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|
|
2. Correcting Color and ToneWhat we'll cover in this chapter| 00:00 | In this chapter we'll be covering how to color correct our images
inside of Photoshop. Now because this topic is a little bit abstract,
| | 00:07 | I thought it would be helpful to provide an overview movie so
that you can get an idea of where we're going in this chapter.
| | 00:13 | I also thought this would be helpful so that you
can prioritize what movies will be most valuable to you.
| | 00:19 | Alright well we're going to start off by looking at white balancing
in Adobe Camera RAW.
| | 00:23 | Next we're going to look at how we can white balance
with curves inside of Photoshop. Then we're going to jump to
| | 00:30 | the topic of how to we brighten tones that are too dark.
| | 00:33 | And on the other hand we're look how do we darken tones that are too bright.
| | 00:37 | And then we are to get to this interesting topic of how do
we improve skin in particular. We're looking how we can
| | 00:44 | reduce to red in skin tones to make it more even, more appealing, more
compelling and we'll start off with an image that really needs a lot of work.
| | 00:53 | Next we're going to work on an image
where our edits can be much more subtle
| | 00:57 | and then finally we're going to wrap up our work with red skin
tones with an image that's right about in the middle of the road.
| | 01:02 | After we've covered all of those topics were to get to this
interesting subject of how do we color correct skin by the numbers.
| | 01:10 | We're going to look how we color correct light skin tones,
medium skin tones, medium dark skin tones and then finally,
| | 01:16 | we're going to wrap up this chapter with
how to we color correct dark skin tones.
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| White balancing in Adobe Camera Raw| 00:00 | Hey, welcome to the chapter on color and tone. You know we need
to get our color and tone correct first before we can actually
| | 00:07 | begin to retouch our images. In this chapter we're going to
start simple, really simple and get more complex and more complex
| | 00:14 | with color and tone. The first photograph
we'll be working on is titled Sophia.jpg.
| | 00:19 | You can find that in the Chapter 2 folder,
color and tone, and then the subfolder tone.
| | 00:25 | Go and select that in the Bridge and on the Mac press
Command+R, on the PC press Control+R, to open up this JPEG.
| | 00:32 | Yes, a JPEG, inside of Adobe Camera RAW. Now this movie's going
to be quick simply because color correction in Camera RAW is easy.
| | 00:40 | I love it. First thing we need to do is select the Light
Balance tool and we can do that either by clicking on the tool
| | 00:46 | in the toolbox or pressing the I key. So go
and select that. Now when you're using this tool,
| | 00:51 | you don't want click on something that's pure white.
For example, this white over here won't work.
| | 00:55 | That white is actually a highlight that's blown out.
So that won't work for me. I'm looking for something that's
| | 01:00 | just above pure white. Something that can be gray, even middle
gray or even darker for that matter. Something that should
| | 01:06 | be neutral in the image. Now in this case, I know that that is
my daughter Sophia. I know that her shirt there should be white.
| | 01:13 | So I'm going to click on that sleeve there and that's going
to be a great color correction. That image looks really nice
| | 01:19 | and now that particular color is is neutral. I know it's
neutral because I can look at these RGB values over here in
| | 01:25 | the top of the Adobe Camera RAW dialogue and if I see that all
three of those numbers are pretty close to equal, which they are
| | 01:31 | as I hover around here, that's definitely neutral. Alright well
that wraps up our look at color correction with Adobe Camera RAW.
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| White balancing with Curves| 00:00 | In this movie, we will be working on dylan.jpg and
we will be using Curves to color-correct this image.
| | 00:06 | Go and double click that file to open it up in Photoshop.
| | 00:09 | Press F two times to take it to Full Screen View mode.
| | 00:13 | Then press your spacebar to reposition
the image near the top part of the screen.
| | 00:17 | This will help us have good posture.
| | 00:19 | So we are looking up and we are not looking down.
| | 00:21 | We are going to color-correct this image with
Curves and Curves as an adjustment layer.
| | 00:26 | So go ahead and go over to the Layers palette
and click on the Adjustment Layer icon
| | 00:30 | and choose good old friendly neighborhood, Curves.
| | 00:33 | This will open up the Curves dialogue window.
| | 00:35 | Now we want to reposition that dialogue
window so we can see our image.
| | 00:38 | Now here's something that's really cool.
| | 00:40 | We actually have access to the Hand
tool by pressing the spacebar key.
| | 00:45 | That way, we can move the image over to the left
so we can see the important part of the image,
| | 00:48 | which is the face and then color-correct it appropriately.
| | 00:52 | Now with this particular image, we
are going to be color-correcting
| | 00:55 | with the gray-point eyedropper or the midtone eyedropper.
| | 00:59 | So we are going to go ahead and select that in the Curves
dialogue window and then click on something that we think is
| | 01:04 | about middle grey and I think this
T-shirt is pretty close to that.
| | 01:07 | So I'm going to go ahead and click on
that, that is a wonderful color adjustment.
| | 01:11 | Warm the image up, made that tone neutral on the shirt,
took away that blue color cast, absolutely love that.
| | 01:17 | I'm going to expand my Curve Display Options here because by
default, very often you'll have Channel Overlays turned on.
| | 01:24 | Now that's really helpful because you can see how it's
color-corrected the red, the green and the blue channel.
| | 01:29 | In my case, I want that checked off because I want to focus
in on the RGB color channel and mine was already checked off
| | 01:36 | because I had done that previously but if your's is checked
on, go ahead and click that off because it will help us work
| | 01:41 | on the rest of the image which has
to do with its color and its tone.
| | 01:45 | All that I want to do here in the RGB composite
view mode is brighten the image a tad bit,
| | 01:51 | darken my shadows, good old S curve and then click OK.
| | 01:56 | Now that I've clicked OK, I'm going to click
on the eye icon to show my before and after,
| | 02:02 | press the spacebar key to reposition this image.
| | 02:05 | Here's my before and after.
| | 02:07 | Now one quick word of caution; when you're
color-correcting something that's cool,
| | 02:12 | the image is going to look like it is going warm.
| | 02:14 | It is actually going neutral, it is going a
little warm but it looks like it is going too warm
| | 02:18 | because in juxtaposition to the coolness, it is quite a leap.
| | 02:22 | So look away from your monitor, look back
to determine if the image looks good.
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| Brightening dark tones| 00:00 | In this movie, we will be working on the file bailey.tif.
| | 00:03 | Go ahead and select that and double
click it to open it in Photoshop.
| | 00:07 | After go to Full Screen View mode, what I want to
do in this movie is even out the tone a little bit.
| | 00:12 | Although, I like the shadow on this side of the
face, I want to brighten that up a little bit.
| | 00:15 | Before I do any retouching, we need to get the two halves
of the face to equal so that the tone looks really nice.
| | 00:21 | I will press Command++ here on the Mac, Ctrl++
on a PC to zoom in and I press the spacebar
| | 00:26 | to reposition the image and I'm zoom down the face.
| | 00:29 | I will go down to the Adjustment Layer icon.
| | 00:31 | I will click on that and choose good old friendly
neighborhood, Curves and then click in the middle
| | 00:37 | of this Curves dialogue window and drag up and what I'm
looking to do is just brighten up that side of the face.
| | 00:42 | Now I've realized that I'm brightening the rest of
the image and I'm brightening it too far, that's OK.
| | 00:47 | we are going to use masking to correct that later.
| | 00:49 | I'm going to brighten this up quite a bit, click OK.
| | 00:53 | Now that I've done that I want to invert my mask and I'm going
to invert this mask by pressing Command+I or Ctrl+I on a PC.
| | 01:01 | that's a great shortcut by the way because
what it does, it allows you to invert the mask,
| | 01:05 | what was revealed in the curves adjustment layer is now black.
| | 01:08 | it is now concealing that adjustment layer.
| | 01:11 | Next step, select the Brush tool.
| | 01:13 | Press the B on your keyboard and change your brush size.
| | 01:17 | Number of different ways to do this, my favorite
way to do this is with the bracket keys,
| | 01:22 | I will press left bracket here to make the brush size smaller.
| | 01:25 | Another one of my favorite ways to do this so you can
have two favorites is to right click or Ctrl+click
| | 01:32 | and you can change the diameter of
the brush or choose a new brush.
| | 01:35 | I also want a really soft brush, so I take the hardness
down then click Off to remove that dialogue window.
| | 01:41 | What I'm going to do here is simply brighten up the face
and yes, I know it is too strong but I want to do this
| | 01:48 | at this intensity level to kind of see what I've to work
with and then in my Layers palette, I will lower the Opacity.
| | 01:54 | To dial that in, heres my before and after.
| | 01:58 | Now that I see Id say that looks pretty good, except Id like
to create a little bit more transition in this face area.
| | 02:04 | So I'm going to paint with black.
| | 02:06 | So I'm going to choose Black in my color
pick and I can do that by pressing the x key.
| | 02:11 | That will flip the white and the black.
| | 02:13 | Now that I've black, I will lower my opacity a little bit for
the brush and I'm just going to paint that seem down a little bit
| | 02:19 | and paint in there just a tad bit and
let's look at our before and after.
| | 02:26 | That looks very nice, make sure we've just cleaned
up our edges there and that looks really good.
| | 02:31 | Double click the Zoom tool to take the image
to 100% and look at our before and after.
| | 02:36 | It looks like the opacity of that layer
needs to come down just a little bit more.
| | 02:40 | I don't need it to be exactly even; I just want to diminish
the intensity of that shadow in order to begin to retouch it.
| | 02:48 | So, although, we are working on a very specific image,
this concept, this technique is incredibly important.
| | 02:55 | I will use this all the time and that is using curves to
modify the tone in a specific area and then mask off the rest
| | 03:02 | of the image so that I can get good color
and tone before I begin my retouching.
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| Darkening bright tones| 00:00 | In the previous movie, we looked at working on an image
where we wanted to brighten some tones that were too dark.
| | 00:06 | In this image we're going do the opposite. We're going to
darken some tones that are too bright, and we going to learn some
| | 00:13 | valuable shortcuts along the way. Go ahead and open
up the file orwig.TIF by double clicking it in the Bridge.
| | 00:19 | Press F to go to Full Screen view mode. Quick side note, this
image was captured by one of my former students, Beau Roulette.
| | 00:25 | This guy's an amazing photographer and it was really fun to see
how he works. And this image is captured at 12 noon. He has a way
| | 00:32 | of coming up with these really interesting colors and tones.
Now let's go ahead and zoom in on the image. There are a
| | 00:39 | number of different ways to do that in Photoshop. One way,
on a Mac is Command + plus, on a PC that's Control + plus
| | 00:45 | Now that's a shortcut you may know by how about this one?
If you have a three button mouse, on a Mac hold down the Option key-
| | 00:52 | on a PC, that's the Alt key- and then use your scroll wheel
to zoom in and out. How cool is that? So zoom in either way
| | 01:01 | and then press the spacebar to access the Hand tool and
reposition the image. Now you know what we're going to do here.
| | 01:07 | We're going to use Curves to darken the ear and the hair there
a little bit. It's going to be a subtle improvement in the image.
| | 01:15 | Subtle, yet significant, because I want to darken this a little
bit so the images isn't so much about the ear. Now, that's not a
| | 01:21 | bad ear. It's fine ear, but I want to darken it up a
little bit. So go ahead and click on the Adjustment layer icon and
| | 01:27 | choose the good old Curves.
| | 01:29 | Now I want to reposition this Curves dialog window so that
I can see this portion of the subject, in this case good old me,
| | 01:36 | and then I'm going to drag my midtone point down there to darken
that quite a bit. I'm looking at the hair and the ear there.
| | 01:44 | Now I know that's way too intense, but I'm not worried
about that because I'm going to be using masking and
| | 01:51 | layer opacity to bring that back and make it look good.
| | 01:55 | A lot of times what I'm doing when I'm using Curves or any
other adjustment for that matter is I'm going a little hard,
| | 02:00 | going a little heavy, because it helps me
identify my edges and make a really strong edit
| | 02:06 | that I can then back off with masking and opacity.
| | 02:09 | Alright well, that looks pretty good.
| | 02:10 | Go and click OK to apply that Curves adjustment.
| | 02:13 | Now we need to invert our mask.
| | 02:16 | On a Mac that's Command+I. On a PC that's
Control+I. The mask is now inverted.
| | 02:23 | Let's zoom in a little bit more. Command+plus to zoom in
| | 02:26 | or use one of your other shortcuts.
| | 02:28 | Next select the Brush tool. Press the B key. Now that I have the
Brush tool I want to dial in my opacity. A couple a ways to do this.
| | 02:37 | One as I can click on the Opacity slider in the Options
bar or check this out. With the brush tool selected,
| | 02:44 | I can press to the 4 key. it takes it to 40%. The 5 key to 50%
Zero is 100. So I'm going to take this to about 70% here and then
| | 02:52 | start painting with a white. Currently in
my color picker, black is a foreground color
| | 02:58 | and white is the background. To invert
or flip those two colors press the X key.
| | 03:05 | That's quite a bit of short cuts but my hope is that you
can press Play or Pause or Rewind to pick up those shortcuts.
| | 03:11 | They'll be important for us as we get into more intense retouching.
Now in this case, I'm simply going to paint on the ear, zoom in
| | 03:19 | a little bit more here and make sure I can darken this up.
| | 03:23 | Quite a bit.
| | 03:25 | Maybe a little bit too much. That's fine,
| | 03:28 | Next I'm going to lower my opacity more by pressing the 3 key.
| | 03:32 | Now it's 30%.
| | 03:34 | A little bit bigger brush and I'm
looking to darken up as part of the hair
| | 03:39 | and the left bracket key makes my brush a little bit smaller.
| | 03:45 | Press the X key. That flips from black to white, so I can
fix that up if any of my edges aren't good. Let's look at our
| | 03:52 | before-and-after to see how we're doing. So far, so good.
My neck down here, I think that's a little bit too dark.
| | 03:59 | So I'm going to select black in my color picker.
| | 04:01 | Take my opacity up perhaps to 60% there and then just paint
that back a little bit. Fine to have a little bit of darkness,
| | 04:08 | but that was quite a bit.
| | 04:09 | All right.
| | 04:10 | Clicking on the eye icon shows me my before and then after.
I like that. The final thing that I want to do is lower
| | 04:17 | the opacity for this layer. So I'll do that by clicking on
the Opacity slider. Drop this down maybe somewhere in the 60s
| | 04:24 | and again, this is a subtle edit, but significant.
It makes the image a little bit less about the ear
| | 04:30 | because that ear caught a lot of the light.
A little bit more about the face.
| | 04:34 | Let's double click the Hand tool. That will take this image
to Fit In View mode, so we can see the entirety of the image.
| | 04:41 | Look at our before and after Now that maybe pretty
small on our screen, but on my screen that looks nice.
| | 04:46 | It darkened the hair a little bit, that ear just a little bit.
| | 04:49 | And although we're working on a specific image here,
what I'm more interested in is this technique, this concept.
| | 04:56 | It's incredibly important that we're able the use Curves to
adjust tone and adjust a specific area in an image and you'll
| | 05:01 | see that come up multiple times throughout this training.
So again, get over the fact that this is a specific image
| | 05:09 | and walk away from this movie with that concept and that technique.
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| Reducing dramatic red skin tones| 00:00 | I'm excited about the next few movies we have ahead of us because
in these next few movies, we are going to start to work on color
| | 00:07 | but I want you to think about color as tone
because what we can do is if we can correct-color,
| | 00:12 | we can actually even out tone in
particular tone in someones face.
| | 00:17 | In this movie, we will be working on two files and we are going
to be working on annika_and_grandpa and annika_and_grandpa_2.
| | 00:24 | Go and select both of those files and
press Command+O on a Mac or Ctrl+O on a PC.
| | 00:30 | Now once you have two files opened in
Photoshop, you can press Ctrl+Tab on a Mac
| | 00:36 | or a PC to scroll through whatever documents you have opened.
| | 00:41 | it is a great little shortcut for you or
you can go to the Window drop-down menu
| | 00:45 | and choose the particular file you want to work on.
| | 00:47 | We want to start off working on annika_and_grandpa.
| | 00:50 | So go ahead and select that.
| | 00:52 | Then, double click the Zoom tool to take it to 100%
and press the spacebar to reposition the image.
| | 00:58 | Now heres a great snapshot of my dad and my
daughter, Annika, down at the beach one day,
| | 01:03 | we were just going for a walk along
the beach, we've captured this moment.
| | 01:07 | But one of the things I'm noticing is that my dads skin is really
red; he is sunburned and you see a lot of red tones in his skin
| | 01:13 | which creates a tonality that's pretty uneven.
| | 01:16 | we are going to make some corrections on both of these images.
| | 01:19 | Initially, we are going to start off with kind of simple
and then we will make things a little bit more complex.
| | 01:23 | Alright, well let's start simple with this image.
| | 01:25 | we will go ahead and click on the Adjustment Layer icon in
our Layers palette and choose Hue/Saturation, interesting.
| | 01:32 | Why Hue/Saturation?
| | 01:33 | Well, what we can do here is we can go to a specific channel.
| | 01:36 | In this case, I'm going to go to the Reds.
| | 01:39 | Now that I'm in the Reds, I can then modify the Hue, this
isnt going to look you, I warn you and I've made my dad blue.
| | 01:47 | He looks like an Oompa-Loompa, right?
| | 01:49 | Yet I'm looking at this or I'm doing this to see that I
can really target his skin, great, take that back to zero.
| | 01:56 | Next, I'm going to desaturate a little
bit so I point some of those reds out.
| | 02:00 | Then I'm going to warm this up a little bit by increasing
my Hue just a tad bit to the right and click OK.
| | 02:06 | let's look at our before and after.
| | 02:08 | Now here is our before and there is
our after, a much, much stronger image.
| | 02:14 | Now this technique works with a lot of different
types of skin variation and skin problems.
| | 02:20 | let's take this to the next level and
let's do that on the following image.
| | 02:24 | Go ahead and navigate to the Window drop-down
menu and choose annika_and_grandpa_2.
| | 02:29 | Alright, double click the Zoom tool, take it to
100% and you can see we have a similar problem here,
| | 02:35 | too much red in the face, how do we fix that?
| | 02:38 | Click on the Adjustment Layer icon for Hue/Saturation.
| | 02:42 | Now this one is a little bit of a smaller image but
it is nice because we can see more of the image,
| | 02:47 | I've intentionally created it smaller
so I can see whats happening here.
| | 02:51 | Click on the Red channel so going to the Reds and
let's modify the Hue to see what reds we have selected.
| | 02:57 | OK, well that looks pretty funny but it is actually incredibly
helpful, because what I can do here is select the eyedropper
| | 03:03 | with the - sign, subtract from my sample point.
| | 03:07 | I'm going to use that and watch this area down
here as I click on the skin of my daughter, Annika.
| | 03:13 | you will notice that it brought these
two mid-points closer together;
| | 03:17 | I will click on more for skin and
more for skin and more for skin.
| | 03:20 | I'm going to go through this image until I've
removed the color shift from a large part of Annika.
| | 03:29 | You can see that it is narrowing what red it is
actually working on and we can narrow that even further.
| | 03:35 | What I want to do here is bring these two together so that I see
| | 03:37 | that I'm still affecting my dad and
not other portions of the image.
| | 03:41 | Then I'm going to bring in the side ones here.
| | 03:44 | What that's going to do is reduce the
transition area from that color to other colors.
| | 03:49 | Now it looks like I need to increase that just a little bit.
| | 03:52 | So I've a much more focused adjustment,
it is not affecting Annika as much.
| | 03:57 | It is still affecting her which we can
fix later but it is much more focused.
| | 04:01 | Now that I've that I will go ahead
and bring my Hue slider back to zero.
| | 04:06 | Next, desaturate, you know where we are going with this, right?
| | 04:09 | Warm this up a little bit, that looks pretty good.
| | 04:13 | Click OK to apply that.
| | 04:15 | Now let's click the eye icon in the Layers
palette to see our before and after.
| | 04:19 | that's a subtle yet very important adjustment.
| | 04:23 | Now, if I notice that there are other areas of my image
| | 04:26 | that this adjustment layer is affecting,
I would then want to mask those off.
| | 04:30 | One easy way to do this would be to press Command+I on a
Mac, Ctrl+I on a PC, press the B key or select the Brush tool
| | 04:38 | in your toolbox and then paint with white so that
we can just paint in the adjustment to those areas,
| | 04:46 | I'm going to bring my Opacity all the way up to 100% there,
so I can bring those reds down a little bit on his arm,
| | 04:52 | there it would be nice, on his neck and there
we have our before and after and we've evened
| | 04:58 | out the tonality of the skin, the image looks much better.
| | 05:02 | Yet, the only problem is, is that
this image is a little bit neutral.
| | 05:05 | It was shot about at the middle of the day so
we have some pretty harsh lighting situation.
| | 05:10 | Yet it is a nice moment.
| | 05:11 | it is a nice moment between my daughter
and my dad so I want to warm this up.
| | 05:15 | Heres where the subjectivity comes into play.
| | 05:17 | let's click on the curves adjustment layer icon and then
select Curves and we are going to go to two channels here.
| | 05:23 | I'm going to minimize my Curve Display
Options, I don't need that right now.
| | 05:27 | we are going to go to our Red channel; we
are going to increase the reds a tad bit.
| | 05:31 | we are going to go then to the blue-yellow channel, bring in
some yellow so just click and drag that down and then click OK.
| | 05:39 | Now let's look at our before and
after, this final curves adjustment.
| | 05:43 | What it did is it warmed that image;
it made it a little bit more inviting.
| | 05:48 | Now how do I made this image a little bit
more inviting and I shifted that color tone
| | 05:52 | without my Hue/Saturation adjustment
layer, I would have been in trouble.
| | 05:55 | let's take a look at that; without that
adjustment layer, the face just becomes too red.
| | 06:00 | Now with that adjustment layer, it looks much better
and I will click in that adjustment layer and if I find
| | 06:06 | that that adjustment was too intense,
I'm of course going to lower my opacity.
| | 06:10 | If it wasnt enough, I'm simply going to double click
the icon for the Adjustment Layer go back to those reds,
| | 06:16 | perhaps pull even more of those reds out, few more
there, click OK in order to correct it even further.
| | 06:23 | Alright, well I think that image is in good shape and keep in
mind that this is an incredibly valuable technique in all kinds
| | 06:29 | of situations, especially when you have skin that has variation
and we are going to look at this in a few other movies.
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| Reducing subtle red skin tones| 00:00 | In the previous movie, we looked at correcting
Color and Tone and Skin on a couple of images
| | 00:05 | that really needed it and the results were really dramatic.
| | 00:09 | Yet what about those images where
things are a little bit more subtle.
| | 00:12 | Well that's what we are going to
work on in this particular movie.
| | 00:15 | Open up the file Daniel.psd.
| | 00:18 | Once that's opened in Photoshop, press
F to go to Full Screen View mode.
| | 00:23 | Now this is a photograph that was captured by one of my students
in one of his early classes at Brooks and it is a nice image
| | 00:28 | and I had him given a demo on working
on this image in Photoshop class.
| | 00:32 | I also asked him if we could use this in our training
and I think that this image will work out well for us
| | 00:37 | because the need for the improvement here is very subtle.
| | 00:41 | let's go ahead and double click the Zoom tool.
| | 00:43 | That will take this image to 100% so that
we can see the image in its entirety.
| | 00:47 | You really focus in on the face.
| | 00:49 | Now you will notice in the Layers palette, there is a group
there you can turn that on to see how he is retouched this image
| | 00:55 | and if we zoom in even further heres our
Before and After basically clean up the image.
| | 01:00 | Now that looks really nice.
| | 01:02 | One of the things that I'm noticing
is the skin is a little bit uneven.
| | 01:05 | Here we see the reds underneath the eye,
little bit of red patchiness in the skin.
| | 01:09 | Well how do we fix that?
| | 01:11 | We use Hue/Saturation.
| | 01:12 | we will click on the Adjustment Layer icon
and choose Hue/Saturation, go with the Reds.
| | 01:18 | Now when I modify my Hue slider for my Reds I'm going
to notice that it is affecting the entire image.
| | 01:23 | All of his skin is turning green.
| | 01:26 | Well how do I focus in on the specific
tones that I want to work on?
| | 01:29 | Well we can try our Eye Dropper tool and click around the
image and see, well don't work on these tones and we can see
| | 01:35 | that it is a little bit less of an adjustment.
| | 01:37 | We can also try sampling the area that we want to work on.
| | 01:41 | Yet one of the things we are noticing
is this isnt quite working for us.
| | 01:44 | This doesnt cut it.
| | 01:46 | So let's press the Option or the Alt Key and choose
Reset, that will reset our Hue/Saturation adjustments.
| | 01:54 | Again that was the Option key on the Mac, the
Alt key on the PC that changes Cancel to Reset.
| | 02:00 | I move that over a little bit so you can see that.
| | 02:03 | Next, let's go back to the Reds.
| | 02:04 | Now modify the Hue, this will help us define what we are working
on and let's just try manually to bring in these two points
| | 02:11 | and also to bring in our outside sliders here.
| | 02:15 | What this does is it changes the transition from the actual
color we are working on to other colors and what we should start
| | 02:22 | to see is that we can really focus
in on specific areas of our image.
| | 02:26 | let's modify our Hue slider and one thing
that youre seeing is that I'm modifying,
| | 02:30 | in this case making it worse these
areas that I think are problematic.
| | 02:34 | Now, if the reach of those areas arent good enough.
| | 02:37 | I'm going to go ahead and expand them a little bit further.
| | 02:40 | You can see that it is going to reach out a
little bit further here and then even more there
| | 02:44 | that one I need to be really careful of those areas.
| | 02:47 | OK so the image doesnt look good.
| | 02:49 | But I will take my Hue back to 0.
| | 02:51 | I now know what are the areas I'm working on.
| | 02:53 | I need to Desaturate just a tad.
| | 02:56 | I'm going to warm those areas up a little bit.
| | 02:57 | I happened to know if I increased the Hue slider
just a tad bit; it will warm those areas up.
| | 03:03 | let's look at our Preview.
| | 03:03 | Heres our Before and After.
| | 03:06 | it is evening out the skin tone.
| | 03:07 | let's click OK.
| | 03:09 | Now of course there are areas that it doesnt look
good, the lips in particular actually it helped
| | 03:14 | out with those red veins in the eyes, that's nice.
| | 03:17 | The red on the ears if you look at the Before
and After heres our Before heres our After.
| | 03:23 | Areas I'm paying attention to are the eyes,
the ears, the nose, the skin, looks great.
| | 03:30 | Click on the Mask and select the Brush tool.
| | 03:33 | Now I choose black for my color picker and I'm going to invert
those two colors by clicking on this arrow which will allow me
| | 03:40 | to switch my foreground and background colors and next paint
was black on the lips that I want to bring that color back
| | 03:47 | and then click the Eye on this Adjustment
layer to look at my Before and After to see
| | 03:51 | if any other areas need help and I
would say no, that looks really good.
| | 03:56 | Now that adjustment is incredibly subtle but what
it will actually do is make his skin look smoother
| | 04:02 | and it will make the image much stronger.
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| Reducing moderate red skin tones| 00:00 | In the previous movies, we've worked on a few
images that were on both sides of the spectrum;
| | 00:05 | one was really dramatic, one was very subtle.
| | 00:08 | In this movie, we are going to work on color and tone with
an image that's right smack in the middle of the road.
| | 00:13 | it is called corwig_portrait.psd.
| | 00:16 | Go ahead and open that one up inside the Photoshop, press F to
go to full screen view mode and Command++ a few times on a Mac,
| | 00:23 | Ctrl++ a few times on a PC in order to zoom
in, press the spacebar to reposition the image.
| | 00:30 | Here we have a portrait of myself.
| | 00:31 | I want sort of master retouch where you say Chris,
| | 00:34 | you need to have retouched some images of
yourself because it humanizes retouching.
| | 00:38 | It helps keep you ground and it gives
you pretty interesting perspective.
| | 00:42 | Alright, so here we have this photograph of
myself and one of the things I'm noticing is
| | 00:45 | that I've this tonal variety in my skin and I want to fix that.
| | 00:49 | So I'm going to go ahead and click on the
adjustment layer icon and choose Hue/Saturation.
| | 00:53 | You know where we are going, right?
| | 00:55 | we will go to our red channel and when I go to my Reds and modify
the Hue, one of the things I notice is that I look very funny
| | 01:02 | but I also notice that I'm grabbing a lot of the skin.
| | 01:05 | Well, let's grab the - eyedropper and see what happens.
| | 01:08 | OK, well I can minus out some of these but I'm kind of noticing
| | 01:11 | that there is a large part of my
skin that has a lot of red in it.
| | 01:14 | So I will go ahead and hold down the Option key
on a Mac, the Alt key on a PC and click Reset.
| | 01:20 | Now rather than target specific reds because I see that
there's red kind of throughout my face, I'm going to go ahead
| | 01:27 | and choose Reds and just pull the reds out
in general and warm those up a little bit.
| | 01:31 | Stage one is just going to be to try to get
things in a little bit better place, click OK.
| | 01:35 | let's look at our before and after.
| | 01:37 | OK, well already that's a good improvement.
| | 01:39 | Now I notice that the reddest areas are in this portion
of my face the nose, the cheek and going here on the chin.
| | 01:46 | So I need to create another Hue/Saturation adjustment layer
and in this case I'm going to go to my Reds and I'm going
| | 01:52 | to with my eyedropper tool really target those reds, drag my Hue
way over and then bring these two points together and I'm looking
| | 02:00 | to really target those specific areas that are most problematic.
| | 02:06 | So let me dial this in here.
| | 02:07 | I think we have a pretty good selection of those areas, bring
the Hue back down and now let's warm that up just a couple
| | 02:16 | of points, saturation of the reds down just a tad bit.
| | 02:20 | You don't necessarily need to remove those altogether
but we are looking to try to even things out quite a bit.
| | 02:26 | Click OK. Now, let's look at our before and after.
| | 02:29 | Here is our before and after subtle yet,
significantly takes down the reds on those areas.
| | 02:35 | Again, if it isnt strong enough, double click the
icon for the adjustment layer and go to your reds.
| | 02:40 | let's pull some more of those out,
little bit more color there, click OK.
| | 02:45 | Now the next thing that I want to do is apply
an adjustment over the entirety of the image.
| | 02:49 | Now that the skin is nice and even, I'm going to create one final
curves adjustment layer by clicking on the adjustment layer icon,
| | 02:56 | choosing good old curves and then
here I'm going to go to my reds.
| | 02:59 | I'm actually going to add some red to the entirety
of the image and it go to my blue-yellow channel
| | 03:05 | and add a little bit of yellow as well, click OK.
| | 03:09 | it is pretty subtle yet, significant
again, just connecting everything,
| | 03:14 | bringing a little bit of the color
back so it is not completely neutral.
| | 03:18 | Then to see our before and after, we can turn these
layers on and off, here is our before and then our after.
| | 03:27 | Well done.
| | Collapse this transcript |
| Color-correcting skin by the numbers| 00:00 | Well, I am incredibly excited about the next couple of movies
because in the next couple of movies we're going to learn how
| | 00:06 | to color-correct skin tone. Now color-correcting the skin is
incredibly important especially with digital capture. And here's why.
| | 00:13 | The red channel is the channel that's most sensitive to light and
that's a channel where a lot of the skin information is contained.
| | 00:21 | So we need to figure out a way to color-correct our
images so that skin looks good. In the next few movies,
| | 00:28 | we will work on a number of different types of skin tone and
it is going to get a little bit complicated. So I provide a few
| | 00:33 | resource files for you. I should also say that I've covered this content
in another one of my training titles, Photoshop for Photographers.
| | 00:40 | So if you've watched those movies, feel free to skip ahead.
| | 00:43 | If you haven't, I definitely recommend that you check these out
because this will be incredibly important. Now the first resource file
| | 00:49 | that I want to point out is this one, skin tone by
the numbers. This has a step-by-step account of how to
| | 00:55 | color-correct skin by the numbers and I'm hoping that that will
act as a guide for you as you begin to work on your own images.
| | 01:01 | The other resource file I have for you is called numbers.psd.
I'm going to open that file up so we can begin to think about
| | 01:08 | how color-correction works for skin tones. Well what
you do when you're color-correcting for skin tones
| | 01:14 | is you set a sample point and in your Info
palette you set it to read the CMYK values
| | 01:20 | and those CMYK values are incredibly important for us. The cyan
is going to be about a third to a fifth of the magenta and yellow
| | 01:28 | and if you are like me, you're thinking, Oh no. Math. Well
the math is actually really simple. Stick with me for a second.
| | 01:35 | So cyan is a third to a fifth, magenta and yellow,
those guys are pretty close, yellow is always higher.
| | 01:40 | Alright, well practically what does that look like? I'm going to
turn on this top group here and you're going to see some sample numbers.
| | 01:45 | Now all images won't have these numbers
but they will have this number relationship.
| | 01:50 | So let's take a look at the example.
| | 01:51 | Cyan is 10, magenta and yellow, those two guys are close,
yellow is a little bit higher, perfect. Now my cyan, we said,
| | 01:58 | was a third to a fifth of the magenta and yellow.
| | 02:02 | So what that means for me as I multiply
cyan by 3, that equals 30, I multiply
| | 02:07 | my cyan by 5, that's 50. So if my magenta
and yellow are between 30 and 50,
| | 02:13 | I'm in good shape. I have color-correct skin tone.
| | 02:16 | Now, these numbers may vary as I mentioned. The cyan
can vary between a third to a fifth that can even go as
| | 02:22 | high as a half sometimes. Also the overall numbers
will increase or decrease based on the density of the skin.
| | 02:29 | So if I have skin that has much denser tones in it
then those numbers are all going to be much higher.
| | 02:34 | Alright, well let's take a look at how that
actually works and we will do that in the next movie.
| | Collapse this transcript |
| Color-correcting light skin tones| 00:00 | In this movie, I first want to open up our
resource file and then I will actually want
| | 00:05 | to apply what we are going do to the image robyn.psd.
| | 00:07 | let's open up the resource file inside
the Photoshop, press Command++ to zoom in.
| | 00:12 | For starting it says, we need to find a diffused highlight.
| | 00:15 | Now we are going to set that point, we are going
to look at the numbers in the Info palette.
| | 00:18 | We are going to evaluate the numbers
and then finally make adjustments.
| | 00:23 | So by way of an overview that's our approach here.
| | 00:26 | Find the highlight, add the point, evaluate some
numbers and then modify those numbers with curves.
| | 00:32 | My hope in pointing this out is just to let you know you
have a reference file because it gets a little bit tricky
| | 00:37 | when you actually start to work on this on your own images.
| | 00:40 | Alright, well let's close this file, Command+W on the Mac,
Ctrl+W on the PC and go back to the bridge and open up robyn.psd.
| | 00:48 | Press F to go to full-screen view mode and
reposition the image to the top part of the screen.
| | 00:54 | You can do that by pressing the spacebar to
access the hand tool and reposition the image.
| | 01:00 | Alright, while you notice I've already set an
eyedropper point for us there in the image.
| | 01:05 | If we want to set more points, what we
do is we grab the eyedropper and we hold
| | 01:08 | down the Shift key and we click on the image.
| | 01:11 | So, here I've another point on the forehead and I'm looking to
set these points next to my diffused highlight not right on that.
| | 01:19 | These highlights are pretty low key so that is
going to work but if the highlight is really bright,
| | 01:22 | it won't work because itll have too much white
in it, too much brightness, not enough skin.
| | 01:27 | Also, we want to stay away from the cheeks because
we can see we have some blush, there is some makeup.
| | 01:31 | So that won't work.
| | 01:33 | Now once we have set our points, we are going to go
over here to the Info palette and in the Info palette;
| | 01:37 | we are going to set these eyedroppers to read CMYK numbers.
| | 01:41 | We can change them by clicking on the
eyedropper and choosing CMYK Color.
| | 01:46 | So now both of my eyedroppers are reading the CMYK Color.
| | 01:49 | Now they are also both a little bit different that's OK because
skin has a little bit of variation and I'm going to look
| | 01:55 | at both numbers and see how they both work together.
| | 01:58 | Another important thing in regards to
the eyedropper is your Sample Size.
| | 02:03 | Currently, my sample size is 5 by 5 Average.
| | 02:06 | Watch as I take this to Point Sample.
| | 02:09 | Look what happens to my numbers,
they change pretty significantly.
| | 02:12 | So what I want to do is have something in
it that's at least 5 by 5 average or higher.
| | 02:17 | Why is that?
| | 02:18 | Well, let me zoom in on the image for a moment.
| | 02:20 | When I zoom in on the skin, let's
go to the area with some variation.
| | 02:24 | Point sample is the sample of the actual pixel.
| | 02:27 | 5 by 5 would say let's take a 5 by 5 grid,
let's look at that color, average that out
| | 02:33 | and then give the numbers based on that average.
| | 02:36 | In this case I'm averaging by 11 by 11 which gives me
a pretty accurate representation of the color there.
| | 02:43 | Alright, double click the Zoom tool to take it
back to 100%, spacebar reposition the image.
| | 02:51 | That zoomed in a little bit too much for
me so I'm going to press Command+- just
| | 02:55 | so I can have my Curves dialogue
window open and still see the image.
| | 02:59 | I'm now ready to apply my curves adjustment.
| | 03:03 | I need to take a look at my CMYK numbers.
| | 03:05 | Whats the problem number in this case?
| | 03:07 | We are noticing that yellow is much lower,
in both cases, it is lower than magenta.
| | 03:12 | that's a problem, that number has to be higher than magenta.
| | 03:15 | So, I'm going to work on my yellow channel
or my blue-yellow channel for that matter.
| | 03:20 | My cyan is looking a little bit high as well.
| | 03:22 | So I'm going to have to target that one.
| | 03:24 | So first, I'm going go after those yellows,
next I'm going to go after the red-cyan.
| | 03:28 | Go down to the adjustment layer icon and choose Curves.
| | 03:33 | Now that Curves is open, I need to position this
in a way that I can see my image and my numbers.
| | 03:38 | Perfect. I want to go for the yellow,
which is my blue-yellow channel.
| | 03:43 | I know if I pull this up towards the blue, it becomes blue.
| | 03:46 | I pull it away from blue, it becomes the opposite color,
| | 03:50 | complementary color which is yellow
and I click and drag that point off.
| | 03:54 | Where do I need to set my point?
| | 03:56 | Well, I'm going to click in my image and when I click in my
image, it shows me that the skin tone is actually pretty bright.
| | 04:03 | If I want to sample a point in that area, on the Mac I hold
down the Command key and I click, PC that's Ctrl+click.
| | 04:10 | Now that I've that point, I can actually use my arrow keys on
my keyboard and I'm using those arrow keys and I'm pressing the
| | 04:16 | down arrow key and I'm looking to get
that yellow higher than my magenta.
| | 04:21 | Already, the image looks a ton better,
let's look at our before and after.
| | 04:26 | Heres the before, heres the after.
| | 04:29 | The image was cool; we didnt really realize it was cool but now
that we see that, we notice that yeah, definitely it was cool
| | 04:35 | and now it is much more neutral, the skin looks pretty good.
| | 04:38 | OK, the next thing that I need to work on is my red-cyan channel.
| | 04:42 | So I go to the red, I bring this towards the word Red
right there, it becomes red; away, it becomes cyan.
| | 04:48 | Click and drag that off.
| | 04:49 | Alright, let's go ahead and click on my image and then
Command+click or Ctrl+click; Command+click Mac, Ctrl+click PC.
| | 04:57 | Now that I've that point, what I need to do is I need to reduce
my cyan a little bit by adding some red because I need to be able
| | 05:03 | to say 3 by my cyan, let's say right
now, 3 by 8 is 24, 5 by 8 is 40.
| | 05:10 | I still don't have enough cyan according to that point.
| | 05:12 | What about point 2?
| | 05:14 | Well, 3 by 5 is 15, 5 by 5 is 25, it is getting close.
| | 05:18 | I will go ahead and take that up a couple more steps here.
| | 05:23 | Now as I do that I notice that I don't have enough yellow.
| | 05:27 | By adding that red, it reduced this ratio of my
yellow there so I need to go back to my yellows.
| | 05:32 | Hit the Blue channel, click on that point to target that point.
| | 05:35 | Now I'm going to increase those.
| | 05:37 | I can even just click and drag this if I want to.
| | 05:39 | Sometimes it is nice to do it a little bit more subtle by using
the arrow keys, depends on how far you need to move that point?
| | 05:46 | Alright, my numbers are getting to be in a good place.
| | 05:49 | 3 by 6 is 18.
| | 05:51 | Awesome! Yellow is a little bit higher than magenta.
| | 05:54 | Perfect. let's look at this one; 3 by 4 is 12.
| | 05:57 | that's great.
| | 05:58 | 5 by 4 is 20.
| | 05:59 | So, I need these numbers to be somewhere between 12% and 20%.
| | 06:03 | That looks really good.
| | 06:05 | My skin tone is color-correct based on this recipe.
| | 06:10 | Now it is just that; it is just a recipe.
| | 06:12 | it is not always going to work; it is not a one-to-one thing.
| | 06:15 | But think of it like a recipe for
cooking; how to make a good lasagna?
| | 06:19 | Well you need a certain amount of spaghetti
sauce and a certain amount of mozzarella cheese.
| | 06:24 | Well, you can vary that a little bit
because skin is incredibly varied.
| | 06:28 | that's one of the things that makes being
a person wonderful, we are all different.
| | 06:32 | Yet these numbers give you a nice guide
in order to get your skin color-correct.
| | 06:38 | I will click OK to apply this curves adjustment.
| | 06:42 | Then I'm going to click on the eye icon from my
curves adjustment layer to see the before and after.
| | 06:47 | Here is the before, Oh Man!
| | 06:49 | Here is the after.
| | 06:50 | That image looks so much better and I didnt even
realize it or maybe you didnt realize it how bad it was.
| | 06:58 | One of the things that this technique will
do is it will teach you to see color shifts.
| | 07:03 | Alright, well I want to apply this technique to other
situations and we will do that in the next few movies.
| | Collapse this transcript |
| Color-correcting medium light skin tones| 00:00 | I found that it is helpful to see this technique applied to a
number of different images in a number of different skin types.
| | 00:06 | In this movie, we are going to be
working on this file, jenny_kim.psd.
| | 00:11 | Go and open up this beautiful photograph, this
was captured by a friend of mine, Jenny Kim,
| | 00:15 | who is a fashion photographer in New York, an amazing person.
| | 00:18 | What we want to do is color-correct this image.
| | 00:21 | So for start this, we need to pick a couple of sample
points and in this case, I'm going to go ahead and set one
| | 00:26 | in the forehead here, make sure my
Sample Size is something above 5 by 5.
| | 00:31 | This is a small image been sized for the
Web, so 5 by 5 would actually work well.
| | 00:35 | Then Shift+click to set up a point up there in the
forehead, maybe one in the chin, alright that's pretty good.
| | 00:41 | Then we will go ahead and go to our Info
palette and take those down to CMYK Color
| | 00:46 | by clicking on the eye dropper and choosing CMYK.
| | 00:49 | Now that we do that we see have a little bit of
a problem in regards to our color relationships.
| | 00:54 | The recipe isnt happening for us; there's too much
salt or there's too much something that we need to fix.
| | 01:01 | Well we know that yellow needs to be higher than magenta.
| | 01:04 | Cyan, I'm guessing, is going to be pretty low.
| | 01:06 | So that may or may not be a problem area but
definitely yellow, let's tackle that one first.
| | 01:11 | So we will go ahead and choose from
the adjustment layer icon, Curves.
| | 01:15 | Now we want to be able to see our numbers
as well as the image which we can.
| | 01:19 | Press the spacebar to reposition the image even
further and as you go to that blue-yellow channel,
| | 01:25 | you will notice that there is a shortcut to get
there that's Command+3 on a Mac, Ctrl+3 on a PC.
| | 01:30 | Now that I'm in that channel, I will click on the image and then
set my point by Command+clicking on a Mac, Ctrl+clicking on a PC.
| | 01:40 | In this case, what I need to do is I need to
warm this image up or add some more yellow
| | 01:45 | to it, I can see the blue shift in the image.
| | 01:47 | it is quite drastic so I'm going to go
ahead and bring that down quite a bit.
| | 01:52 | Now as I do that I notice that my magenta is too low.
| | 01:56 | The image looks green, when I added
the yellow, may the image go green.
| | 02:00 | It was kind of blue; now it is green.
| | 02:02 | So I need to go into my green-magenta channel and again
Command+click on the Mac, Ctrl+click on the PC and in this case,
| | 02:10 | I need to take away some of the green, so I'm going
to click down there, alright that looks pretty nice.
| | 02:16 | Now let's do some multiplication.
| | 02:18 | 3 times 4 is 12, 5 times 4 is 20 that looks pretty good.
| | 02:23 | Go ahead and go to my red channel because this is the channel
where I've the most variance and let's see where this point is.
| | 02:31 | Go ahead and Command+click that or Ctrl+click that
and then just see what happens if I vary this.
| | 02:44 | I take that up just a little bit that's a little bit more red
to the skin, I'm going to bring that down, I'm just tinkering;
| | 02:50 | I don't actually know what I want to do here but
I kind of feel like the image from what I'm seeing
| | 02:55 | on my monitor, needs a little bit more red in it.
| | 02:58 | So if I add a little bit more red, my numbers are still in range,
| | 03:01 | I could actually get away with even
some more red with that matter.
| | 03:06 | Now, I notice my yellow is a tad bit low on my point number
two, so I'm going to go back to the blue-yellow channel,
| | 03:12 | click on that point and occurs dialog window, add
just a tad bit more yellow and that looks pretty good.
| | 03:19 | let's click OK to apply that adjustment and then
click on the eye icon, heres our before and after.
| | 03:27 | Now a lot of times when you do that, you will see the
difference in not be aware of how bad it actually was.
| | 03:32 | So our color-correction in this case looks really nice.
| | Collapse this transcript |
| Color-correcting medium dark skin tones| 00:00 | In this movie we will be working on the file Jasper.jpeg.
| | 00:03 | Go and open that one up in Photoshop.
| | 00:06 | This is a portrait that I captured of the
fellow photographer earlier this year.
| | 00:10 | We want to color correct this image.
| | 00:13 | Command plus to zoom in a little bit there.
| | 00:16 | Now, I've already set an eyedropper point for you.
| | 00:18 | I've cheated a little bit.
| | 00:20 | We can look at those CMYK numbers.
| | 00:22 | So, let's click on the eyedropper so that you can see the point.
| | 00:24 | There is it.
| | 00:24 | let's look at our CMYK numbers.
| | 00:26 | Well, you are noticing that the numbers,
the percentages are much higher.
| | 00:30 | that's because we have skin with more density.
| | 00:33 | So, that's one of the ways that we are going to
notice that these numbers are going to shift.
| | 00:37 | let's color correct this image.
| | 00:39 | we will click on the Curve Adjustment
layer and choose Get all the curves.
| | 00:43 | Now, the Curves dialog is open.
| | 00:45 | What channel do I want to work on?
| | 00:46 | One thing I notice is that Magenta and Yellow are pretty close.
| | 00:50 | The Cyan channel or the Red Cyan
channel that is way off the chart.
| | 00:55 | So, there is something wrong there.
| | 00:56 | So, I'm going to attack that channel first.
| | 00:58 | I will do that by clicking on the
Channel drop down menu and choosing Red.
| | 01:03 | Now that I'm in the Red channel, I will click
on my image to see where the skin tones are
| | 01:08 | and then on a MAC that's a Command
Click, on a PC that's a control click.
| | 01:13 | Now, if you are to guess do we need more
Red click up or more Cyan click down.
| | 01:18 | that's right, we need more Cyan, so we are going to click down.
| | 01:21 | As we do that, just a little bit, gosh the image
starts to look much better, perhaps even right there.
| | 01:29 | 5x5 is 25%, 3x5 is 15%.
| | 01:32 | So it is not quite in range.
| | 01:35 | I'm going to leave it there and I'm
going to work on my Magenta Yellow.
| | 01:38 | I go to my green magenta channel.
| | 01:41 | Command click MAC, control click PC.
| | 01:44 | In this case I will click my up arrow just a little bit.
| | 01:47 | So let's look our Before and After.
| | 01:49 | Here is our Before and After that image is looking very nice.
| | 01:54 | Now, one of things that happens some times when you are
working on color correcting skin is you may add a point
| | 01:59 | and find it affects a large area of your image.
| | 02:02 | let's say you wanted to affect these
bright tones but not the darker tones.
| | 02:05 | Well, you can lock down the lower area of your Histogram.
| | 02:09 | So, now you can see I'm just affecting the brighter tones of
the image or majority or the tones are those brighter tones.
| | 02:15 | In this particular case I don't think we need to do that, but
I want you to know that in case that that comes up you find
| | 02:21 | that youre having a little bit of problem
area with other parts of the image.
| | 02:25 | I go back to my Blue Yellow channel and just
set a point here and click the Set that point.
| | 02:31 | You don't want to modify those yellow it is just a tad bit.
| | 02:34 | See how things are coming along here.
| | 02:40 | I would say that looks pretty good.
| | 02:43 | let's click Ok.
| | 02:44 | Our numbers are right in range.
| | 02:46 | let's look at our before and After.
| | 02:47 | Here is our Before, here is our After.
| | 02:50 | That image is looking pretty good.
| | 02:52 | The one thing that I'm noticing on the image is
that the nose and the cheeks are little bit peachy.
| | 02:57 | Now that could be just my monitor.
| | 02:59 | The monitor that I'm recording on isnt the one that
I actually work on which I know of really well,
| | 03:03 | but this particular monitor may -- can
we think that's a little bit too red?
| | 03:07 | Click on the Adjustment Layer icon,
choose hue saturation, go to those Reds.
| | 03:11 | Let me see if I can target those well its most of the face there.
| | 03:14 | Maybe just make him a little bit
more yellow, little bit less red.
| | 03:19 | Make sure my numbers are still fine which they are.
| | 03:21 | That final adjustment is pretty subtle, but
I actually think it works pretty nicely.
| | 03:25 | You want the lips to be red, so grab the brush tool and
paint with black to bring back the nice red in the lips.
| | 03:32 | That image is now Color Correct.
| | Collapse this transcript |
| Color-correcting dark skin tones| 00:00 | Hi, well I saved the most complex image for last.
| | 00:03 | Here we have this beautiful portrait by
one of my good friends, Michael Costa.
| | 00:07 | He is an amazing wedding photographer.
| | 00:09 | Google his name and check out his
stuff; it is absolutely amazing.
| | 00:13 | Thanks Michael for providing us with this image,
so that we can use it for color-correcting skin.
| | 00:18 | let's go and open this one up in Photoshop.
| | 00:21 | After go to full-screen view mode, spacebar
reposition the image at the top part of the screen.
| | 00:25 | Well, I've already set a sample point for you in this image.
| | 00:28 | I've already set our values to CMYK.
| | 00:32 | As we look at these values, there
are couple other things we notice.
| | 00:34 | One of the things is that the percentages are
much higher because of the density of the skin.
| | 00:38 | OK, we know that already.
| | 00:40 | Yet, we are also seeing that there are all really close together.
| | 00:43 | So, we are probably guessing that the 1/3rd to 1/5th of
magenta and yellow is going to be a little bit different.
| | 00:50 | Remember, I said some times your cyan can actually
go as high as a half to your magenta yellow.
| | 00:55 | that's probably going to be the case here.
| | 00:57 | So let's go ahead and see if we can
color-correct this great photograph.
| | 01:02 | Click on the curves adjustments layer
icon and choose good old curves.
| | 01:06 | That will open up the Curves dialogue window.
| | 01:09 | Now, I'm going to go first to my red-cyan channel,
because that to me is the most problematic.
| | 01:16 | It can't be that close to those other two numbers.
| | 01:19 | It could be maybe half of what those
numbers are, but not that close.
| | 01:22 | Click in the image, see where are the tones are, OK right about
in the middle, Command+click on the Mac, Ctrl+click on the PC.
| | 01:30 | Now what I needed to do here is add a
bunch of red to take that number down
| | 01:34 | and I could use my arrow keys or I
could simply bring those numbers down.
| | 01:38 | Now, the numbers that I'm looking for here are approximately
a half of these numbers so about 30% is pretty good.
| | 01:45 | Yes, the image is much too red, I'm aware of that,
but we are going to look at correcting that later.
| | 01:52 | Next thing I'm going to do is navigate to my green-magenta
channel and click on the image there and I'm going to look it
| | 01:59 | to see if I can bring up my magenta a little bit.
| | 02:03 | Id dragged that through wrong way; I will drag
it down to bring that to the closer range.
| | 02:08 | I will get those numbers a little bit closer and
number wise that looks pretty good, on-screen wise,
| | 02:17 | doesnt look very good; there is too much red.
| | 02:19 | We can see that there is too much red in
the skin, too much red in the background.
| | 02:22 | let's look at our before and after.
| | 02:23 | Here is before and then after, it is a much
nicer skin tone, but there is too much red in it.
| | 02:29 | that's OK, we will click OK.
| | 02:32 | Create a Hue/Saturation adjustment layer by clicking
on the adjustment layer icon, choosing Hue/sats,
| | 02:39 | go at the red channel, bring those reds down.
| | 02:42 | Look at our numbers; make sure our numbers are still in range.
| | 02:45 | How far we bring this down?
| | 02:47 | The actual numbers are really going
to be a little bit subjective here.
| | 02:51 | Just like cooking; how much salt
to use, how much spaghetti sauce,
| | 02:54 | it is really going to depend on the chef himself or herself.
| | 02:59 | There is my before and after.
| | 03:00 | I think that's pretty nice.
| | 03:01 | Click OK. Now let's take a look at
our before and after in general.
| | 03:06 | We can do that by holding down the Option key on
a Mac, the Alt on a PC and clicking this icon.
| | 03:12 | it is an important shortcut for retouching.
| | 03:15 | I will say that one again; hold down your Option key on
the Mac and click on the eye icon for the background layer,
| | 03:21 | in a PC that's holding down the Alt
key and clicking on that eye icon.
| | 03:24 | So we have our before and after.
| | 03:27 | The image definitely was green.
| | 03:30 | It looks much better here.
| | 03:31 | It maybe a little bit too strong, too red.
| | 03:34 | One way that we can work against that red is click our curves
adjustment layer and just bring this back a little bit.
| | 03:41 | So I'm going to take this back just a tad bit.
| | 03:43 | Although my numbers arent quite exactly where I want
them to be, I think the actual image looks stronger now.
| | 03:50 | Final option, click on the icon,
Alt+click on a PC, Option+click on a Mac.
| | 03:57 | I'm just evaluating this image before and after
and as you can tell, there is a bit of an art,
| | 04:01 | bit of a science to color-correcting skin tones.
| | 04:04 | Yes, I think this image looks much better
although it was the most challenging image,
| | 04:10 | we pulled it off and that wraps up this movie.
| | Collapse this transcript |
|
|
3. Cleaning Up Images in Camera RawHealing in Camera Raw| 00:00 | Welcome to Chapter 3.
| | 00:02 | In this chapter, we are going to be looking at how
we can clean up our images with Adobe Camera Raw.
| | 00:07 | Now, the nice thing about using Adobe Camera Raw
is that we are able to make non-destructive edits.
| | 00:12 | Meaning the Pixels actually won't change
rather, therell be a set of instructions
| | 00:17 | that will say display these Pixels in this particular way.
| | 00:20 | Alright, we are going to be working
on the photograph, Key Photography.
| | 00:24 | Go and select that and press "Command+R"
on a map, "Ctrl + R" on a PC,
| | 00:29 | to open this image up inside of Adobe
Camera Raw hosted by "Bridge".
| | 00:34 | Here we are in Adobe Camera Raw.
| | 00:35 | And you will notice that My Camera Raw window is in full screen.
| | 00:39 | You can click on the Toggle full screen icon button
to go back and forth between regular view mode
| | 00:44 | or full screen view mode, or you can press the "F key".
| | 00:47 | Now I like to work in full screen when I'm in Camera
Raw, so I can really focus in on the task at hand.
| | 00:53 | Alright, well this image was provided for us by a couple of
good friends of mine, Michael and Jasmine, Thank you guys!
| | 00:58 | Check out their work at Key Photography,
it is absolutely amazing.
| | 01:02 | let's go ahead and zoom on the image.
| | 01:04 | And let's zoom into 100% by double clicking
on the "Zoom tool," in the toolbar up top.
| | 01:10 | Now when I do that, I can see the details of this image.
| | 01:13 | Press the Space Bar to reposition the
image so you can look around the image,
| | 01:17 | try to find a few areas that need to be cleaned up.
| | 01:20 | Now this image has been sized down, so
that I can include it in the training.
| | 01:23 | Typically when you Double Click the Zoom tool, you
will see many more blemishes that will need some work.
| | 01:28 | But this will work for us here.
| | 01:30 | Alright, I know there are a few things that need to be cleaned
up, little bit at the face, little bit at the background.
| | 01:34 | So let's go ahead and select the "Retouch
Tool," and you can do that by selecting it
| | 01:39 | in the "Tool Bar," or you can press the B key.
| | 01:42 | Or press the B key here.
| | 01:43 | You know it has a couple of options "Heal" and "Clone".
| | 01:46 | I'm going to choose "Heal".
| | 01:47 | And I'm going to go over here and work on this blemish.
| | 01:49 | And I'm simply going to click right in the middle
of the blemish and then expand this circle out.
| | 01:54 | Red is the problem area, green is the good area.
| | 01:57 | That is now successfully removed.
| | 01:59 | Press the "Space Bar" and reposition the image.
| | 02:02 | Again clicking in the middle of that blemish,
go ahead, and I'm clicking and dragging.
| | 02:07 | What that does for me is it helps me set the actual space.
| | 02:11 | Now when you have an area that's a little bit on a seam,
sometimes it is helpful to have that go along the same scene.
| | 02:17 | And what I mean is there's a little bit of darkness here.
| | 02:20 | In this case that worked in either position, but I found that it
is nice to try to match the tonality between these two shades.
| | 02:27 | You can of course, go to the edges of your
sample area and reposition the sample area,
| | 02:32 | either the problem area, or the correct area.
| | 02:35 | You can also go ahead and simply click on a blemish.
| | 02:38 | In this case I'm just clicking, I'm saying
Photoshop try to determine the size of that blemish
| | 02:43 | for me, although, I prefer to Click and Drag.
| | 02:46 | I want to set the point; I don't want to retouch more than I
need to, because I want to make this as seamless as possible.
| | 02:52 | That being said, Photoshops done a pretty good job for
me, whether I'm Clicking or I'm Clicking and Dragging.
| | 02:58 | But my preference is to "Click and Drag".
| | 03:00 | OK, so I'm going to the image and pressing
the "Space Bar Key" to move around the image,
| | 03:04 | I will get rid of a couple of these little wrinkles here.
| | 03:07 | Again, I want to make sure I'm sampling an area that's pretty
similar to the area I'm fixing, another little wrinkle there.
| | 03:14 | Sometimes it is helpful to really zoom in on
problem areas and let's do that with the Face.
| | 03:21 | So go ahead and select the "Zoom tool"
and then zoom in on the face there.
| | 03:26 | Then press the B key to go to the re-touching Tool and I
want to remove these two little freckles on this face here.
| | 03:32 | So I'm going to Click and Drag and
I'm going to do this one at a time,
| | 03:36 | reposition this to the similar tonality and then Click and Drag.
| | 03:40 | For the other one, reposition this same place.
| | 03:44 | Heres a location where we have a nice gradation
on the face, sand or that, nice shadow.
| | 03:49 | Again heres where you want to try to follow that gradation,
so that your sample area is right along side of that.
| | 03:56 | Little hot spot up here in the forehead, it
will be nice to take that down just a tad bit
| | 04:00 | and it might go too dark there, so
move that around to a good spot.
| | 04:06 | "Double click the Zoom tool" that take us back us to 100% and
then move around the image and say, "OK, how is it looking?"
| | 04:13 | it is looking pretty good.
| | 04:14 | I noticed I missed a little blemish, right there
the B key, and I'm going to fix that one up
| | 04:19 | and I would then continue to go through
the image in this fashion.
| | 04:24 | Looking for small blemishes, and I would Heal or Clone those out.
| | 04:28 | Now there's times when Healing works best,
and there's time when Cloning works best.
| | 04:32 | For this image, as you can see, Healing works really well.
| | 04:35 | In the next movie, we are going to look
at a situation, where you absolutely have
| | 04:39 | to use Cloning, because Healing just won't work out.
| | 04:42 | Alright, well, see you in the next movie.
| | Collapse this transcript |
| Healing and cloning in Camera Raw| 00:00 | In this movie, we will be working on the file, "jenny_kim.tif".
| | 00:03 | Go and select that file and on the
Mac press "Command+R", on a PC.
| | 00:08 | press "Ctrl +R" to open this image up inside of Adobe Camera Raw.
| | 00:12 | The next thing we want to do is "Double Click"
the "Zoom tool" to take this image to 100%.
| | 00:18 | Then press the "Space Bar" and move around the image.
| | 00:21 | One of the things that I'm noticing is that, there are
some background elements that I need to retouch out.
| | 00:26 | In particular let's work on this chair down here.
| | 00:29 | So I'm going to select the Retouch Tool, B key, and go ahead
and click about in the middle of that shape and expand that out.
| | 00:38 | Now I've a couple of different options.
| | 00:39 | I've Healing and Cloning.
| | 00:41 | Now if I use the Healing Tool, let's go ahead and try that.
| | 00:44 | One of the things that's going to happen
is, is I'm going to have this bottom part
| | 00:47 | of this Healed area kind of bleeding in with the chair.
| | 00:51 | No matter where I move this, it is kind of
a tricky spot, because of the content there.
| | 00:55 | So Healing is not going to work in this case.
| | 00:58 | Yet, if I take this to Cloning, ah!
| | 01:02 | Because I've a nice clean background, what I can do is, I can
Clone over this and to make a little bit bigger Clone area.
| | 01:09 | And if I run out of space, because I'm getting in
that purse there, which we can see a little bit there,
| | 01:14 | I can always go up higher and get a nice clean area.
| | 01:17 | Now, one of the things, that you need to do, when
you are Cloning or Healing is, take a look at this.
| | 01:22 | See if it is looking good, let's do our show overlay.
| | 01:24 | Here is without the circles.
| | 01:27 | OK, that's pretty good.
| | 01:28 | If I press "Clear All" button, it
is going to take all my retouching.
| | 01:31 | So it is as if I press "Undo", in this case
it showed me that, that worked pretty well.
| | 01:36 | So I will go ahead and clone that out one more time.
| | 01:39 | Now that I know what I need to do, nice space
there, I will go up top a little higher,
| | 01:44 | and I need to make my sample area a little
bit bigger so I can get all of that out.
| | 01:50 | Reposition both of these till I get right at the suite
dspot, click the check box Show before and after.
| | 01:58 | Awesome! Alright, well there's another
area that I want to work on.
| | 02:01 | And that is this little zipper here.
| | 02:03 | I want to remove that.
| | 02:04 | So grab the Zoom tool.
| | 02:06 | I'm going to zoom in on that portion of the image.
| | 02:08 | So there I can see that.
| | 02:10 | that's a pretty tricky retouch.
| | 02:11 | How are we going to accomplish that?
| | 02:13 | Press the B key, and we may try Healing.
| | 02:16 | A lot of people love Healing, including myself, because
you think, ah, Healing is the answer for everything.
| | 02:21 | But when I do that, I realize that
there isnt really a good sample area.
| | 02:25 | I mean, I get pretty close.
| | 02:27 | let's looks here before and after here, I
still have a little bit of a divy there.
| | 02:31 | What I could try doing on top of
my Healing, would be some cloning.
| | 02:35 | Yet the problem with that is I can't really get in there.
| | 02:38 | I could create a sample point this
way, and sneak in to that area.
| | 02:43 | Bring this down here, sneak that in
there; maybe a little bit bigger.
| | 02:49 | Oh my gosh!
| | 02:49 | I'm Cloning on top of Healing.
| | 02:53 | let's look at our show overlay before and after.
| | 02:56 | OK! that's looking pretty good.
| | 02:58 | let's turn that off, so I can get into that final area.
| | 03:00 | Again I'm creating my point off to the side.
| | 03:03 | Turn those on, so I can see it now
and then I'm bringing on to that area.
| | 03:07 | And at this point, I could Clone or Heal that final point out.
| | 03:10 | But I'm just stacking those up and what I want to
illustrate here, is that, sometimes what youre going
| | 03:16 | to need to do is combine Cloning and Healing.
| | 03:18 | The same things true in Photoshop, right?
| | 03:20 | Sometimes the Cloning tool saves the day, sometimes the
Healing tool saves the day, sometimes it is a mixture of both,
| | 03:26 | and we can do that inside of Adobe Camera Raw.
| | 03:29 | How cool is that?
| | 03:30 | Next thing I want to do is "Double Click" the
Hand Tool, that will take it to "Fit and View."
| | 03:35 | I want to see if my retouching is going in a good direction,
and as I do that I noticed, I've a blemish down here.
| | 03:41 | Press the B key to bring back the retouching
tools, then turn on the overlays there,
| | 03:46 | and what I'm going to do is, reposition that one.
| | 03:49 | I had a little bit of a bleed into that.
| | 03:52 | So I'm going to reposition these,
and reposition my sample points here.
| | 03:57 | I might need to go all the way up top to nice clean area.
| | 04:00 | Now that looks good.
| | 04:02 | Now turn off the overlays.
| | 04:03 | I think we've done a pretty good job, regards to our retouching.
| | 04:07 | Of Course there's more that can be done.
| | 04:10 | Yet hopefully, this movie shows you how
sometimes you need to use just Cloning.
| | 04:14 | Sometimes Healing saves the day and
sometimes it is a combination of both.
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| Removing dust in Camera Raw| 00:00 | So far in this chapter we've looked at how we can clean up our
models, how we can clean up backgrounds with Adobe Camera Raw.
| | 00:06 | What about those situations where we have a problem with our
camera, perhaps there's dust on the lens or dust on the sensor.
| | 00:13 | How can we use Adobe Camera Raw to fix those situations?
| | 00:17 | Well, that's what we are going to do in this movie.
| | 00:19 | Go and select the "dust" folder and
double-click it to open it up.
| | 00:22 | Here you will notice we have three portraits.
| | 00:24 | Theyre all taken with the same camera, at the same
time, and as I scroll through them, you will notice,
| | 00:29 | that the one commonality between all three of these
portraits is this dark circle in the top right corner,
| | 00:35 | and that's a result of having dust on the sensor.
| | 00:39 | God! That just pains when that happens.
| | 00:41 | What we are going to do is look at how we can
fix this quickly inside of Adobe Camera Raw.
| | 00:46 | So I've all these portraits.
| | 00:47 | They have the problem in the same exact area.
| | 00:50 | I need to go ahead and select all of these portraits by
clicking and then holding on the Shift key and clicking again.
| | 00:56 | That allows me to select multiple images.
| | 00:58 | Next I'm going to press Command+R on a Mac, that's Ctrl+R
in a PC to open up these images inside of Adobe Camera Raw.
| | 01:07 | Now I'm going to work on the first image and
I'm going to work on this piece of dust up here.
| | 01:10 | Press the B key to select the Retouch Tool, click in
the center of the problem area, expand the sample area,
| | 01:18 | and I'm trying to get something that's similar to it.
| | 01:20 | I want to make sure that's really
nice and good there, show my overlay.
| | 01:24 | What that showed me is that my problem is
a little bit further over to the right.
| | 01:28 | That looks nice.
| | 01:30 | Now that I've done this, I can then select
all images by clicking on Select All at top
| | 01:35 | or holding the Shift key and selecting them all.
| | 01:38 | Next I'm going to chose Synchronize.
| | 01:41 | What this allows me to do is to synchronize all of my Camera
Raw setting including good old Spot Removal, click "OK".
| | 01:49 | Now as I do that and scroll though the other images
you will notice that I've those blemishes removed,
| | 01:56 | and all of these pictures are now correct which is so wonderful,
| | 02:00 | because that spot will always be
in the exact same place every time.
| | 02:05 | Well, you may be thinking, OK that's really cool well what
about blemishes perhaps with models that we want to work on?
| | 02:11 | In this case, I'm going to zoom in a little bit and let's
say I want to reduce this blemish on the forehead here.
| | 02:16 | I will click and I will then drag to set that
sample point, and then I will get a good spot there.
| | 02:20 | Select all these images and synchronize them,
make sure Spot Removal is checked on and click OK,
| | 02:25 | and now I'm going to scroll though my images.
| | 02:28 | As I do that and then zoom in on this one, I may notice
Show Overlay that it is not in the exact right spot for me.
| | 02:35 | In this case the blemish was a little bit lower.
| | 02:37 | Now why was that?
| | 02:38 | Well, that's because my framing moved.
| | 02:41 | Yet having that spot there for me helped me fix it pretty quickly
| | 02:45 | because it was all already there, it
was in the relatively close location.
| | 02:49 | I simply need to move my two points and then fix it up that way.
| | 02:53 | Now all of these images have been corrected and I
will zoom out to make sure they are all in good shape.
| | 02:58 | Zoom out on all of them so I can see them.
| | 03:00 | Show Overlay turned off and scroll though those different images.
| | 03:05 | Hey! I need to zoom out even further don't I?
| | 03:07 | Zoom out a little bit further and I'm just double checking
my work and making sure I'm going the right direction.
| | 03:13 | Yes, all three of those images are now correct.
| | 03:16 | So I snuck in a little extra tip there.
| | 03:18 | Yet the one that is most important is how you can use Adobe
Camera Raw to fix problems where you have dust on your lens
| | 03:25 | or your sensor and that dust is always in
the same spot through out all of your images.
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|
|
4. Cleaning Up Images in PhotoshopCreative Tip: Leaving crumbs| 00:02 | Welcome here we are in my office standing in
front of the couple of Ronnie Smith prints.
| | 00:07 | Man, I love Ronnie Smiths photography.
| | 00:10 | Let me tell you why I love it.
| | 00:11 | I'm going to tell you why I love this photography by way
of a quote from Bono the lead singer of that band U2,
| | 00:19 | one thing that Bono said really caught my attention he said "My
favorite photography, my favorite pictures are those pictures,
| | 00:25 | are those photos where flaw makes the frames".
| | 00:29 | It says if the flaw makes the image that much better and
that's why the reasons why I love Ronnie Smiths work.
| | 00:35 | He leaves some flaws in his images.
| | 00:37 | He doesnt Photoshop, retouch everything.
| | 00:39 | Right. As if those flaws make the image that much
authentic, or real, or engaging let me translate this
| | 00:47 | to another genre of photography, Food photography.
| | 00:50 | In Food Photography crumbs are really popular right now.
| | 00:54 | Now that may sound a little funny and it
is, yet it is true and let me tell you why.
| | 00:58 | We will style a sandwich and make a sandwich
just look perfect, it won't look very appetizing.
| | 01:04 | So the styles will add a few crumbs
and crumbs need to look authentic
| | 01:07 | and then the sandwich looks very appetizing or appealing.
| | 01:11 | Now, the same thing is completely true with retouching.
| | 01:15 | As we are retouching our images, it is
critical that we leave a few blemishes,
| | 01:19 | that we leave a few crumbs, that we
don't retouch out all the details.
| | 01:22 | We need to have some flaws because as if the flaw when it
makes the frame, when it is inside the frame it makes the image
| | 01:28 | that much more authentic or real or engaging
because ultimately we want to create images
| | 01:33 | that are retouched, that engage people, that compel people.
| | 01:37 | We don't want people to say "Wow, this
image was really retouched really well".
| | 01:40 | That defeats the whole purpose.
| | 01:41 | We want them to say "Wow, that's an amazing image."
| | 01:44 | "Gosh, this is compelling.
| | 01:46 | It connects with me.
| | 01:47 | It connects with who I'm and how I
think and what I see and what I want."
| | 01:50 | So as you are retouching and as you are developing
your retouching skills keep in mind crumbs.
| | 01:56 | Add a few crumbs or leave few crumbs because the flaw
that makes the frame can sometimes make or break an image.
| | Collapse this transcript |
| Removing background distractions| 00:00 | Welcome to Chapter 4.
| | 00:02 | I'm really excited about this chapter, because there is so much
to learn in regards to cleaning up our images inside a Photoshop.
| | 00:08 | I think you are really going to like this chapter.
| | 00:10 | We are going to cover everything from cleanup
backgrounds, to cleanup skin, to cleanup portraits,
| | 00:15 | to cleanup snapshots, to cleanup fashion images.
| | 00:17 | We are going to cover the whole gamut.
| | 00:19 | Alright, well we are going to start off by
working on this photograph, caldwells.tif.
| | 00:23 | Double click that bad boy to open it up in Photoshop, press
S to go to full screen view mode and them press the spacebar
| | 00:29 | to reposition the image near the top part of the screen.
| | 00:33 | OK, well we have this nice portrait of my
sister Amanda and my brother-in-law Ryan.
| | 00:37 | Here I want to cleanup the beach a little bit and we are going to
go about cleanup the beach with a couple of different techniques.
| | 00:42 | The first one easy, I'm going to zoom
in on a PC Ctrl+, on a Mac Command+.
| | 00:49 | Alright, well let's work on this little patch of seaweed here.
| | 00:52 | Before I do any retouching, I always
like to copy my original layer.
| | 00:56 | So I'm going to click and drag that to the
new layer icon and name this layer retouch.
| | 01:02 | Next, I will select the Patch Tool from my Toolbox.
| | 01:06 | Now I will go ahead and select this piece of seaweed
by clicking and dragging around that piece of seaweed.
| | 01:14 | Next, I need to determine if I want to use Source or Destination.
| | 01:18 | Well in this case Source is going to work best.
| | 01:20 | you will see how this work.
| | 01:21 | I click and drag; there is a good source material.
| | 01:23 | Hey, that looks nice.
| | 01:24 | On the other hand if I had chosen Destination, what that says is,
| | 01:27 | bring the seaweed to a new location and
that definitely does not work for us.
| | 01:32 | So let's use good old Source.
| | 01:34 | Alright, well that looks nice.
| | 01:36 | Next navigate to Select and choose Deselect.
| | 01:39 | Now that I do that, a couple of my
edges need a little bit of work.
| | 01:43 | I'm going to grab the Healing Brush Tool and
Option click; I'm looking to remove any patterns.
| | 01:50 | So I'm Option clicking from different source areas.
| | 01:53 | Just doing this kind of quickly, because I'm
simply looking to kind of cleanup my edges
| | 01:58 | and cleanup a little bit rest of the beach here.
| | 02:01 | I could go through and clean that up some
more, but I think that's pretty good.
| | 02:04 | let's look at our before and after, very
nice, maybe a little bit over here as well.
| | 02:09 | OK, well, let's talk about an area that's going to be a little
bit more problematic, clean that up just to tidy it more
| | 02:16 | and that is this area down here, this big piece of seaweed.
| | 02:20 | How we are going to tackle this one?
| | 02:22 | This is problematic because you can see there are
dark tones; there are dark tones against bright tones.
| | 02:28 | So this isnt going to be an easy
fix force, but let's give it a shot.
| | 02:32 | we will go ahead and grab the Magnetic Lasso from our Toolbox
and I'm going to make a selection along the jeans here
| | 02:40 | down to the bottom, seaweed there and go along here.
| | 02:44 | Now if my selection isnt very good at this point, not too big
of a deal, because I can always go back with the Regular Lasso.
| | 02:51 | In this case I selected something I didnt
want to, hold down the Option key on the Mac,
| | 02:56 | Alt key on the PC, to minus from the selection.
| | 02:59 | You can see I'm diminishing the size of the selection.
| | 03:02 | On the other hand, hold down the Shift
key and you can add to the selection.
| | 03:06 | So I'm going to add a little bit here.
| | 03:08 | OK, well, this is going to take a couple of different steps.
| | 03:11 | If I just use the Patch Tool or the Healing
Brush or Clone Stamp for that matter,
| | 03:16 | I'm going to have this smudging or this blurring in of tone.
| | 03:20 | So I'm going to need to approach
this in a couple of different ways.
| | 03:22 | let's try the Patch Tool first.
| | 03:24 | So I go ahead and grab the Patch Tool and I
click and drag to new good area and press OK.
| | 03:29 | Navigate to Select, Deselect and say, "Well OK, that's
alright, except we can see that the edges have problems,
| | 03:38 | and over here I just have -- I've a ton of problems over there.
| | 03:41 | So let's Undo that, on a Mac that's
Command+Z, on the PC that's Ctrl+Z.
| | 03:47 | let's also Deselect a large portion of this area, so
hold down the Option key on the Mac, Alt key on a PC
| | 03:53 | and just Deselect a large part of this, because the
biggest area that's problematic is this area here.
| | 03:59 | Next, I'm going grab the Clone Stamp Tool.
| | 04:02 | Alright, I got the Clone Stamp Tool, make my brush a
little bit bigger by pressing the right bracket key.
| | 04:09 | What I'm going to do here is to take
my Blend Mode to darken my Opacity.
| | 04:15 | let's drop that way down, try 10% or 11%, see how that works?
| | 04:19 | Option click, clean over those dark
areas, little bit higher percentage there.
| | 04:25 | let's try doing that.
| | 04:27 | What I'm looking to try and to do is not to darken this too much.
| | 04:30 | let's look at our before and after.
| | 04:32 | I think that's working, little bit smaller
brush; work on the edge right there.
| | 04:38 | Sometimes it is helpful the hide your selection when you are
doing this, on a Pc that's Control+H on a Mac its Command+H.
| | 04:46 | Hide the selection.
| | 04:47 | Now I still have that selection active.
| | 04:49 | So I can still work within those confines.
| | 04:51 | Notice as I'm cloning along the edge of the
jeans; I'm not actually cloning on the jeans.
| | 04:55 | Command+H or Control+H turns that selection back on.
| | 04:59 | OK, well, I would say that I did a pretty good job.
| | 05:01 | The last thing that I need to do is clean this up with my Healing
Brush and in this case I'm going to Option click and I'm looking
| | 05:11 | to make sure my selection is off, which it wasnt.
| | 05:14 | So I need to turn that off by going to Select Deselect.
| | 05:18 | OK, now with the Healing Brush, I'm going
to go around the edges of this image,
| | 05:22 | couple of the areas where it is a little bit problematic.
| | 05:24 | I'm Option clicking from different patches of
sand, so as not to create any repeating pattern,
| | 05:30 | because it is the repeating pattern
that gives away all retouching.
| | 05:35 | What I mean by repeating pattern is something
like this, let me grab the Clone Stamp Tool,
| | 05:41 | perhaps sample that little piece there, and I clone it in over
here on a Normal blend mode and then clone it in again over here,
| | 05:50 | increase my Opacity in order to recreate
this problem I'm trying to show you.
| | 05:56 | So there you can see I've 1,2,3,4
pieces of the same exact seaweed.
| | 06:01 | I've a repeating pattern.
| | 06:03 | it is a dead give away, so I definitely don't want to do that.
| | 06:05 | I want to watch out for that, so as I'm cloning,
as I'm retouching, I'm always thinking about that.
| | 06:10 | Alright, a little bit more cloning could help this
one perhaps on dark and little bit low opacity there,
| | 06:18 | it is darken that little patch up
a tad bit, and some more healing.
| | 06:22 | I think you get the idea what we are doing here, we are
just simply going through and doing all of our detail work.
| | 06:28 | Now if we are going to clean up and area, in this
case I cleaned up the large portion of the seaweed.
| | 06:34 | I need to make sure to go back and clean up the
smaller areas, because that will be kind of strange
| | 06:39 | to have one really nice clean area and then
some areas that are problematic near it.
| | 06:44 | So I'm going to go head and clean those up and I will go through
to the rest of the beach, clean up the rest of the seaweed there.
| | 06:51 | Option clicking, paint away, being
careful by not getting repeating pattern.
| | 06:58 | let's zoom out and see how we are doing
so far, look at our before and after.
| | 07:03 | So far so good, my hope is that through this movie you
can realize that you can use all of these tools together.
| | 07:10 | Sometimes it is the Patch Tool, sometimes it
is Clone Stamp, sometimes it is Healing Brush.
| | 07:15 | Sometimes it is a combination of them all and
if you have tricky edge make a Selection first,
| | 07:21 | because that selection can really
help you out as you can see here.
| | 07:24 | Again, here is our before and our after.
| | Collapse this transcript |
| Removing elements with the Patch tool| 00:01 | In this movie we will be working on the file beau.tif and
we will be learning more about how to use the Patch Tool.
| | 00:07 | Go ahead and double click that file and open it up in Photoshop,
| | 00:10 | after go to full screen view mode
Command + Plus to zoom in a little bit.
| | 00:14 | Here we have this nice portrait of this
photographer named Beau and what I want to do
| | 00:17 | with this image, is I want to remove this terracotta tile.
| | 00:20 | I'm going to zoom in even further, on the Mac
that's Command + Plus, on PC that Ctrl + Plus.
| | 00:26 | I want to zoom in on this piece of terracotta here.
| | 00:29 | I'm going to patch this.
| | 00:31 | So I want to copy my background layer.
| | 00:32 | I will click and drag that to the
new layer icon and choose Retouch.
| | 00:37 | Next, I will select the Patch Tool in the Toolbox
or I can always press J and then Shift + J to toggle
| | 00:45 | through those different tools there until
I get to the Patch Tool and I'm going
| | 00:49 | to make a selection of this particular piece of terracotta.
| | 00:52 | Now there is a problem with my selection,
which I want to show you.
| | 00:56 | I'm going to go ahead and choose Source in
my Options Bar for my Patch option there
| | 01:00 | and then I'm going to click and drag this over here.
| | 01:04 | A couple of things I want you to notice one is this is a
great sample image because there are lines on the wall.
| | 01:10 | I need to get those lines exactly on, if they are not on
| | 01:15 | and let go well I've problems Command +
Z on the Mac, Ctrl + Z on the pc to Undo.
| | 01:21 | So when I bring this over, I need to make sure
those lines line up exactly where they need to be.
| | 01:27 | that's one thing that's important with the Patch Tool is
trying to find something in your image looks for these clues
| | 01:32 | that can help you line up the patching
so that it works really well.
| | 01:35 | Alright. Well, I did my patch except
that I've problem at the top.
| | 01:38 | What is that problem.
| | 01:40 | let's go to Select Deselect you will notice that
I've this brightness smudging now why is it?
| | 01:45 | Well, the reason I've that brightness
smudging is because my selection,
| | 01:49 | the area I was patching was bright the
white wall, but very close to the dark line.
| | 01:55 | So that didnt work at all for me.
| | 01:57 | So I'm going to undo what I did.
| | 01:59 | If I wanted to make a good patch here I would
need to add to my selection up above that,
| | 02:05 | go ahead and hold down the Shift key right now,
just add into this selection or for that matter go
| | 02:10 | to Select Deselect and just make a whole new selection.
| | 02:13 | I want to make sure this selection
goes away from those important edges.
| | 02:18 | So I'm pretty far away from them.
| | 02:20 | I might even want to be higher than that.
| | 02:21 | If I do again, that's the Shift key it
allows me to add to selection there.
| | 02:27 | So I want to stay away from those important areas.
| | 02:30 | Now, grab the Patch Tool click and drag make
sure the line is lined up as they do now,
| | 02:36 | right about there it looks good,
let go and that looks really solid.
| | 02:44 | Press Command + D on the Mac Ctrl + D on the PC to deselect.
| | 02:48 | I've a couple of other areas that need to fix.
| | 02:50 | I've the repeating pattern that same
divot in the wall I need to fix.
| | 02:55 | Now, there is little bump on the wall that is repeating pattern.
| | 02:58 | I'm just looking at this quickly to see if I notice
anything like that a couple of little places Deselect
| | 03:04 | by pressing Command + D. let's look at our before and after.
| | 03:07 | Here is before and here is after.
| | 03:10 | Hey, that looks really nice and we learned some
valuable things about the Patch Tool along the way.
| | Collapse this transcript |
| Removing distractions near subjects| 00:00 | In this movie we will be working on the photograph, annika_and_i.
| | 00:04 | Go ahead and double click that to open it in
Photoshop, you have to go to full screen view mode.
| | 00:08 | Here is a photograph that was taken
recently of myself and my daughter.
| | 00:12 | There was a really fun event, they brought snow out
to the Harbor, the Santa Barbara Harbor, where I live,
| | 00:17 | so that we could actually throw snowballs
into the ocean, it was a lot of fun.
| | 00:21 | Well, one of the things that happens a lot of times to
people who are new to photography is they take a picture
| | 00:26 | and they don't notice that there is
a pole coming out of someones head.
| | 00:29 | Well, how could we remove that pole, that's
what we are going to do in this movie.
| | 00:33 | We could try cloning, we could try healing, well, all
of those techniques arent really going to work for us,
| | 00:38 | it is kind of a problem area because
we have this density of hair,
| | 00:41 | then we have the pole coming out of the head, how do we fix it?
| | 00:43 | Command Plus to zoom in.
| | 00:45 | We are going to need to do a couple of different things here.
| | 00:47 | The first thing that we need to is
somehow get a selection of the hair.
| | 00:51 | So click in the background layer and grab the Lasso Tool, press
the L key, and make a selection of the top part of the head.
| | 00:59 | it is OK if you get the pole on there, it is actually
good, we just are going to focus in on the hair.
| | 01:04 | Now press Command J on the Mac, Control J on the PC,
| | 01:07 | and you will notice what that's done is it
is copied to a new layer that selection.
| | 01:12 | We will name this layer hair.
| | 01:13 | Next step is going to be to navigate to Filter, Extract
and what we are going to try to do is extract what we want
| | 01:21 | from the background, and in this case just the hair.
| | 01:24 | So with the Highlighter Tool we are going to click and drag
along the edge of the hair, and the Highlighter Tool is
| | 01:30 | by default selected when you open up your Extract Tool,
that's why I was able to just go ahead and start painting.
| | 01:36 | What I'm looking to do is to paint over the hair as well as the
transition area where the hair connects with the background.
| | 01:43 | I need to make sure that this goes all the
way around the area that I'm working on,
| | 01:47 | so in this case I've completed this,
there are no gaps in my highlighting.
| | 01:51 | Then I grab the paint bucket and I fill that area.
| | 01:54 | Click Preview to see how we did.
| | 01:56 | Well, for the most part that looks
good, I've some nice hair detail.
| | 02:00 | I will click OK.
| | 02:01 | Now, when I turn this layer on and off, I notice
that again, for the most part that looks really nice,
| | 02:07 | except that I've this little bit of a
problem area on the top of the head.
| | 02:11 | Command Plus on it, Mac to zoom in, Control Plus on the PC,
press the E key for eraser, and just erase that part of the pole.
| | 02:18 | But at least we have some relatively nice fuzzy hair there.
| | 02:22 | OK. Well now that we have that selection,
we are ready begin our work on the sky.
| | 02:28 | let's turn off that layer because we
will be coming back to that one later.
| | 02:32 | Zoom out a little bit, Command Minus on the Mac, Control Minus on
the PC, and zoom out a little bit further actually, there we go.
| | 02:41 | We have to grab the Magnetic Lasso
Tool, because we are in a hurry,
| | 02:45 | and we simply want to make a quick
selection around the top of this head.
| | 02:50 | So I'm clicking and dragging.
| | 02:52 | Yes, we could have used the Pen Tool,
we could have created the path.
| | 02:55 | Yes, I do like making paths, but let's say we are in a hurry.
| | 03:00 | So we made a selection, and our selection isnt quite
good enough because we didnt get all of the pole.
| | 03:06 | So let's go to the regular Lasso Tool, hold down the Shift key,
| | 03:11 | just click and drag to make sure we have
the entirety of that problem area up there.
| | 03:16 | I want to make sure this comes down a little bit farther.
| | 03:20 | So I'm just clicking and dragging
down there, make sure I've all that.
| | 03:25 | I can hold down the Option or the Alt key.
| | 03:28 | Option key on the Mac, Alt key on the PC, to subtract from my
selection, like that's a little bit too much right up there.
| | 03:36 | Oops, I made a mistake there, that's OK,
we all make those mistakes, don't we?
| | 03:42 | Alright, so there we go, that's a decent selection.
| | 03:45 | So now I've a good selection of the sky,
that's the area that I'm going to need to fix.
| | 03:51 | Well, how am I going to fix that?
| | 03:53 | Check this out.
| | 03:54 | Go to the background layer, click in the background layer.
| | 03:58 | With the Lasso Tool still selected, I'm going to
click and move this over to this good patch of sky.
| | 04:04 | You maybe thinking, OK, why are we going over
there when what we really want to do is over here?
| | 04:09 | Well, we are going to use this portion
of the sky to cover up what we have here.
| | 04:13 | As I did that I noticed that I need to hold
down the Shift key, and add a little bit more
| | 04:18 | to my selection, it wasnt all the way up top.
| | 04:20 | OK. Selections over there to the left.
| | 04:22 | Press Command or Control J, Command J on the Mac
Control J on the PC, then select the Move Tool,
| | 04:30 | and click and reposition this potion of the sky, and what
we are looking to do is to reposition this so its right
| | 04:36 | on the exact spot that we had right on the hair there.
| | 04:42 | OK. Well, that looks really good.
| | 04:44 | Just to get it right on the money, I think that's right there.
| | 04:48 | Now, some of you are thinking, OK Chris, that's way too dark.
| | 04:52 | Yeah, I know it is way too dark, that's not that big of a deal.
| | 04:54 | What we will do is we will click on the
Adjustment Layer icon and choose Curves.
| | 04:59 | We will make a subtle curves adjustment and click Ok,
| | 05:03 | because we need to turn this curves
adjustment layer into a layer clipping mask.
| | 05:08 | You do that, hold down the Option Alt key between the two layers.
| | 05:13 | You can see my cursor changes.
| | 05:16 | Now, once I do that, I notice that this curves
adjustment layer now affects just that patch of sky.
| | 05:22 | OK. Well, I need to modify it so those two areas match.
| | 05:26 | Double click the Adjustment Layer
icon, and go back to where it is.
| | 05:29 | What we are going to do is just brighten this up a little
bit until I get the tonality of those areas to match.
| | 05:35 | I'm not going to be able to match the whole
thing because there is quite bit of variety,
| | 05:38 | but I can match quite a bit of it, almost all of this looks good.
| | 05:42 | You click OK.
| | 05:44 | Next thing that I need to do is some cloning.
| | 05:47 | I will create a new layer, and call this layer
Cloning or Healing; either one will work.
| | 05:54 | Grab one of those tools, I will grab the Healing
Brush, I tend to like that brush quite a bit.
| | 06:00 | Right bracket key, make a bigger brush.
| | 06:03 | I'm just going to look to heal these areas,
create a little bit less of a scene here,
| | 06:09 | make sure I don't have any repeating patterns.
| | 06:11 | There is little bit of dust there.
| | 06:16 | Grab the Clone Stamp Tool to lower my
Opacity and sample that part of the sky.
| | 06:25 | What I'm looking to do here is just to try to create a
nice smooth transition between these two tones of the sky.
| | 06:31 | I'm pressing the left bracket key to change my brush
size, and I think we are going in a pretty good direction.
| | 06:37 | let's take a look at our before and after.
| | 06:39 | We can do that on the Mac, you hold down the Option
key and click on the I icon for your Background Layer.
| | 06:45 | On the PC you hold on the Alt key and click on that.
| | 06:47 | So heres our before and after, and
that looks good, so far so good.
| | 06:53 | I did notice I brought a little bit of blue into
the hair there, so I will grab the Eraser Tool.
| | 06:58 | I'm just going to erase that blue in the hair, I
don't want that there, Command Minus, zoom out.
| | 07:03 | OK, so far so good.
| | 07:05 | I like what we are doing.
| | 07:06 | I like how it is working.
| | 07:07 | The only problem I'm noticing is
that that the hair is pretty flat.
| | 07:12 | I don't see any of the little spikes or details of the hair.
| | 07:15 | Now, my hair doesnt matter that much, but most hair
has much more texture, there is a lot more going on,
| | 07:20 | so we don't want to a straight line on top of the head.
| | 07:22 | So that's where this layer comes back into play, our Hair Layer.
| | 07:26 | So let's zoom in, Command Plus here,
and turn this layer on and off.
| | 07:30 | There you can see we have a little bit of the
irregularity of the hair, which looks nice.
| | 07:35 | Click on that layer with the Eraser Tool, you erase any areas
| | 07:39 | where the irregularity doesnt look good,
maybe a little bit of the pole there.
| | 07:43 | This is subtle, I'm aware of that, yet these little subtle
things that help make this look that much more realistic.
| | 07:51 | There is our before and after, just bring in a
little bit more of the texture back in there,
| | 07:56 | and we have successfully removed the pole from the subjects head.
| | 08:03 | Again, on the Mac its Option, PC it is Alt,
click the I icon for your before and after,
| | 08:10 | and we have successfully accomplished
what we wanted to do with this image.
| | Collapse this transcript |
| Simplifying backgrounds| 00:00 | In this movie we will be looking at
another situation where you need to reduce
| | 00:04 | and simplify background elements that are distracting.
| | 00:07 | We are going to be working on the photograph titled jmaisel.
| | 00:10 | Go and double click that to open it inside of Photoshop.
| | 00:13 | I've to go to full screen view mode.
| | 00:15 | Now, this is a portrait that I took of J. Maisel.
| | 00:17 | We were walking and we were talking, and I noticed that
there were these big windows, and I thought oh, window light,
| | 00:22 | J. Maisel, natural light, I got to snap a shot of him.
| | 00:25 | I said Jay, can I take a quick photo?
| | 00:26 | He said sure.
| | 00:27 | He is wearing his backpack, which is a little bit awkward,
and so I just said hey, stand in front of this pole,
| | 00:32 | and just a quick snapshot, it took two seconds.
| | 00:35 | But it was important for me, because this
guy has influenced me photographically.
| | 00:39 | Yet when I got the image I said,
great, it captures a great expression,
| | 00:43 | but there are some background elements that are distracting.
| | 00:46 | The backpack he is wearing is a little bit awkward
as well, but I'm just going to live with that,
| | 00:50 | but I do want to reduce some of those background elements.
| | 00:53 | So we open up the image in Photoshop,
and we do some color corrections.
| | 00:56 | They are color corrections which we have
already covered in a previous chapter,
| | 00:59 | so the image is now color correct,
it is time to work on the background.
| | 01:03 | let's zoom in, Command Plus on a Mac, Ctrl Plus on the PC.
| | 01:07 | One of the things that we can do here,
because we have this real shallow depth
| | 01:10 | of field, is use some of the background that's clean.
| | 01:13 | We will grab the Marquee Tool by pressing the M key
or by selecting it in the Toolbox, and let's click
| | 01:20 | and drag and make a selection of the background.
| | 01:22 | it is pretty good.
| | 01:23 | Alright, there we have it.
| | 01:25 | Click in our Color layer and press Command or Ctrl J; Mac is
Command J, PC is Ctrl J. Now, I want to transform this selection
| | 01:34 | that I've made, that I've copied to a new layer, there it is.
| | 01:38 | In order to transform this, on the Mac we press Command T, on the
PC that's Control T, and then we are going to click and drag this
| | 01:45 | to cover up the entirety of that area, and we are going to
click and drag it down to cover up that whole wall area.
| | 01:52 | Alright, well, for starters, that actually looks pretty good.
| | 01:54 | There is little bit of a problem with the seam
there, I'm going to move that over a tad bit.
| | 01:58 | That looks pretty darn good.
| | 02:01 | Click on the Mask icon to add a mask to this layer.
| | 02:04 | Grab our Paintbrush.
| | 02:06 | We are going to paint with black.
| | 02:07 | We are just going to mask this back in his shoulder.
| | 02:11 | What I think you should do when you are
masking something like this typically is,
| | 02:14 | go a little bit too far, so there I'm going too far.
| | 02:17 | Find out where the shoulder actually is.
| | 02:20 | Once I find out where that is, I can then go
back, let's make sure I've all that there,
| | 02:25 | mask off my seam, I can then go back and fix it.
| | 02:29 | So I will press the X key.
| | 02:30 | So I'm now painting with white, with a smaller brush here.
| | 02:34 | I go in for the detail work.
| | 02:44 | Be real careful to make sure the shape of the shoulder is good.
| | 02:47 | I want it a little bit too far end,
the X key, go from the other way out,
| | 02:51 | and I go back and forth here, I've a nice mask on the shoulder.
| | 02:56 | I think I need a smaller brush there, that's better.
| | 02:59 | The X key, back and forth.
| | 03:01 | If you make a mistake, as I just did, no big deal, just hit the X
key, that's what nice about the Mac; X key flips black and white,
| | 03:08 | so I'm either revealing or concealing what I've going.
| | 03:11 | So here is my before and after.
| | 03:13 | OK. Well, that distraction is nice, except there
is a little bit too much brightness over there.
| | 03:17 | let's darken it.
| | 03:19 | We will darken it by pressing Command J on a Mac, Ctrl J
on a PC to copy this bit of information to a new layer.
| | 03:27 | Next, we are going to change this to a blend mode of multiply.
| | 03:31 | Alright, that darkened it really nicely, except
I don't really like how I've this big seam here.
| | 03:38 | So I'm going to grab my brush, paint with black, make sure
I've a huge brush, so I'm pressing the right bracket key,
| | 03:45 | or check this out, Ctrl click or right
click, gives you access to the Brush Menu.
| | 03:51 | Take a brush here, a pretty big huge one will be nice.
| | 03:56 | Click off of that, and target the mask on that layer,
and then paint away, create a little bit of a seam there.
| | 04:04 | let's click on our I icon so we can see our before and after;
there is our after, here is our before, I'm just evaluating this.
| | 04:14 | Hey, I like that, I like that I darkened that down a little bit.
| | 04:17 | You have got to lower the Opacity of this
layer just a tad, I made it too dark,
| | 04:21 | click on that corner, brighten that up a little bit.
| | 04:24 | Yeah, that looks nice.
| | 04:26 | Command Minus to zoom out on the Mac, Ctrl
Minus to zoom out, let's move this surround.
| | 04:30 | OK, I've a little bit of a darkening on that side, I
like that, it creates a little bit of a natural vignette.
| | 04:35 | Next thing that I need to work on
is the blemish right above his head,
| | 04:38 | whatever was on that column is coming up right out of his head.
| | 04:41 | Create a new layer, click the New Layer
icon, and we will name this Retouch.
| | 04:47 | Zoom in to that portion of the head; Command Plus on the
Mac, Ctrl Plus on the PC, Spacebar to reposition the image.
| | 04:55 | Now, we will grab the Clone Stamp Tool and here
all that we need to do is to have a decent level
| | 05:02 | of Opacity, about 100 might even work for us.
| | 05:05 | We are going to clone this away, bigger brush to start with.
| | 05:08 | As I look at that I realize, lower Opacity is probably going
to work better to blend the tonality of that area together.
| | 05:18 | So I'm changing my brush size.
| | 05:20 | I'm sampling from different areas, so
that means I Option click on the Mac.
| | 05:25 | Alt click on the PC.
| | 05:26 | We work at it from both sides, divide and
concur, click on our before and after there.
| | 05:32 | Yeah, that looks pretty nice.
| | 05:34 | let's double click the Hand Tool, that will
take us to Fit and View, reposition the image.
| | 05:40 | let's see if we are going in a good direction, we can do that
by holding down the Option key on the Mac, the Alt key on a PC,
| | 05:47 | and clicking on the I icon of the background layer.
| | 05:52 | Now, you notice that I'm saying a lot of shortcuts.
| | 05:55 | You also maybe noticed that I'm going pretty quickly.
| | 05:58 | I'm aware that I'm going quickly, and I'm aware that I'm
using shortcuts, my hope is that by repeating these shortcuts,
| | 06:04 | you will pick them up, and I also hope that
you take advantage of play, pause, rewind.
| | 06:09 | If there is anything that isnt clear, go back and watch
it again, or pause the movie and try it for yourself.
| | 06:15 | The last thing that we need to do with this
particular image is darken this bright area here.
| | 06:19 | So will create a new layer and I will call this Darken.
| | 06:23 | In this case, I'm going to grab my
Brush Tool, check out this shortcut.
| | 06:27 | If I hold down the Option key on the Mac, Alt key on the
PC, I can change the Brush Tool into the Eye Dropper.
| | 06:35 | Sample of black that I want to use, which is this black here.
| | 06:40 | Left bracket key to make my brush smaller, and all I'm going to
do is just paint this away, with small brush, darken that up.
| | 06:53 | let's look at our before and after.
| | 06:55 | Alright, we got rid of that little tag, and we have
accomplished what we have set out to do with this image.
| | Collapse this transcript |
| Cleaning up faces| 00:00 | In this movie we're going to be working
on the image annika.tif and dylan.psd.
| | 00:04 | We will start off working on annika.tif, double
click the Zoom tool to take you to 100% percent.
| | 00:10 | Press F to go to full screen view mode.
| | 00:13 | Here we have this great portrait of my daughter Annika.
| | 00:15 | She was running on the beach and she ran up to me,
looked up into my eyes, I just loved that expression.
| | 00:21 | Yet as we zoom in, we notice that there is some food
on her face, because she had just been eating a bagel.
| | 00:26 | So what I want to do is clean up that food.
| | 00:28 | One of the tools I'm going to use is the Spot Healing tool.
| | 00:31 | The Spot Healing Brush is amazing.
| | 00:33 | What I can do with this is simply
click on problem areas to fix them.
| | 00:37 | Now it is a nice idea to create a new layer, click on
the New Layer icon and name that new layer retouch,
| | 00:42 | because with this tool I can choose Sample All Layers
and then I can click on the areas that are blemishes
| | 00:50 | and going through this and do simple
clicks, or small little drags.
| | 00:54 | Be careful dragging things too far,
because if you drag something too far,
| | 00:58 | you will begin to pull in other areas that
you probably don't want to pull in to.
| | 01:04 | Meaning it is going to retouch your sample those
areas which will be a little bit problematic.
| | 01:07 | So for the most part we can see that I can
retouch a lot these small pieces of food this way.
| | 01:12 | And it is doing quite a job for me as far as removing a lot of
this stuff and I have to go over a few areas a couple of times.
| | 01:18 | For the most part I think it's doing a pretty good job here.
| | 01:22 | OK, well, so here's our before and after
so far, removing some of those areas.
| | 01:26 | What about problem areas?
| | 01:27 | Like the lip here.
| | 01:28 | If I go ahead and heal that, a lot of times
what happens is it will bleed in to other areas.
| | 01:34 | In this case, let's do a little bit
further, you can see it is a problematic.
| | 01:37 | If I click right on and I got lucky the first time and it worked.
| | 01:40 | Doesn't always work.
| | 01:42 | In that case, what we are going to need to do is jump to
the Healing Brush; specially when we are in areas like this,
| | 01:47 | Option click an area that's a good source here
with a same similar line and then we can go in
| | 01:55 | and kind of tackle this from another direction.
| | 01:57 | So now I'm Option clicking, and going and
getting the rest of these spots through here.
| | 02:02 | The nice thing about using the actual Healing Brush
is I can do larger areas and larger areas of painting.
| | 02:08 | The Spot Healing Brush really does work
best when you are just getting little spots.
| | 02:13 | So sometimes you'll find it is a
combination of both of these together.
| | 02:17 | Now when you use these it is critical
that you are working on Sample All Layers.
| | 02:22 | In this case I'm on Sample All Layers,
so that I can use this on both layers.
| | 02:27 | And again, if I've an area where I've a line, make
sure I sample an area that has a similar line in it.
| | 02:32 | Heres our before and then our after.
| | 02:36 | Alright, those tools are amazing.
| | 02:37 | Aren't they?
| | 02:38 | They really clean things up quite a bit.
| | 02:40 | There's some more detail work to do.
| | 02:41 | But you see where we are going.
| | 02:43 | I'm going to press Command W for the Mac, Ctrl W on the
PC to close this document and then select don't Save.
| | 02:51 | The next thing what I want to do is work on this
photo, dylan.psd, double click that one to open it up.
| | 02:57 | Double click the Zoom tool to take it to 100%.
| | 03:01 | In this case we notice that Dylan has a lot of dirt
and freckles on his face so it is a mixture here.
| | 03:07 | We need to clean this up.
| | 03:08 | The good old Spot Healing brush is going to
work magic, but we don't want to start clicking.
| | 03:13 | Again create that new layer, name that layer retouch.
| | 03:17 | Choose Sample All Layers and then
go ahead and click through this.
| | 03:21 | The one Healing tool that doesnt work on all layers is the
Patch tool, that's the one that doesn't have that option.
| | 03:28 | The other tools, Healing Brush, Spot Healing Brush, Clone Stamp
tool, they all have those options in order to be able to do that.
| | 03:36 | So I'm going through the image, doing some nice detail work and
I think again, you know where we are going with this stuff right?
| | 03:43 | Just want to showcase how you can you use this and what
it can do for you in regards to improving your image.
| | 03:52 | If you ever get an area that doesnt look good
and you're on a new layer, well, that's fine.
| | 03:56 | Create a layer above that and then even heal on top of that.
| | 04:00 | In this case, that little blemish didn't quite work for me.
| | 04:03 | Ah, there we go.
| | 04:03 | I think I might have gotten it a little bit better there.
| | 04:06 | Here's our now before and after.
| | 04:09 | Alright, well that wraps up at looking at using the Spot
Healing tool and the Healing Brush to clean up faces.
| | Collapse this transcript |
| Improving studio backdrops| 00:00 | In the next couple of movies we are going to
be working on the image kee_photography.psd.
| | 00:05 | Go and open that one up inside the Photoshop.
| | 00:07 | I've to go to full-screen view mode and then zoom-in.
| | 00:10 | Now there are a couple of things that I want to with this image.
| | 00:12 | In this movie I want to work on the
background, in the next movie I want to work
| | 00:16 | on smoothing out some of the wrinkles on the garment.
| | 00:19 | Well, first things first, let's create a new layer by
clicking on the New Layer icon and name this layer retouch.
| | 00:24 | Next we are going to grab one of our retouching tools
that we will use quite often, the Spot Healing Brush.
| | 00:29 | We are just going to hit the real big areas.
| | 00:31 | Now because the backdrop is pretty uniform, meaning
it is all one color; there isnt a ton of gradation.
| | 00:37 | You can actually click-and-drag with this tool quite a bit.
| | 00:40 | So I'm just going to go ahead and
get rid of the major blemishes here.
| | 00:46 | As I make my way through this image and I'm just kind
of looking at these, or look at before and after.
| | 00:51 | Alright, you know that's looking pretty good.
| | 00:52 | Make the brush a little bit bigger.
| | 00:54 | I'm just going to hit some areas where I'm
seeing a little bit of shift in the tone.
| | 01:01 | We will make this background nice and smooth and
we will do that first with our retouching tools.
| | 01:07 | Then we will do something else here in a minute.
| | 01:10 | OK that looks good.
| | 01:11 | Now let's go down and grab the Healing Brush, pretty big brush.
| | 01:15 | And what we are going to do is we are going to sample a nice
area over here to the right and heal away this problem over here.
| | 01:25 | Looks like my healing wasnt quite that good enough because I
brought in some of the model there, a little bit smaller brush.
| | 01:32 | Retouching really is an art, it is not necessarily a science;
it takes a lot of practice, there is a lot of give-and-take,
| | 01:40 | times where you will absolutely nail
it, other times where you won't.
| | 01:50 | Alright, click in through here just getting rid of those
background elements, doing some nice healing there.
| | 01:57 | Now let's do some cloning, grab the
Clone Stamp tool that's big brush here.
| | 02:02 | What we are going to do is just clone out these areas.
| | 02:05 | Now I want to take my Opacity up, that's a little bit too low,
and the tonality of this is going to be a little bit awkward.
| | 02:12 | I want to get the majority of that shape
out and then I'm going to work on the tone.
| | 02:17 | So now that I've the majority of that
shape out, I'm going to merge my layers.
| | 02:22 | Back on a retouch; merge those layers, here
is a really important shortcut for you.
| | 02:27 | First I will give it to you on a Mac.
| | 02:29 | it is Shift+Option+Command+E, on a PC that's Shift+Alt+Ctrl+E.
| | 02:35 | What that does is it merges the underlined layer to a new layer,
| | 02:38 | and that's something that you are
going to use quite often in retouching.
| | 02:43 | Now that we've merged those layers we can use the Patch tool.
| | 02:46 | We are going to make a pretty good patch selection here.
| | 02:50 | Notice that I'm clicking outside of the
document Window to get right along the edge.
| | 02:56 | Now that I've that good patch, I'm going to click-and-drag
this down careful to not get into the models hair there.
| | 03:02 | Command+D to deselect, let's see how that's working.
| | 03:05 | Hey! So that's working pretty well.
| | 03:07 | I can go and fix a couple other areas that I need
to work on also; a little bit too bright there.
| | 03:13 | Command+D to deselect, I don't necessarily like that
seam there, it is a little bit too dark over here,
| | 03:21 | my circle is kind of haphazard there, but I
kind of think of it like lassoing something.
| | 03:29 | You just kind of trying to capture it, may
be take you a couple of sweeps to get it.
| | 03:35 | Alright, I'm then going to go down along the right
side of the document here and move that over.
| | 03:40 | I'm going pretty quick at this point and
so some of my lasso selections arent ideal.
| | 03:46 | Maybe what I'm trying to I get at with that
is that, it doesnt necessarily need to be.
| | 03:51 | You just want to crank through the file, look for areas
where there is tonality, itll be nice to try and flat now.
| | 03:56 | Look for any repeating patterns that
are problematic; look for dark tones;
| | 04:01 | and so far so good I think we are
cleaning up the background really well.
| | 04:04 | We are doing this with a mixture of the Healing
Brush, the Spot Healing Brush and the Patch tool.
| | 04:10 | let's take a look at our before and after.
| | 04:12 | We can do that by holding on the Option key (Mac), Alt key
(PC) and clicking on the Eye icon of our background layer.
| | 04:18 | I will zoom-out so I can see that before and after.
| | 04:21 | OK, so far so good.
| | 04:22 | I think that background is looking nice.
| | 04:24 | Now the next thing that I need to
do is smooth out the background.
| | 04:27 | The way that I'm going to do that is with Click+Select,
I'm going to go ahead and click and paint across the model.
| | 04:35 | Now what Click+Select is going to do for me is
going to create a selection that isnt perfect.
| | 04:42 | Although, it should work pretty well
for me because I'm going to be able
| | 04:46 | to modify the selection, I'm also
going to use this to create a mask.
| | 04:49 | So again I'm just clicking and painting and trying to get the
majority of the model selected; make sure I get some of her hair,
| | 04:56 | if I do a real small brush, actually to
zoom-in and get a lot of that hair there.
| | 05:02 | But I'm going to just leave it a little bit rough.
| | 05:04 | Next, I'm going to hold down the Option key (Mac), Alt key
(PC) and subtract the mid part here between models legs.
| | 05:12 | So I make sure to just have the model.
| | 05:16 | that's looking all right.
| | 05:17 | Not perfect anyway, shape or form, but it is looking all right.
| | 05:20 | let's click Refine Edge.
| | 05:22 | Now, when I go to Refine Edge I've the ability to dial-in
this edge, I can contract it or expand it as needed.
| | 05:29 | May we go a little bit wider, a little
bit more Feather because what we are going
| | 05:33 | to do is we are creating a selection here
so that we can blur out the background.
| | 05:37 | We don't want to blur the subject.
| | 05:39 | So I've a pretty wide selection meaning it goes a little bit past
the models shoulders there, the radius increased a little bit
| | 05:46 | and I'm just visually looking at what I think is going to work.
| | 05:49 | I want a little bit of a soft transition
there so that the model will not be softened.
| | 05:55 | Click OK. Now that I've the model selected, I will create a
new layer by clicking-and-dragging Merge to the New Layer icon
| | 06:03 | and I will name this new layer by
double-clicking on the name there bg_blur.
| | 06:11 | Now that I've background blur I will click
on the Mask icon, and when I do that I need
| | 06:16 | to turn off my other layers to see
if I'm going in the right direction.
| | 06:19 | Well, I definitely have the model by
herself, that's actually what I don't want.
| | 06:23 | But the nice thing about Masking is that all you need to is
invert your Mask that's Command+I in a Mac, Ctrl+I on a PC.
| | 06:31 | So as we can see here for the most part I've the background.
| | 06:35 | Clicking the icon for the background,
navigate to Filter, Blur, Surface Blur.
| | 06:43 | What Surface Blur will do for me is blur out the background,
that's looking really nice, may be a little bit too high.
| | 06:54 | And I don't need to worry about the subject there because
I'm masking that off, I'm just looking at the background.
| | 07:00 | Down here, that's pretty good, click OK.
| | 07:05 | Now let's turn on our other layers and see what happens.
| | 07:08 | So heres our before and after.
| | 07:10 | You probably not even be able to see that unless I zoom-in.
| | 07:13 | So let's zoom-in, heres our before and after.
| | 07:15 | Where you can see it just minimized the variation of background,
| | 07:19 | it kind of blurred those elements
together, made it much more smooth.
| | 07:23 | There is no effect to the model because she is masked off.
| | 07:26 | Now there may be a little bit effect around her hair, but for
the most part what I'm seeing is that looks really, really good.
| | 07:35 | I've definitely cleaned up that background, I've made it
little bit more uniform, the background is now good to go.
| | 07:43 | In the next movie, we will work on wrinkles.
| | Collapse this transcript |
| Removing wrinkles in garments| 00:00 | In the previous movie we cleaned up the background.
| | 00:02 | In this movie we are going to work on wrinkles.
| | 00:06 | Go and zoom-in to the image, and as we zoom-in to the image,
one of the things that I notice is that there are some wrinkles
| | 00:11 | in the dress that really need to be worked on.
| | 00:13 | So go ahead and create a New Layer with a shortcut.
| | 00:16 | The shortcut I'm going to use which is one I use quite often
on a Mac is Shift+Command and on a PC that's Shift+Ctrl+N.
| | 00:24 | We will call this layer wrinkles.
| | 00:27 | Of course you can always click on a
New Layer icon that's fine as well.
| | 00:31 | we will zoom-in a little bit more.
| | 00:33 | What we have to do here is grab the Clone Stamp
tool, shortcut key is S or grab it in the toolbox.
| | 00:40 | Make a nice small brush size, We
are going to take our Opacity down.
| | 00:44 | Now if you have one of the tools in the
toolbox, you can actually hit the number keys.
| | 00:48 | Watch this I hit the 5 key and it will change the
opacity, and left bracket to change my brush size,
| | 00:54 | I'm option+clicking to get a good source area.
| | 00:57 | What I want to do is just go through this
file and slowly build up this wrinkle removal.
| | 01:04 | Now I want to make sure to try to sample from good
areas, notice I'm kind of moving left to right;
| | 01:09 | I may need to go smaller here, get the wrinkles out of that area.
| | 01:14 | If I see a repeating pattern which I do a little bit on my
screen and I go in and sample from a different area, although,
| | 01:20 | I want to try to have the light work in a similar way, in
a sense that I don't want to change the contour too much.
| | 01:28 | We are going to fix the contour later, but, so far so good.
| | 01:33 | I'm just going through and retouching this a little bit, trying
to grab from similar areas looking at the color and tone,
| | 01:40 | because really wrinkles are just showing you that light
has been caught somewhere, so I'm Option+Click and I paint.
| | 01:46 | I'm doing this at a pretty low opacity because I don't want to
be too heavy-handed because with garments it will give it away.
| | 01:54 | Now a couple of wrinkles will need
more so let's take the opacity up.
| | 01:58 | So that one right there needs a little bit more, it is down here;
take my opacity back down, so to bring over that highlight there,
| | 02:09 | so to bring this highlight over a little bit as well.
| | 02:12 | Even things out a little bit.
| | 02:14 | I think we are going in a good direction.
| | 02:16 | let's see how we are doing.
| | 02:17 | Heres our before and after, so far so good, I think the
image is looking better, regards to the wrinkles or what not.
| | 02:25 | So let's see what else we can do to fix these up.
| | 02:28 | I'm going to sample this area.
| | 02:29 | I paint that in.
| | 02:31 | What a detail work here.
| | 02:33 | I'm not going to do too much detail work because
I think you get where we are going with it.
| | 02:38 | But I think that looks nice.
| | 02:39 | Now once we've done that we need to work a little bit on
the overall shape here of the wrinkles and of the dress.
| | 02:46 | So I need to just lower this line here a little bit.
| | 02:49 | So I'm sampling high and I'm going to go ahead
and clone it over, and the reason I'm doing that,
| | 02:54 | so you notice that it wasnt quite going the right direction
so I brought that highlight line down a little bit.
| | 03:01 | The next thing that I want to do is some Burning and Dodging.
| | 03:04 | So I will create a New Layer by clicking on the New Layer icon.
| | 03:08 | Choose a Blend mode of soft light, and I'm going to sample a dark
tone here, with a brush tool selected D key and then they hold
| | 03:17 | down Option or Alt and I click on one of these dark tones.
| | 03:21 | I want to burn and dodge with this tonality, I don't want to
do it with black because I wanted to kind of match the dress.
| | 03:26 | Then I want a pretty low opacity.
| | 03:28 | So I'm going to go to a 30% opacity.
| | 03:30 | I'm just going to look to kind of bring in
a little bit more shadow underneath here.
| | 03:36 | Little bit shadow up top.
| | 03:40 | Bring back a little bit of the shape
because we have changed the shape of things.
| | 03:48 | All of our wrinkle removal, so let's
look at our before and after.
| | 03:51 | OK so, so far so good, a little bit
too intensive; lower the opacity.
| | 03:55 | Bring out a little bit of the texture back.
| | 03:57 | Now if the color doesnt match exactly
do a curves adjustment to this layer.
| | 04:01 | You can do a curves adjustment to this layer by
pressing Command+N on the Mac, Ctrl+N on the PC,
| | 04:06 | and then here we can dial in the
intensity; the brightness; the color.
| | 04:11 | I'm just staying right about there, I think it looks good.
| | 04:13 | Heres our before and after.
| | 04:15 | Alright, now I need to bring a little bit of a highlight in.
| | 04:17 | we will go to select Color Range and we are going
sample this highlight that we have right here.
| | 04:22 | that's actually pretty good, right up top there.
| | 04:25 | Add a little plus to that, get some more of this highlight in.
| | 04:28 | let's see how that selection is.
| | 04:30 | That may be tad bit too strong, so I will deselect that.
| | 04:33 | Select Deselect.
| | 04:35 | Actually I think its way too strong as I see it.
| | 04:38 | Try to get that bright area there but not quite as much of it.
| | 04:41 | There you go, click OK.
| | 04:43 | Now that I've that, I will create yet another layer.
| | 04:47 | This will be my layer for my highlights.
| | 04:49 | We name the other layer that I forgot
to name, that one shadows, right.
| | 04:52 | So here is highlights.
| | 04:54 | So what I'm going to here is grab white in my Color Picker.
| | 04:57 | I'm going to paint with white or fill that with white paint.
| | 05:00 | it is pretty easy, so here I've some nice white, just
following those highlights that are already there.
| | 05:06 | Deselect by pressing Command+D or Ctrl+D.
| | 05:09 | So we have some nice highlights.
| | 05:10 | Although, they look weird, don't worry, we are
going to go to Filter, Blur, Gaussian Blur.
| | 05:16 | Blur out those highlights, smooth the
garment out just a little bit as well.
| | 05:19 | Click OK, take this to a Blend mode of Soft Lights.
| | 05:24 | So there we have our soft light, it just brightens it up
a little bit, adds a little bit more to the highlight.
| | 05:30 | let's take a look at our before and
after for the wrinkle removal.
| | 05:35 | Heres how we can do that, click on these layers holding
down the Shift key and we are going to put these in a group,
| | 05:41 | we can do that on a Mac by pressing
Command+G for Group, on a PC that's Ctrl+G,
| | 05:48 | important retouching shortcut there, write that one down.
| | 05:51 | Command or Ctrl+G puts those in a group.
| | 05:54 | Why is that important?
| | 05:55 | Well, now I can see my before and after, I can say,
you know, was that a good edit, was it too strong,
| | 06:01 | perhaps, I could lower the opacity if I went too far.
| | 06:04 | Bring a little bit of the wrinkles back, so I
don't need it to be just exact satin tab it there.
| | 06:09 | Heres my before and after.
| | 06:11 | Yeah, I think that's pretty good.
| | 06:12 | Zoom-out, see if we are going in the right direction.
| | 06:15 | I think we are, we have successfully
removed some wrinkles from the garment.
| | Collapse this transcript |
| Reducing hot spots| 00:00 | In this movie, we are going to learn a really important
retouching technique, and that is how do we deal with hotspots.
| | 00:06 | This is a spot on peoples faces that are just too shiny.
| | 00:09 | we are going to work on this image reis_hot_spots.
| | 00:12 | Go and open that one up inside a Photoshop.
| | 00:14 | I've to go to Full-Screen View mode
and then zoom in a little bit.
| | 00:17 | We have this great photograph from
one of my students Chris Reese (ph).
| | 00:20 | Thanks a ton Chris.
| | 00:21 | One of the things you will notice is that there
are some bright spots on the forehead, on the nose,
| | 00:26 | on this part of the cheekbone, and
what we want to do is bring those down.
| | 00:29 | Now, in this particular case, those hotspots arent horrible.
| | 00:32 | Although, it would be nice to bring those down just a bit.
| | 00:35 | What we are trying to do here is simulate what would have
happened, how if there would have been a makeup artist,
| | 00:39 | they put more powders in this portion of the head.
| | 00:41 | That wouldn't have been as shiny.
| | 00:42 | you will notice that this isnt as shiny as
the nose because there's more makeup up here
| | 00:46 | because that absorb the light versus reflect to the light.
| | 00:49 | Skin can tend to be a little bit shine.
| | 00:51 | Well, how can we reduce those hotspots?
| | 00:53 | OK. First things first, we are going
to need to copy our background layer.
| | 00:57 | So let's click and drag that to the New
Layer icon and name this new layer Hotspots.
| | 01:03 | Next, navigate to the Select dropdown
menu and choose Color Range.
| | 01:07 | Here we are going to select one of the hotspots.
| | 01:10 | What I'm looking to do here is to decrease my fuzziness.
| | 01:13 | So I just have the cheek, the forehead and the nose.
| | 01:17 | Now, I'm guessing that with this particular
image, we are going to have one layer
| | 01:20 | for the cheek and the forehead and another for the nose.
| | 01:22 | But, let's just go ahead and make a
selection with all of those areas.
| | 01:26 | We have right next the eye there as well, that might help us out
quite a bit, and be a little bit generous there and click OK.
| | 01:34 | Now, that I've a selection of those areas,
I'm going to click on the Mask icon.
| | 01:38 | Now, the mask that I've created actually isnt very good.
| | 01:41 | It will be hard to see.
| | 01:42 | So we need to learn a Mask shortcut in order to
be able to deconstruct the Mask and fix it up.
| | 01:48 | On the Mac, that is, holding on the Option key,
on a PC, the Alt key and clicking on the Mask.
| | 01:54 | How cool is that.
| | 01:55 | that's a really important retouching shortcut for you.
| | 01:58 | Again, Mac Option+Click the Mask, PC Alt+Click the
Mask, it takes it to this black and white view mode.
| | 02:04 | Then grab your Brush tool, that's the B key.
| | 02:07 | I'm pressing the Right Bracket key
right now to get a bigger brush.
| | 02:10 | What I'm going to do is just paint
away these other areas of the image.
| | 02:13 | Those bright areas are fine.
| | 02:15 | I don't need to work on those.
| | 02:17 | I really want to focus-in on the face and
on here on the lip that's probably fine too.
| | 02:22 | That eye is fine, up here in the hair, that's OK as well.
| | 02:26 | I think that's pretty good, on a Mac,
Option+Click the Mask, on a PC, Alt+Click the Mask.
| | 02:32 | Alright, well now that we have this Mask defined and what
it is doing is just showing through to those hotspots.
| | 02:38 | we are going to change the Blend mode of this layer.
| | 02:40 | we are going to change it to Good Old Multiply.
| | 02:43 | Quick word of warning, this won't look good
initially; we are going to make it look good.
| | 02:48 | So heres our before and after and you know
what, that actually looks pretty good.
| | 02:52 | It looks better than I thought.
| | 02:53 | We want to lower the Opacity a little
bit because that's much too intense.
| | 03:00 | it is looking pretty good for the forehead especially.
| | 03:03 | The other thing that we are going
to need to do is blur that mask.
| | 03:06 | Currently, if we look at the mask, it is actually pretty intent.
| | 03:09 | So I'm going to go ahead and look at it this way and
navigate to Filter, Blur, Gaussian Blur and when I do that,
| | 03:15 | you can see I'm creating a little bit of transition
around that mask so that it is not quite so defined.
| | 03:20 | That will help me out quite a bit, click OK.
| | 03:23 | Now, this final adjustment is pretty subtle.
| | 03:25 | Some people may not even notice the difference.
| | 03:28 | You may not be able to see it in this particular movie.
| | 03:30 | One of the things you will find is when youre working
on your own images blurring that mask that youve created
| | 03:35 | from Color Range really helps out that Color Range selection.
| | 03:38 | I'm going to zoom in a little bit so I can see whats happening.
| | 03:41 | Heres my before and after, definitely
brought down on that spot up there.
| | 03:45 | The cheeks looking a little bit better, the nose is looking
a little bit better, but I need some more for the nose.
| | 03:50 | The nose isnt quite good enough.
| | 03:52 | So I'm going to zoom in even further to the nose and a couple
of things that I could do here, one is copy this layer.
| | 03:59 | Click and drag it to the New Layer icon.
| | 04:01 | Now I've a little bit more of that.
| | 04:03 | You can kind of see double the intensity
and over here that looks good.
| | 04:06 | let's take a look at our forehead up top.
| | 04:09 | That looks fine, the forehead.
| | 04:10 | I tell you what, that's actually too dark.
| | 04:12 | So I'm going to go ahead and grab black in my Color
Picker and paint with black not there, but on the Mask.
| | 04:21 | Click on the Mask and paint with black
that darken that up just too much.
| | 04:25 | Id say the eye that looks fine; the nose looks fine, a
little bit too dark there so I'm going to paint that away.
| | 04:32 | OK, so we are building up the density
here, we are darkening these tones down.
| | 04:37 | Well, we need to work on the nose a little bit more.
| | 04:39 | let's zoom in, Command+Plus to zoom in on a Mac, Control+Plus
on a PC, create a New Layer and we will name this layer Nose.
| | 04:47 | we are going to work on the nose there.
| | 04:49 | we are going to grab the Clone Stamp tool.
| | 04:51 | Take our Blend mode to Multiply, lower the Opacity.
| | 04:55 | we are going to lower it way down.
| | 04:56 | let's try something in the teens there, how about 13.
| | 04:59 | Now, what I want to do is I want to make my brush about
the size of that initial spot using the Clone Stamp tool
| | 05:05 | on Multiply will darken something that's too bright.
| | 05:08 | This is going to work out incredibly well in a number of
different situations while we are retouching our images.
| | 05:13 | let's try it here.
| | 05:15 | Word of warning, too much of this and you can run into problems.
| | 05:19 | Let me show you the problem, well my
Opacity is low so that looks pretty good.
| | 05:23 | it is a little bit of a safety-net for myself.
| | 05:27 | let's crank the Opacity up and then let me show you the problem.
| | 05:30 | OK, there is the problem, the dark spot on the nose.
| | 05:32 | I don't want that.
| | 05:33 | So trick is real nice, low Opacity and gosh, that's even too
high, so may be - it was good we started in the teens there,
| | 05:43 | make your brush a little bit smaller to work on
the edges of that, and yeah this is detailed work.
| | 05:49 | it is a lot of what retouching is about.
| | 05:51 | it is not necessarily rocket science, but it is having
some patience working on the image and hey, it is worth it.
| | 05:58 | we are going to make a better image as a result of this.
| | 06:01 | Heres my before and after and I'm going
to lower my Opacity just a tad bit,
| | 06:05 | so I've a little bit of blending there, my before and after.
| | 06:08 | Now let's zoom out and see how we are doing.
| | 06:11 | Again, there is before and after.
| | 06:13 | let's take a look at all of these layers.
| | 06:15 | Here is before and then after, we've definitely
brought down the shininess on the face there.
| | 06:21 | One of the things I like to do with retouching
like this is to combine these layers into a group.
| | 06:27 | Click and Shift+Click, on a Mac, press
Command+G, on a PC, press Control+G.
| | 06:33 | Now we have that whole set of adjustments in one little group.
| | 06:37 | we will call this group Hotspots and we can then lower
the opacity; we can mask that group if we need to.
| | 06:44 | So a lot of times what I find is I tend to
retouch my images a little bit on the heavy side.
| | 06:49 | It helps me to find my edges; it helps me
determine if I'm going in a good direction.
| | 06:54 | In this case I would say, yeah I'm going in a good direction,
but it is just a little bit too much backing it off,
| | 06:59 | it makes it look much more natural and I think we
have definitely accomplished what we set out to do.
| | 07:04 | Keep in mind that this technique works on all different
types of skin types, all different kinds of people.
| | 07:09 | it is an incredibly valuable skill
to have when retouching people.
| | Collapse this transcript |
| Removing flyaway hairs| 00:00 | In this movie, we are going to be learning something
that is quite important in regards to retouching people,
| | 00:05 | and that is how do we deal with flyaway hairs?
| | 00:08 | This is something that we come across
so often while retouching people.
| | 00:12 | So go ahead and open up the file fly_aways.tif.
| | 00:14 | This is the photograph from New York
based fashion photographer Jenny Kim.
| | 00:19 | let's zoom-in on this image, and one of the things that we
notice is that there is a hair that's going into the mouth.
| | 00:25 | we will zoom-out a tad bit, we also notice
that this area, well, it is part of the image,
| | 00:28 | therere few hairs that are just a little bit out of control, like
this patch over here and perhaps some other hairs in the image.
| | 00:35 | Well, let's work on a piece of hair that's going into the mouth.
| | 00:38 | Create a new layer and we are going
to create a new layer with a shortcut,
| | 00:41 | that is Shift+Command+N on the Mac, Shift+Control+N on the PC.
| | 00:46 | we will call this one hair mouth.
| | 00:50 | Now, this is the original image as captured, no retouching yet.
| | 00:54 | This is our initial cleanup.
| | 00:56 | we are going to go ahead and zoom-in, Zoom-in even
further so we can really see that little hair.
| | 01:01 | we are going to use the Healing Brush initially
so I'm going to grab the Healing Brush.
| | 01:06 | Make sure in my Option bar I've checked Aligned.
| | 01:08 | To be able to align my sample point as well as
where I'm retouching, that's really important.
| | 01:13 | Option+Click, right underneath that piece of hair,
and what I'm looking to do here is to sample tonality
| | 01:18 | that matches the same tonality where the hair is.
| | 01:29 | Well, the face is relatively easy.
| | 01:31 | Now when I get to this edge over
here I need to zoom-in even further
| | 01:34 | because we noticed we have something that's
pretty distinct, the distinctive line in the face.
| | 01:38 | Clone Stamp tool is going to save the day there.
| | 01:41 | Go ahead and go to Normal, 100% pretty small
brush here, Option+Click and then move up.
| | 01:48 | One of the things you will find that
when youre creating an edge you will need
| | 01:51 | to experiment a little bit so that you get just lined up perfect.
| | 01:56 | that's pretty good and I go on this side.
| | 02:00 | I'm looking to do is to try to create a nice even line there
and I can go in and get rid of the rest of those hairs this way.
| | 02:08 | This gets a little bit easier because I don't need to recreate
the line of the jaw, but that jaw line is incredibly important.
| | 02:15 | There is a problem with that jaw line,
it just going to be a dead giveaway
| | 02:18 | that the retouching wasnt very good and
there's something weird is going on.
| | 02:21 | Sometimes with retouching if it is not good,
we just kind of second guess the image.
| | 02:27 | It may be more of a feeling that something we can pinpoint.
| | 02:30 | Alright, let's look at our before and after.
| | 02:32 | Well, that looks pretty nice for the most part.
| | 02:35 | I would like to improve this a little bit here.
| | 02:37 | So I'm going to increase my brush, lower my Opacity
and Option+Click and then just paint this through here.
| | 02:44 | I want a little bit more of that, a natural line
following that there, perhaps paint some of that away.
| | 02:50 | OK, that looks good.
| | 02:52 | let's move over here to the lips.
| | 02:54 | Oh, no, this is going to be tricky.
| | 02:56 | For the start we will go ahead and
crank up our opacity, zoom way in.
| | 03:00 | One of the things that's going to be important when we are
retouching something like this is of course Option+Clicking
| | 03:06 | from the same source area, but then, we are going to
need to zoom so far in it is going to be ridiculous.
| | 03:13 | So I'm going to do the major work here and to
make sure I don't mess up any of those highlights.
| | 03:19 | I'm going to go ahead and do some pretty big
improvements here looking to pull out the color.
| | 03:28 | I don't want the color or the brightness of that.
| | 03:31 | When it gets to these lips I want to try to follow the
direction of the lip because therere lines on it as you can see.
| | 03:39 | This is just going to be a lot of detailed work.
| | 03:41 | So all I'm doing is Option+Clicking painting, Option+Clicking,
Option+Clicking slowly, slowly, slowly working on the image.
| | 03:50 | Now sometimes when I'm doing something like this, I will
zoom-in so far the image will actually become unrecognizable.
| | 03:59 | In that way I can really focus-in on the color that
I need to remove because that's really what it is.
| | 04:03 | it is color and brightness, it is the
problem so I can go ahead and work on that,
| | 04:07 | work on it from both sides, kind
of do a divide and conquer thing.
| | 04:11 | Now some people may be thinking, OK,
that's a little bit of an overkill.
| | 04:14 | Well, yeah, it could be, some images you don't need to go on
that, for other images, you might need to, to really get it out.
| | 04:24 | What I find those when I do go on that far
sometimes I overlook important aspects of the retouch
| | 04:31 | that I've neglected to see because I was so far in on the image.
| | 04:35 | Alright, so you got the gist here, we are going to keep doing
this, keep getting our details out and detail, detail, detail,
| | 04:42 | go from one side and the other, different brushes,
I want to try different brush opacity now to bring
| | 04:48 | in some of the other lip texture on top of that.
| | 04:51 | When we get really close to these seams, also
going to need to try to do some opacity stuff.
| | 04:57 | So I've a low-opacity right now.
| | 05:00 | Now when I get to the portion of the mouth, what I think I'm
going to do there is actually increase my Opacity and I'm going
| | 05:07 | to reshape this mouth a little bit,
pressing the left bracket key.
| | 05:12 | I'm going to go ahead and do some fine-tune
work here, paint that away, paint that away.
| | 05:31 | wouldn't it be so much easier if you
could just catch these mistakes on camera?
| | 05:35 | it is a lot of the trick of retouching this good photography, but
sometimes we don't, sometimes it happens and we just have to deal
| | 05:41 | with it, but it definitely does make you
think, hey, let's get it right from the get-go.
| | 05:46 | OK, so I've kind of reshaped the mouth a little bit
there because I thought itll be nice to prevent the lip
| | 05:51 | from sticking to the tooth like it was right there.
| | 05:54 | And we are getting that hair out for the most part.
| | 05:56 | There is a little bit more work that we need to do.
| | 05:58 | I'm looking at my before and after but we
are definitely going in a good direction.
| | 06:03 | it is like I want to pull some more of the hair out over here.
| | 06:06 | I would go through and do that, and so
that I don't completely low you to sleep
| | 06:12 | with my detail work I think you get where I'm going.
| | 06:15 | I'm going to wrap this up, but I'm going to leave this and say
that it is detail, detail, and detail again and you kind of feel
| | 06:25 | like I need to spend some more time working on that detail.
| | 06:27 | But let's jump to another important detail which is
the flyaway hair up top which is a little bit bigger.
| | 06:33 | So I'm going to create a new layer by clicking on
the New Layer icon and I will call this hair top.
| | 06:39 | Now, one of the things that you want to do when youre working
with hair up here, you can of course retouch and Option+Click
| | 06:44 | and paint away and go ahead and get the big pieces.
| | 06:47 | But what will happen when you are doing these bigger pieces and
youre grabbing the background to retouch them is the connection
| | 06:55 | with the hair that currently exists becomes incredibly important.
| | 06:59 | So I want to make sure that things don't look
fuzzy and that therere natural ending points,
| | 07:04 | meaning the hair shouldn't just kind of fade away but
it should kind of naturally end and to be super careful
| | 07:10 | that I don't wreck this particular piece of hair.
| | 07:12 | I can get close to it but I don't want to wreck it, and if
I do want a piece of hair to end, let's say like this one.
| | 07:18 | I want to create a little bit of a trail off.
| | 07:20 | I'm kind of trailing that off just a tad bit there so it fades.
| | 07:24 | Heres my before and after may be I could
cap that going off just a tad bit more.
| | 07:28 | I don't want it to be too drastic, too noticeable.
| | 07:31 | it is nice sometimes if you can create a little bit
of a transition for yourself or find transition areas
| | 07:37 | that just fit naturally with the way the hair is going.
| | 07:39 | So this as youve guessed is a lot of detailed
work, a lot of clone stamping and digging
| | 07:44 | in there to the details, pulling away those flyaways.
| | 07:47 | Couple of things to think about when youre doing this,
sometimes what works best is healing and I find with hair,
| | 07:53 | the majority of the time it is actually
cloning and it is real detailed clone work.
| | 07:57 | let's zoom-out to see how we are doing with
this image so far a little bit closer there
| | 08:02 | and heres our before and after, simple, subtle, yet significant.
| | 08:08 | We need to do some more detailed work a little bit more over here
under the ear and a little bit more over here on the right side
| | 08:13 | of the hair and up top it would be nice to get rid of
some of those up there, and we go about accomplishing
| | 08:19 | that with the same technique we've
been using all along in this movie.
| | Collapse this transcript |
| Cleaning project 1: Face| 00:00 | One of the things that I've tried to emphasize in
this training is that it is important to clean things
| | 00:04 | up first and then to work on your enhancements.
| | 00:07 | Now, well, I believe that to be true, there is a little bit of a
blurring aligned between what is cleanup and what is enhancement.
| | 00:12 | As we get in that fashion and beauty, I
find that the line is blurred even more.
| | 00:16 | In this movie, we are going to look at
how we can cleanup this particular image,
| | 00:20 | so go ahead and open it up, it is called beautycleanup.psd.
| | 00:24 | Open that one up inside a Photoshop, have to
go to Full-Screen View mode and then zoom-in,
| | 00:29 | you will noticed that I've included a few notes for you in
regards to a couple of the areas that we want to work on.
| | 00:34 | OK, well, let's go ahead and begin to work on those areas,
what we are going to do is click in the background layer
| | 00:40 | and then create a new layer by clicking
on that Create New Layer icon inside
| | 00:44 | of the Layers palette, and we will name this layer wrinkles.
| | 00:48 | I'm going to zoom-in down here on
this lower portion in the image.
| | 00:52 | What I want to do is, I want to do remove some of these wrinkles.
| | 00:55 | The best way to do this is probably going to be with
our Healing Brush, a number of different tools who work,
| | 01:00 | the Clone Stamp tool on a Blend mode would be really nice.
| | 01:03 | I'm just going to go ahead and go through this and
remove these wrinkles and make my way around this image.
| | 01:09 | What I'm looking to do is try to pull
out just the definition of the lines.
| | 01:13 | Sometimes I'm going to use a bigger brush, use a
left or right bracket key to make bigger brush,
| | 01:18 | sometimes I'm going to use a smaller brush,
and again, I'm trying to sample a source area,
| | 01:24 | it is very similar to the tonality
of the area that I'm working on.
| | 01:26 | I'm just going to go ahead and make my way through here.
| | 01:37 | I'm going to look to reduce these quite
a bit, left bracket key, smaller brush.
| | 01:43 | That wasnt very good one, so I need to click
really close to this particular wrinkle,
| | 01:49 | get right in there, this Healing Brush doesnt work.
| | 01:52 | I'm going to go the Clone Stamp tool, it doesnt work.
| | 01:54 | So let's go to the Clone Stamp tool, we are going to take this
to Lighten, Opacity really low, let's try and team somewhere
| | 02:02 | about 15%, that sounds good, 16%, and then I'm going to
Option+Click, nice big brush, I want soft edges on my brush,
| | 02:11 | majority of retouching, youre going to use really soft edges
to make the brush even bigger now, even lower percentage there.
| | 02:18 | Option+Click set a new point, pick
a little bit of transition there.
| | 02:23 | I'm going to go through some of my other wrinkles
with this Lighten on, I just diminish these,
| | 02:36 | kind of think of this as burning and dodging, but you
are burning and dodging with the Clone Stamp tool.
| | 02:41 | Now some people may be thinking, OK, well, this
stuff is out of focus, how important is it?
| | 02:45 | Well, hey, I think it is pretty important, let's look at
our before and after, just adding a little bit of a change
| | 02:50 | to the neck there, here is our before,
here is our after, alright, nice cleanup.
| | 02:54 | let's go up to the face here, what are
some other things that we need to do?
| | 02:57 | We worked out on wrinkles, let's go ahead and do something
that maybe a little more dramatic and let's work on the eye.
| | 03:03 | we will zoom-in to the eye up there, and
notice that I've a few little problem areas.
| | 03:07 | So I'm going to go ahead and select a small brush.
| | 03:09 | Now, right now I'm on Lighten blend mode 3%, if I take that
up, it could even diminish those little dots in the eye there,
| | 03:19 | I could diminish some other blemishes I've on the face.
| | 03:22 | Just little wrinkle underneath the eye,
that's going to be really tricky to pull of
| | 03:27 | and I could a little bit, hit it just little lightly here.
| | 03:31 | Take that back just a tad bit, there is my before and after,
| | 03:34 | removing some of those blemishes,
I work around the rest of the eye.
| | 03:37 | Now, I'm going to work on this portion, I'm going to zoom-in
here, the way that I'm going to tackle this is two-fold.
| | 03:43 | First I'm going to create a new layer and I will call this eye.
| | 03:47 | Next, I'm going to grab my Brush tool, hold down the Option
key (Mac), Alt key (PC) sample, the color there in the eye.
| | 03:54 | I'm going to paint on top of this white area.
| | 03:56 | Now this is not going to look perfect which I'm aware of.
| | 04:00 | Yet you know how this stuff works, right, you progress into this.
| | 04:03 | Then I lower the Opacity just to kind of knock
the overall brightness out of there, OK, great.
| | 04:09 | Now I create a new layer, and I will call this eye2.
| | 04:13 | Grab my Healing brush, and now that I've it
somewhat normalized, I can go in and Option+Click
| | 04:21 | to set my sample points going here, cleanup this.
| | 04:26 | I want to try to cleanup an area so I've a good area to sample
from, so I'm just going to go through here, little bit bigger
| | 04:37 | and then Option+Click, make my way
through this portion in the eye.
| | 04:42 | Take a look it how that's turning out.
| | 04:45 | One of the things I'm noticing is it is not quite clean
enough, so I'm going to grab the Clone Stamp tool.
| | 04:50 | Clone Stamp tool, I'm actually going
to clone on Normal about 70%.
| | 04:57 | Again details, details, details...
| | 05:00 | rule when you are retouching and we are zoomed
way in, and we are just Option+Clicking,
| | 05:06 | we are looking at tone, because what
tone does is it defines shape.
| | 05:10 | Now, we don't want this just to go appear white or appear
color that looked kind of funny, but we do want to clean it up.
| | 05:17 | A Clone Stamp was the Money Tool for this particular retouch.
| | 05:20 | There is my before and after, so heres that eye before, heres
that after, and I could attack those wrinkles the same way.
| | 05:27 | I want to make sure that I'm sampling areas that are very
close to the eye to uphold those out, bring those down.
| | 05:34 | that's not intent of this movie, that's gets into enhancement
a little bit too much, but sometimes I just can't help it,
| | 05:42 | Healing brush, kind of heal that spot in the
eye right there, I got to get rid of that one.
| | 05:47 | As long as I'm here, as long as I'm
noticing it, I'm cheating a little bit,
| | 05:50 | I'm jumping ahead of myself, but
still I think that's kind of nice.
| | 05:53 | OK, let's zoom-out, see how we are doing.
| | 05:56 | So far so good, we starting the cleanup this image, we worked
on that part of the eye, some of those little blemishes,
| | 06:01 | there is quite a bit more that could be done.
| | 06:03 | In particular itd be nice to work on these hairs up here.
| | 06:06 | Now a couple of different techniques we
can use for that, create a new layer,
| | 06:10 | and we will call this forehead, and turn off our Notes layer.
| | 06:14 | Now we are going to grab the Healing brush or the Clone
Stamp tool, probably Clone Stamp, probably try to lighten.
| | 06:22 | Why am I saying "probably"?
| | 06:24 | Why don't I just know?
| | 06:25 | Well, it kind of depends on the tonality of the skin,
| | 06:28 | and it also depends on how we are going
to tackle this, how much time we have?
| | 06:32 | You notice right now, I'm kind of building up the retouch
and that's a lot of the ways the best retouching happen.
| | 06:39 | You would have some artists they set a base code on their canvas
and then they build on top of it, then they build on top of it,
| | 06:45 | then on top of that, then on top of that, and finally, finally,
finally, they get to a place where they are happy with it.
| | 06:51 | So same thing that I'm doing here, and probably as
I'm doing this, youre not even really noticing much,
| | 06:57 | you probably arent even noticing a lot when it is your own
retouching, which is fine, and then what you will find is
| | 07:04 | as you dig into the before and after, it will
reveal how the retouching is actually going.
| | 07:09 | I'm going to change the Opacity here a little bit.
| | 07:12 | But now that I've done this, I'm just going to look
at my before and after, there is my before and after.
| | 07:17 | I think that's going in a pretty good direction, I think
I brightened too much over here, so I will create a Mask.
| | 07:23 | I'm going to get the nice big brush a little bit higher
percentage, B for the Brush tool, and how about 50%?
| | 07:32 | I'm just going to kind of mask that back in.
| | 07:36 | So heres my before and after, I'm Shift+Clicking the mask.
| | 07:39 | See I'm in my before and after.
| | 07:41 | Little bit too bright down there and I'm just
reducing some of the hair up there in the forehead,
| | 07:45 | and I could keep working that to remove more of that.
| | 07:49 | But at this point, I'm going to say,
hey, that is good enough for a demo.
| | 07:53 | There is more that we could do, but again I want to
give you an idea wherever we need to go with this image.
| | 07:56 | OK, let's zoom into the face.
| | 07:58 | we are going to do, there is a couple of more
things here, we want to work on the hair down here.
| | 08:02 | So I'm going go ahead and create yet another layer, and I
will call this facial hair, and grab my Clone Stamp tool,
| | 08:11 | leave it on that Blend mode of Lighten, so
that will do is lighten those darker pixels.
| | 08:17 | let's take a look at our before and after.
| | 08:19 | OK, that's kind of nice.
| | 08:21 | Now I want to heal on top of that
right, grab the Healing Brush tool.
| | 08:24 | What healing on top of cloning does
for me is it brings that texture back.
| | 08:29 | You are going to see this in a couple of different
movies but, it is phenomenal, because then you can have,
| | 08:34 | clean it up with the Clone Stamp, then you get that texture
back, and that looks so good, now that we have that texture back.
| | 08:40 | We do the same thing with this side of the face.
| | 08:42 | let's go ahead and work on the nose.
| | 08:43 | This is the most glamorous part, but I will
go ahead and do it because it is important.
| | 08:49 | Clone Stamp tool, left bracket key make that nice and
small, and I'm just going in here and removing those.
| | 08:56 | You notice I'm still on Lighten, I'm still on a real low Opacity,
and I may need to change that, as I get into these darker areas
| | 09:02 | which looks likes I do, it is on pretty high Opacity.
| | 09:06 | let's try Normal.
| | 09:15 | Sample an area that is similar tonality
of the area that I'm working on.
| | 09:26 | Try lower in the Opacity, let's try lowering
way down, bring back to appropriate shadow.
| | 09:47 | Here is our before and after, yeah, we've
removed those, I think that looks pretty good.
| | 09:52 | Maybe a little bit dark, we could brighten that up.
| | 09:54 | One of the ways we could brighten that up is a curves
adjustment right to this layer, and easiest way to do that,
| | 10:00 | click on the Adjustment Layer icon, choose Curves
and then bring up the overall brightness, click OK,
| | 10:06 | and then hold down the Option key on a Mac,
Alt key on a PC, click between the two layers.
| | 10:11 | Now I've the ability to just control that location,
that's too much right, no big deal, we are just going here
| | 10:17 | and just nudge it up, just a tad bit, little bit of
brightness on that, and here we go, heres our before and after.
| | 10:24 | Yeah, I think that's fine.
| | 10:25 | let's look at our before and after in general.
| | 10:27 | You know what, I don't think I need that Curves layer, I like
it as is, and then we do the other side of the nose as well.
| | 10:33 | Well, we've done some nice cleanup work.
| | 10:35 | In another movie, we are going to work on eyebrows in this
particular image and do it a little bit more with this one
| | 10:40 | in regards to the structure of the face and what
not, but for now we've begun our beauty cleanup.
| | Collapse this transcript |
| Cleaning project 2: Keeping it under control| 00:00 | In the previous movie, we did a beauty
cleanup that involved real fine details.
| | 00:04 | In this movie, we are going to do a beauty cleanup that
involves some details that are a little bit more prominent,
| | 00:08 | there is more that we need to cleanup
here that's more noticeable.
| | 00:11 | We will be working on the image remove_blemishes.tif.
| | 00:14 | Go ahead and open that one up inside a Photoshop.
| | 00:17 | After you go to Full-Screen View mode,
you will notice I've a notes layer for us.
| | 00:21 | Heres what we want to work on, the bobby pin, some flyaways,
lipstick, little blemishes, the gap and the false eyelashes
| | 00:29 | and then there is a gap in the hair, we want to cleanup as well.
| | 00:33 | let's start off with the hat and
thatll be an easy one to start with.
| | 00:36 | Click on the background layer and click-and-drag
that to the New Layer icon and name this layer hat.
| | 00:41 | Next, zoom-in to the hat area, alright, there we have it, we are
going to select the Patch tool and we need to make a selection
| | 00:52 | of this, that's really close to the edge of this particular bobby
pin, because it will help us make a good repair of this area.
| | 01:01 | In our Options bar, we are choosing Source and we will
click-and-drag this to new location, making sure that line,
| | 01:08 | lines that perfectly, choose Select Deselect, Wallah!
| | 01:13 | How cool is that!
| | 01:15 | I kind of love it when things work that easily,
you know that Patch tool is absolutely amazing.
| | 01:20 | Alright, I will zoom-out, what else we are
going to tackle here with this particular image.
| | 01:23 | let's go ahead and work on some of the general
blemishes, so I will create a new layer, I call this face
| | 01:27 | and for these general blemishes, I'm going to select
the Spot Healing tool, and we have seen this before,
| | 01:33 | but it is important to see how each image comes to play
and how we can cleanup different things in different ways.
| | 01:41 | I find that retouching isnt necessarily Rocket
Science, but it is a matter of seen it being done,
| | 01:48 | practice and learning how to focus on important details.
| | 01:52 | I can't get out that blemish with my Spot Healing
tool I'm turning to Clone Stamp tool and I'm going
| | 01:57 | to turn this to Lighten, lower the Opacity, Option+Click.
| | 02:02 | I'm just going to make a nice small brush by pressing the
left bracket key there, let's look at our before and after.
| | 02:08 | I think that works, little bit better shape there
to the nose area, heres our before and after.
| | 02:15 | Yeah, I think that works, clean that up a little bit, OK.
| | 02:17 | Well, now that we are talking about
shape, why don't we work on the lips?
| | 02:21 | Create a new layer; name this layer lips.
| | 02:27 | That lipstick has blurred off the lip, I need
a little more definition there, not a problem.
| | 02:31 | We are going to use the Clone Stamp tool,
we are going to go to Normal, Opacity,
| | 02:38 | about in the 70s and we will create a pretty small brush.
| | 02:44 | So I'm pressing the left bracket key in
this case to make my brush even smaller.
| | 02:48 | What I'm going to do is just work my
way through here, Option clicking,
| | 02:52 | trying to sample tonality that's pretty
similar to the area I'm trying to improve.
| | 03:00 | Smaller brush, because I've a weird divot
I need to get rid of, right there, yup.
| | 03:05 | Then I go ahead and go in there, just cleanup
that line, let's look at our before and after.
| | 03:10 | Yeah, we are definitely cleaning that up, my divot isnt looking
so good, so I'm going to take this to a Blend Mode of Multiply,
| | 03:17 | lower the Opacity, there is this weird brightness
value, wow, that's too high, how about Opacity of 10%.
| | 03:24 | There is this weird little problem
area that I need to fix right there.
| | 03:27 | OK there, that looks better, heres my before and
after, much more definition on that lip, like it.
| | 03:33 | Well, we are making good progress on
this image so far, the lip, the face.
| | 03:38 | Hey! A couple or more spots I missed on the
face, grab the Spot Healing tool, fix that up,
| | 03:46 | couple of more small blemishes, let's take a look at our notes.
| | 03:49 | Alright, we are going in a decent direction.
| | 03:52 | OK, eyelashes here, we will zoom-in on this,
on these fake eyelashes, nice way to fix these.
| | 03:58 | Go to the hat layer, grab the Lasso tool and
make a lasso selection of these eyelashes.
| | 04:05 | Now, if our selection isnt perfect, that's probably OK, you
can fix your lasso selection on a Mac hold down the Option key,
| | 04:13 | that's minus (?), in my case, I need to subtract a
little bit off of this, in a PC that's the Alt key.
| | 04:18 | Then, we are going to copy this to a new
layer, Command+J on a Mac, Ctrl+J on a PC.
| | 04:24 | Then select the Move tool and you can use
your Arrow keys, your Arrow keys are the keys
| | 04:28 | on your keyboard, that allow you to move things around.
| | 04:32 | Check that out, heres my before and after, just filling
in that gap, that looks really nice, almost just as is,
| | 04:39 | I'm going to leave that right there,
filled in the gap, quite nice.
| | 04:43 | We got lucky on that one, we've to
fill in some of the gaps in the hair.
| | 04:46 | So let's create a new layer, clicking on
the New Layer icon and name this one hair.
| | 04:50 | This is going to be pretty straight-forward.
| | 04:52 | We are going to use the Clone Stamp tool.
| | 04:54 | We are going to take our Opacity up, 70s.
| | 05:01 | I'm just going to look to darken in this hair.
| | 05:05 | The nice thing about cloning to a new layer is if
I need to change, how does hair actually works,
| | 05:11 | it is on its own layer so I can take it, I can move
it down, move it up, get it right in the exact spot
| | 05:17 | where I want it to be, so that it looks realistic.
| | 05:19 | I would say right there, that looks pretty good.
| | 05:22 | Now, dealing with flyaways, we know about that, click the New
Layer icon and create a new layer, call this one flyaways.
| | 05:28 | Then we will grab the Clone Stamp tool, the
shortcut key is the S key and we will go ahead
| | 05:34 | and clone stamp over those, take my Opacity up.
| | 05:37 | One of the things that I find to be really important when you are
doing clone stamping is that you don't create repeating patterns,
| | 05:44 | and you will notice that I'm creating
repeating patterns a little bit here.
| | 05:47 | So I need to Option+Click to sample different areas.
| | 05:51 | So that I can sample different portions of the hair.
| | 05:56 | Then a lot of times I like to take the Healing
brush, I'm going to brush it, so tab that bigger.
| | 06:02 | Then on top of the area that I've clone stamped, go in and
bring back some of the texture of the background, of the grain,
| | 06:09 | of the noise there so that it looks much more realistic.
| | 06:12 | So again, keep that in mind, Clone Stamp tool,
then healing, you can bring back the texture.
| | 06:18 | Well, there are some more flyaways to deal with.
| | 06:19 | If we deal with those the same way over here, these
underneath, the same thing as we've done up top,
| | 06:24 | cloning and then a little bit of healing on top of that.
| | 06:27 | let's look at our before and after and
see if we are going in a good direction.
| | 06:30 | I'm going to hold down the Option key on a Mac, Alt key on a PC
| | 06:34 | and click on our background layer,
heres our before, heres our after.
| | 06:38 | Very subtle improvements, yet very important improvements.
| | Collapse this transcript |
| Cleaning project 3: Fashion image| 00:00 | In this movie, we are going to be working on
a fashion image, it is titled jkim_clean_up.
| | 00:04 | Youre going to enjoy this image because you are going
| | 00:07 | to learn some really interesting things
in regards to cleaning up a fashion image.
| | 00:10 | Go ahead and open that one up inside a Photoshop.
| | 00:13 | After you go to Full-Screen View mode, you
will notice that I've some notes for you there.
| | 00:17 | Now, before we get to retouching the image,
let's go ahead and work on the background.
| | 00:21 | I want to create a new layer with
shortcuts throughout this movie.
| | 00:24 | On a Mac that's Shift+Command+N, on a PC that's
Shift+Ctrl+N, I will name this new layer background.
| | 00:30 | I like that technique because it gives
me the ability to name my layers.
| | 00:34 | let's use the Clone Stamp tool, Blend Mode of Normal,
| | 00:39 | right bracket key to make the brush a little
bit bigger, make sure it is nice and soft.
| | 00:43 | Soft brushes have no hardness there, are great.
| | 00:47 | I will Option+Click on a Mac on the
white, on a PC that's Alt+Click
| | 00:50 | and I'm just going to go ahead and paint away this background.
| | 00:54 | Now, this image has already been color corrected, at least
a little bit, you may have seen it in a earlier version
| | 01:00 | of the image, but so far it is getting
in to be a pretty good shape.
| | 01:03 | Background is taking care of.
| | 01:05 | let's then zoom-in on the face.
| | 01:07 | Now, there is the nose, there is a brightness
value on this nose that I want to deal with.
| | 01:11 | The way that we are going to be dealing
with this is kind of interesting.
| | 01:14 | let's go ahead and click in our Background Layer and drag
that to the New Layer icon, and then name this layer nose.
| | 01:20 | Now, because we are going to be working with layers, I'm going to
go ahead and collapse my Color palette by double-clicking that,
| | 01:25 | collapse my Navigator palette by
double-clicking the word Navigator.
| | 01:28 | Now, I've more space for my Layers palette.
| | 01:30 | Back to the nose, let's zoom-in there.
| | 01:32 | I'm going to go ahead and grab my Patch
tool, yes the good old Patch tool.
| | 01:36 | I'm going to select this area that is definitely too bright.
| | 01:40 | I'm going to click and drag that to a nice sample area, let go of
it, press Command+D (Mac), Ctrl+D (PC) or go to Select, D+Select.
| | 01:52 | Then I'm going to select this little portion of the nose
down here and then press Command+D (Mac) or Ctrl+D (PC).
| | 01:59 | let's look at our before and after.
| | 02:01 | OK, that is looking very, very, very good.
| | 02:05 | We couldnt have done that any other way.
| | 02:06 | Now, we need to create one more layer,
Shift+Command+N (Mac) Shift+Ctrl+N (PC).
| | 02:12 | We call this nose2, grab the Clone
Stamp tool, Blend Mode of Lighten,
| | 02:18 | lower the Opacity a little bit, small brush, left bracket key.
| | 02:23 | Actually let's lower the Opacity even
more, I'm guessing in the teens here.
| | 02:27 | Option+Click the nose, and I just want to brighten
up these portions of the nose here a little bit.
| | 02:34 | Look at our before and after, just
bring that up just a little bit.
| | 02:40 | See now how are we doing with her nose.
| | 02:42 | Here is our before, here is our after.
| | 02:45 | I would say that is a pretty good retouching job there.
| | 02:49 | Couple of other things we could do to get that
even better, but I think it is good for now.
| | 02:53 | Alright, well, we worked on the nose, what else do we need to do?
| | 02:55 | There are some wrinkles on the neck that we need to work on.
| | 02:58 | We know how to work on wrinkles, we will zoom-in there.
| | 03:01 | Create a new layer and in this new layer, we will call this
one wrinkles, and we are going to grab the Healing Brush.
| | 03:07 | Healing Brush works really nice for wrinkles.
| | 03:09 | Option+Click to set our Source area and
paint on those wrinkles, Option+Click.
| | 03:16 | Make sure we are moving the direction of the wrinkle,
alright, just diminish some of these as long as I'm there.
| | 03:22 | let's go down to the armpit here,
something we need to deal with, right?
| | 03:27 | Option+Click, make our way down this wrinkle, make
our way back up it, back and forth, back and forth.
| | 03:36 | Hey! that's looking great, we have now removed that.
| | 03:39 | let's turn on our Notes.
| | 03:40 | See what else we need to do here.
| | 03:42 | Couple of her wrinkles on the arms,
so we will zoom-in there to the arm.
| | 03:45 | I'm just going to use the Healing Brush here.
| | 03:49 | Sometimes it is nice to use the Clone Stamp tool
to do these little bit more burning and dodging.
| | 03:54 | In this case I'm going to go pretty quickly,
Healing Brush is doing the deal for me.
| | 04:03 | Option+Clicking and removing these small spots,
I want to get rid of the wrinkles on the thumb.
| | 04:14 | Here we go.
| | 04:16 | Keep removing all these guys, I'm just sampling new areas every
time that I'm clicking these, let's look at our before and after.
| | 04:23 | OK, we are definitely improving the image.
| | 04:26 | Point out some of the wrinkles, making
the skin look a little bit nicer.
| | 04:31 | let's zoom back out to take a look at our Notes.
| | 04:34 | What else do we need to do?
| | 04:35 | We worked on that, we worked on the hand.
| | 04:37 | There are couple of other little
blemishes, that's healing as well.
| | 04:40 | let's get to something that's a little bit more unique, let's
work on this portion of the image here, the stomach area.
| | 04:46 | I go ahead and turn off my Notes layer.
| | 04:50 | So I'm going to position that in the top of the stack.
| | 04:52 | How am I going to work on this stuff down here?
| | 04:54 | How can I get this to look good?
| | 04:57 | Well, I will go ahead and merge all of my layers together.
| | 05:00 | Shift+Option+Command+E on a Mac, Shift+Alt+Ctrl+E on a PC.
| | 05:05 | Now one of the things that I need to do before I can do
anything is retouch out this little tag that we can see here.
| | 05:10 | So I will grab the Clone Stamp tool, press the S
key, take this to Blend Mode of good old Normal.
| | 05:18 | Opacity is going to be pretty high in this case, in the 70s.
| | 05:21 | I'm just going to Option+Click and to be careful that I click
Tonality that matches the area that I'm painting it into.
| | 05:30 | Details matter at this kind of stuff,
oh, that detail wasnt very good.
| | 05:39 | A little bit higher Opacity, if we got that
out, yeah, we got that out, that's fine.
| | 05:47 | OK, now let's work on the rest of this portion of the image.
| | 05:49 | I will zoom-out so I can see what we have going on here.
| | 05:52 | I'm going to make a selection of this whole portion of
the image here and I'm going to copy that to a new layer
| | 05:59 | by pressing Command+J on a Mac, Ctrl+J on a PC.
| | 06:03 | I call this new layer free transform.
| | 06:07 | Press Command+T on a Mac, Ctrl+T on a
PC and then right-click and choose Warp.
| | 06:14 | Now, the Warp functionality is something that's absolutely
wonderful for retouching because we can control shape,
| | 06:21 | and what I want to do is just control
the shape here a little bit,
| | 06:24 | try to get this to be a little bit more
straight, and bring it in just a tad bit.
| | 06:30 | See if we can get that going, and the nice thing about using Warp
as well is it can help you connect to the rest of your image,
| | 06:38 | so that you will not lose the connectivity
there because it is physically connected
| | 06:43 | and you notice that, that seam is actually still pretty good.
| | 06:46 | I'm just bringing that up a little bit, playing with this.
| | 06:50 | Press Enter to apply, let's look at our before and after, there
is before, there is after, it is pretty subtle, pretty simple.
| | 06:55 | What we are bringing that in, that looks pretty nice.
| | 06:59 | let's work on another portion of the image, so we will
merge all these to a new layer, Shift+Option+Command+E
| | 07:04 | or Shift+Alt+Ctrl+E and I'm going to select this portion here.
| | 07:08 | I'm selecting a pretty wide area, a little bit more than I
actually need to, that helps me out when I'm free transforming,
| | 07:16 | Command or Ctrl+J, Command+J (Mac), Ctrl+J
(PC); Command+T (Mac), Ctrl+T (PC), right-click.
| | 07:24 | If you have a three-button mouse, you can always
press the Ctrl key and Ctrl+Click to select Warp.
| | 07:30 | Again, what I'm doing here is I just wanting to try
to level things out, just a tad bit if possible.
| | 07:36 | Now, it is not always possible to do that, and sometimes even
just the subtle movement can really make all the difference
| | 07:44 | in the world.
| | 07:45 | So I want to lose that seam over there.
| | 07:59 | Press Enter to apply that or Return, let's look at our
before and after, again just changing the shape a little bit.
| | 08:05 | I'm going to zoom-out and see if that one was worth it.
| | 08:07 | As I look at that and evaluate it, I would say, now what?
| | 08:11 | That wasnt worth it, was this one worth it?
| | 08:13 | Oh yeah, definitely, that one looked good.
| | 08:15 | The other one I don't really think I need to do it,
that's something that you are constantly thinking
| | 08:18 | about as you are retouching or evaluating,
is it worth or is it not worth it?
| | 08:22 | Sometimes it isnt, in that case definitely wasnt.
| | 08:25 | Last thing that I want to do on this image is
work on the zipper here and get rid of that.
| | 08:29 | So I'm going to zoom-in and what we are going to do here is go
to one of our layers that's been merged, in this case this one.
| | 08:36 | Grab the good old Patch tool, you know where we are going
and I'm going to select this and make that selection,
| | 08:44 | so that ideally I can get a good sample source along that line.
| | 08:50 | See if that works, let's deselect, Select, Deselect,
look at our before and after with that, hey!
| | 08:58 | that looks pretty good, we have a problem area
there, but we can fix that with the Clone Stamp tool.
| | 09:02 | we've got the majority of it out with the Patch tool and
I would go in and just kind of finesse this a little bit,
| | 09:08 | make it look even better with some of our other tools.
| | 09:11 | The Healing Brush would be a nice tool to use right now as well.
| | 09:13 | I just try to just blend that back
together, so we don't notice it.
| | 09:16 | Zoom-out to make sure I'ven't drawn
any extra attention to that area.
| | 09:21 | You know what, I think that looks pretty good.
| | 09:23 | Alright, I'm going to zoom-out, check our Notes
one time before I sign-off here on this image.
| | 09:28 | Here are Notes.
| | 09:30 | let's see if we have accomplished most of what we wanted to do.
| | 09:33 | Regards to the hair and the flyaways up there, I will be
simply cleaning it up with a little bit of Clone Stamp.
| | 09:39 | There is one thing that we haven't touched here
which is the wrinkles in this portion of the image.
| | 09:43 | A lot of that is going to be using the Clone Stamp tool or
the Healing Brush not the Spot Healing, the Healing Brush.
| | 09:50 | I'm going inside up here and again, making sure
that we are sampling similar tones and working
| | 09:56 | on those wrinkles a little bit to
get the tone a little bit more even.
| | 10:02 | So I'm Option+Clicking, works my ways through here,
just looking to reduce some of those wrinkles.
| | 10:09 | We could keep doing that, another nice tool for those
would be using the Clone Stamp tool on Lighten or Darken.
| | 10:17 | Sometimes a Healing Brush works well too.
| | 10:19 | I think that my Healing Brush is a little bit
big, so I'm going to take the size down there
| | 10:24 | and just diminish that tad bit and click through there.
| | 10:27 | I just want to flatten those wrinkles out tad bit,
| | 10:30 | and I could keep doing some more detail
work on that to get those wrinkles out.
| | 10:35 | A lot of times in fashion, try to create
something that's a little bit surreal.
| | 10:41 | I want to go for that, just look at our before and after.
| | 10:46 | Alright, I think we are going in
the decent direction with that one.
| | 10:49 | Id love to do some more work on those wrinkles.
| | 10:51 | Again that's just going to be detail work,
zooming-in, cloning, healing, and on that note,
| | 10:56 | I think that I've definitely accomplished
what I set out to accomplish with this image.
| | 11:01 | let's look at heres our before, heres
our after, again before and after.
| | 11:07 | We clean that one up and that wraps up this chapter.
| | Collapse this transcript |
|
|
5. Structural Image EnhancementsImproving the jaw line with the Liquify filter| 00:00 | Welcome to Chapter Five.
| | 00:02 | In this chapter we are going to learn how
we can structurally improve our images.
| | 00:06 | In the first couple of movies, I'm going
to be working on this file, symmetry_1.psd.
| | 00:10 | In this initial movie, we will be looking at how we can
use liquefy in order to improve the shape of the face.
| | 00:17 | Go ahead and open up this file inside of Photoshop.
| | 00:19 | I've to go to full screen view mode.
| | 00:20 | Spacebar to reposition the image near the top part of the screen.
| | 00:24 | So as you can see here, I've a notes layer, and that's
just drawing my attention to this right cheek here.
| | 00:29 | Now, I want to work on this right cheek, because the way the
image flows; the light flows this way, the nice hairline,
| | 00:34 | it puts a lot of visual weight on this side of the face.
| | 00:37 | it is actually pretty symmetrical, but I want to tighten
up this line here, it would make for a better image.
| | 00:42 | In this movie, I'm going to show you two different ways
to accomplish the same thing with the Liquefy Tool.
| | 00:47 | So go ahead and copy our background layer, and we
will call this new layer l1, so it will be liquefy 1,
| | 00:53 | and we are going to navigate to our
Filter drop down menu and choose Liquefy.
| | 00:57 | Now, by default, we have the forward work tool selected.
| | 01:01 | Now, most likely you have used Liquefy before, and you
know that liquefy has some settings, the Brush Density
| | 01:06 | and the Brush Pressure, well, these
control how heavy-handed this tool works.
| | 01:10 | So in this case, that's really heavy-handed,
it looks absolutely horrible.
| | 01:14 | Hold down the Option key Mac, Alt key PC,
change this cancel to reset, and click that,
| | 01:19 | but I want to illustrate how this tool works.
| | 01:22 | If we want to use this tool well, and
if we want to use it professionally,
| | 01:25 | we need a real low brush density, and a real low brush pressure.
| | 01:29 | When I mean real low, it is going to vary.
| | 01:31 | In this case I'm guessing because of the pretty well-defined
line, the hair in the background is out of focus,
| | 01:36 | I'm going to go up to a pressure of about 30.
| | 01:38 | Each image this will be a little bit different.
| | 01:41 | I tend to like to use a real big brush size when I'm doing
this, so that I moving the surrounding areas as well.
| | 01:46 | What I want to do here is simply click
through my image and slowly move this line.
| | 01:51 | So I'm going down, I'm clicking, and I'm
trying to click in similar increments,
| | 01:55 | meaning if I'm moving my cursor a half-an-inch, I'm and clicking,
moving it a half-an-inch, clicking, half-an-inch, clicking,
| | 02:02 | and dragging, and I'm just clicking and moving that line in.
| | 02:06 | Now, as I'm doing this, you maybe thinking, I
don't really see anything that's that noticeable.
| | 02:10 | If that's the case, good.
| | 02:12 | If you do notice something that's noticeable that's probably
a divvy, and that's probably a mistake that I've made.
| | 02:18 | I'm going to take my brush size up even more, and I'm going
to go ahead and just move the things over just a tad bit.
| | 02:25 | Again, with that larger brush I'm going to move more of the
pixels which will help me disguise the edit that I'm making here.
| | 02:33 | I'm just going to go ahead and keep clicking on that, and I
could keep doing this to fine-tune it, but for demo purposes,
| | 02:39 | let's say that that's pretty good there,
and we will go ahead and click OK.
| | 02:46 | Now, when we click OK, we will be able to see our results.
| | 02:49 | So here is the after and here is the before.
| | 02:52 | it is a subtle edit, yet I think that makes that
jawline look nice, it is tucked in a little bit.
| | 02:57 | The one thing I don't like about my particular edit here
is that I think I didnt push this top part in enough.
| | 03:03 | So if I were to go in and keep using this tool, I will go back
| | 03:06 | and I will push this in, so it has
a little bit rounder of a line.
| | 03:09 | It got too straight when it got up to the top there.
| | 03:12 | But for demo purposes I think that will work
for us, although I probably shouldn't just live
| | 03:16 | with that, I should probably make it perfect.
| | 03:19 | that's one of the things about retouching that's
just -- you want to make it as good as you can.
| | 03:24 | So I'm just going to go ahead and nudge this
over here, and make that a little bit more round.
| | 03:30 | I'm probably going to need to mask that hair.
| | 03:39 | Click OK. let's see how that is going.
| | 03:41 | That just tucked that in there a little bit, and yes,
I've some hair problem, so I will click on the Mask icon,
| | 03:51 | grab my Brush Tool by selecting that in the toolbox,
and then I will paint with black on that little patch
| | 03:55 | of hair there, so now here is my before and after.
| | 03:58 | I think that works a little bit more, and I could see that in a
little bit more with the mask, but for the most part I think I
| | 04:03 | like that, a little bit more of a jawline, and what not.
| | 04:07 | I'm just evaluating that, not quite satisfied
with this, so I actually would probably redo that,
| | 04:17 | but I think it is going in a decent direction.
| | 04:18 | let's look at one more liquefy technique.
| | 04:20 | Grab your Background Layer, click and drag it to
New Layer icon, and call this l2, for Liquefy 2.
| | 04:26 | Navigate to the Filter drop down menu and choose Liquefy.
| | 04:29 | We are going to use the Push Left Tool.
| | 04:31 | So I will go ahead and click on that in the toolbox.
| | 04:33 | This tool is really interesting, if I've a
high brush pressure you will see how it works.
| | 04:37 | When I click and drag down, things go to the right.
| | 04:39 | I will do that by pressing Command
Z on the Mac, Ctrl Z on the PC.
| | 04:43 | Click and drag up, things move to the left.
| | 04:46 | OK. Well, that tool seems like its useless, right?
| | 04:48 | Well, not really, lower the brush pressure
perhaps to about 3, brush density maybe to 1,
| | 04:55 | and this time I'm just going to go along this line and push up.
| | 04:58 | The thing that I like about this tool is it
helps you create continuity with your lines.
| | 05:03 | In this case I can create a real nice continuous line there,
as long as I'm clicking and dragging along that shape.
| | 05:09 | Then at the top, I can kind of bring it
in a little bit to define things that way.
| | 05:13 | I will do that there.
| | 05:15 | let's see how this one looks.
| | 05:16 | Click OK, and then take a look at our before and
after; there is before, there is after, there is l2.
| | 05:24 | let's compare that with l1.
| | 05:26 | There is l1 and l2, here is the original,
before, and then after, just clicking that on
| | 05:34 | and off to try and evaluate how things are going.
| | 05:36 | I think I like the push left one a little bit better; its
subtle, I got to just tuck that in just a tad bit more.
| | 05:42 | Well, let's take a look at a few more techniques of how we can
accomplish this same task, and we will do that in the next movie.
| | Collapse this transcript |
| Improving the jaw line with the Free Transform tool| 00:00 | In this movie we are going to learn yet another
technique for working on the structure of the face.
| | 00:05 | We are going to also learn a couple of good tricks along the way.
| | 00:07 | So go and click on your Background layer, choose the
Marquee tool by pressing the M key on your keyboard,
| | 00:12 | make a selection of the face and copy that to a new layer
by going to Layer, New, Layer via Copy or use the shortcut.
| | 00:20 | let's name this layer by double-clicking
on the title of the layer rface.
| | 00:25 | Now, that we have this right-side of the face
selected or at least it is our right-side of her face,
| | 00:29 | from our perspective, we want to free transform it.
| | 00:32 | Lets free transform it by going to Edit,
Free Transform or using the shortcut.
| | 00:36 | Now a couple of things that I want to do
here, one is, I want to zoom-in a little bit,
| | 00:40 | and I'm just going to pull this in, just a tad bit.
| | 00:43 | So just move this in a little bit there, tighten up that line.
| | 00:46 | Then I'm going to right-click or Ctrl+Click if you
don't have a three-button mouse and choose Warp.
| | 00:52 | Now, with this Warp selected I can then tweak this shape just
a little bit more, just tad bit, kind of bring that line up,
| | 00:58 | it is kind of subtle, that's it, Return, and
then let's takes a look at our before and after.
| | 01:03 | So, heres our before and our after.
| | 01:05 | One of the reasons I like that is because
it kind of maintains a little bit more
| | 01:08 | of the integrity of the image, integrity of the line.
| | 01:11 | it is not as weird or out of shape and also the sharpness
of the line is really nice; it is actually just as it was.
| | 01:17 | let's zoom-out, take a look at how we are doing.
| | 01:19 | Heres our before and after.
| | 01:21 | Now, that's pretty subtle, I realize and
I could have gone a little bit farther.
| | 01:24 | This again is going to depend on your preference.
| | 01:27 | Nice thing about this tool, I can always
Command+T it, it is Ctrl+T on a PC,
| | 01:30 | Command+T on a Mac and then warp it a little bit more.
| | 01:34 | I could tweak this out some more,
kind of work on the shape, tad bit,
| | 01:37 | bring that top part over, perhaps
bring this part over a little bit.
| | 01:47 | Make this a little bit more dramatic,
press Enter or Return to apply that.
| | 01:50 | Heres our before and after, basically,
just drawing a different line there.
| | 01:54 | Well, that's good except I messed up the rest of the image.
| | 01:57 | So I need to create a Mask, and I need to
create a Mask that's filled with black.
| | 02:01 | Heres a wonderful shortcut for you.
| | 02:04 | On a Mac you hold down on the Option key, on a PC
hold down the Alt key and you click on the Mask icon,
| | 02:09 | and now when you do that it creates
a mask that's filled with black.
| | 02:12 | And then I'm going to grab my Brush tool, select
white in my Color Picker and then paint away,
| | 02:18 | and I'm going to paint right there on that jaw line, make sure it
ties in nice to the face and let's look at our before and after.
| | 02:24 | OK, well that looks really nice, and that was actually
easy, wasnt it, which is nice, compare that to l2, well,
| | 02:30 | they are pretty close, except the l2 the lines are little bit
hard, it looks a little bit awkward, youve got the same shadow
| | 02:36 | and the same sharpness of the line and everything and I dig that.
| | 02:40 | A couple of things that I notice here is this
side of the face over here is nice and defined,
| | 02:44 | strong cheek bone, this one feels a little bit soft to me.
| | 02:47 | A lot of the problems of this image has to do with the way the
composition, the way we read an image which is left or right.
| | 02:53 | I need to work on her cheek a little bit more, right?
| | 02:55 | Click on the Background layer, navigate to Select, Color Range.
| | 02:58 | I'm going select the left-side of the
face over here, increase my Fuzziness.
| | 03:01 | I want to get this part of the face over here.
| | 03:04 | Maybe I click on the plus (+) icon,
get a little bit more click OK.
| | 03:08 | So let's see that I've a nice selection
of this portion of the face.
| | 03:12 | I could go about getting the selection any number of ways,
but I think that will work for me and I'm going to copy this
| | 03:17 | to a new layer and I'm going to do that
pressing Command+J on a Mac, Ctrl+J on a PC.
| | 03:22 | So heres what I've, I've those shadows that are there.
| | 03:25 | Now, if I don't have enough of those shadows I
could go back and create more of a selection.
| | 03:29 | Although sometimes I find Color Range works
well because there is a little bit of a tapering
| | 03:33 | of the shadow and you can kind of see that here.
| | 03:36 | Well, let's take a look at that.
| | 03:38 | We will need to flip this; the quickest way to flip this
is on a Mac Command+T, PC Ctrl+T and then you are going
| | 03:44 | to right-click or Ctrl+Click and choose Flip Horizontal.
| | 03:48 | That flip, that shape over there, double-click to apply
that, and with your Move tool reposition this shadow.
| | 03:55 | Now, I need to make sure that that's on top of my
new face layer so I can see how it works with that,
| | 04:01 | and I'm envisioning that shadow going
right down there along the face that way.
| | 04:05 | It looks like I need to free transform it
a little bit, so it follows the outline
| | 04:10 | of the face there in this way and double-click to apply.
| | 04:16 | Now, I need to create a mask that's filled with black.
| | 04:18 | I will do that by holding the Option key on a Mac and clicking
the Mask, on a PC hold down the Alt key and click the Mask icon.
| | 04:25 | Then grab your Brush tool, paint with white.
| | 04:28 | I'm just going to look to paint in little
bit of this definition here and then paint
| | 04:36 | with different opacities that kind
of gets your edges working there.
| | 04:39 | let's look at our before and after, I think that's working
a little bit for us, just spread a little bit of definition
| | 04:45 | to that portion of the face, and then you want to
move this around, kind of see where it might be nice.
| | 04:49 | It might be nice to have a little higher.
| | 04:50 | Doesnt necessarily need to be that low as I had it.
| | 04:53 | I grab my Brush tool and go ahead and paint that
in a little bit, and it is going to be subtle.
| | 04:59 | Yeah, but it is just a little bit more definition, right?
| | 05:01 | A little bit more structure there in the face, I like that,
| | 05:04 | brings a little bit of that line over,
makes that cheek a little bit stronger.
| | 05:08 | Now, another way that I could have gone about
doing this will be clicking the background layer.
| | 05:12 | Grab the Lasso tool, make a selection with a regular Lasso tool,
| | 05:16 | choose that by pressing the L key, grab
the entirety of that side of the face.
| | 05:21 | Copy that to a new layer, Command +
J on the Mac, and Ctrl + J on a PC.
| | 05:26 | Free transform this, which is Command + T on the Mac,
Ctrl + T on the PC, right click, flip horizontal.
| | 05:33 | Bring that whole bit of skin over, make
sure we have it on top of our cheek layer.
| | 05:38 | Try to kind of line it up in the same spot there.
| | 05:45 | Option + Click the mask, fill it with black,
that's for the Mac, PC it is Alt + Click to Mask.
| | 05:52 | I'm going to bring that shadow in over here.
| | 05:55 | And paint with different opacities to get the blending
just right, going to make sure that blends in nicely.
| | 06:03 | In this case, I think perhaps that works even better.
| | 06:06 | Go ahead and lower my opacity, just a real subtle, strengthening
of that cheekbone and I think that's looking a little bit better.
| | 06:13 | We could also paint that in.
| | 06:15 | A couple of different ways we could paint that in would be paint
a darker tone, right here just paint that line on the cheek.
| | 06:22 | The way we do that is create a new layer and call
that new layer, by clicking on the name of the layer,
| | 06:26 | call that new layer Tone, and then grab our brush tool.
| | 06:30 | Play on the Option key to sample a
dark tone, in PC that's the Alt key.
| | 06:35 | So with the brush tool, when you hold down that key, it changes
to the eye dropper, really cool, give a nice, dark tone there.
| | 06:43 | In this case, I'm going to start off with the low opacity,
| | 06:46 | just going to look to draw a line,
follows the shape of the cheek there.
| | 06:55 | Then I will hold down the Option key, grab a nice
bright point, draw a line above that, below that.
| | 07:01 | it is a little bit too straight for me, change
the opacity, let's go to a nice low opacity.
| | 07:09 | Alright. Some of you are thinking,
Orwig that looks horrible, don't worry,
| | 07:12 | I'm going to take it to the blend mode and then blur it out.
| | 07:15 | Blend mode and soft light.
| | 07:16 | And then we are going to go to Filter, Blur, Gaussian
Blur, we are going to blur the heck out of the thing.
| | 07:21 | Going here.
| | 07:22 | I would want to go with that, I want to go pretty high.
| | 07:28 | Click OK let's look at our before and after.
| | 07:31 | We still need to lower the opacity.
| | 07:34 | Lower the opacity a little bit, so it blends in things.
| | 07:36 | Warms it up a little bit too, which is nice.
| | 07:40 | Again, that's subtle but heres our before
and our after with that extra bit of tone
| | 07:44 | to help add a little more definition to the face.
| | 07:46 | I don't you want to go over the top, I want to keep it subtle,
and simple and it maybe hard for you to see on your monitor.
| | 07:51 | On my monitor I'm thinking, that looks
good at least in this quick pass.
| | 07:56 | Now, the last thing that I would want to
do with this image is I would want to think
| | 08:00 | about the way that the eye understands a photograph.
| | 08:02 | The way that eye looks at it.
| | 08:04 | Right now it is going left to right.
| | 08:05 | So all the focus is just going off down
towards to the bottom of the image.
| | 08:09 | What happens if we did this?
| | 08:11 | Just copy all these layers to a new layer.
| | 08:13 | We can do that with a shortcut, Shift+Option+Command+E
for the Mac, Shift+Alt+Ctrl+E that takes all
| | 08:22 | of your underlying layers and merges those to a new layer.
| | 08:24 | Again, that Shift+Option+Command+E,
Mac and then PC it is Shift+Alt+Ctrl+E.
| | 08:29 | Now, that that's on a new layer, I'm going
to go to Edit, Transform, Flip Horizontal.
| | 08:36 | Same thing we have done before.
| | 08:37 | Wow, check that out.
| | 08:39 | Heres our before, heres our after.
| | 08:42 | Now does that cheek even matter?
| | 08:44 | Well, not at all, because now the whole image is drawing
you to our eye, because you are reading it left to right,
| | 08:50 | you are actually reading it from bottom of the image
up to the top and you are eyes hanging out on her eye.
| | 08:54 | Before your eyes just pull down to the bottom right
corner, now it is pulled up to the right top corner.
| | 09:01 | Isnt that cool?
| | 09:01 | So sometimes creating an image, the structure looks good,
has to do with some of the techniques we have shared,
| | 09:07 | where we have actually improve lines and what not.
| | 09:09 | Other time that can't just be the orientation
or the way that we capture the image.
| | 09:13 | Now, you don't always have the luxury of flipping an
image, because there could be something in image that says,
| | 09:17 | you have to have it this particular way, in that
case our technique has done a pretty good job.
| | 09:21 | let's take a look at our before and before I sign off
heres our before and our after, subtle yet significant.
| | Collapse this transcript |
| Creating visual symmetry| 00:00 | In this movie we are going to be
working on creating symmetry in a face.
| | 00:03 | I'm going to be using some of the similar
techniques that we have already used,
| | 00:06 | we are going to apply those techniques to a new image.
| | 00:08 | Sometimes I find that this helpful so that we can see
how this technique applies in different situations.
| | 00:13 | It can really help us learn how things work.
| | 00:15 | let's go ahead and open up the file Symmetry 2.
| | 00:18 | Now, I start it off by showing you the image as it is finished.
| | 00:21 | Now, there is a bunch of things that
have happened here, skin, color and tone.
| | 00:24 | I wanted to start off with a reference folder, you know in the
reference folder a lot of times I show, we have finished files,
| | 00:30 | we have something to refer to; and
I've done that, so that we can say,
| | 00:33 | when I saw that image I wasnt really thinking about symmetry.
| | 00:37 | I was thinking, OK, interesting image
or perhaps you didnt like the image,
| | 00:40 | it doesnt really matter, but you werent thinking Symmetry.
| | 00:43 | So how then can we create that?
| | 00:44 | Now apart from the skin and working
with the shadows into the eyes,
| | 00:47 | how can we get the symmetry happening with this particular image?
| | 00:51 | We are going to click in the Background, select the Marquee
tool, make a nice big selection of this half of the face,
| | 00:57 | copy that to new layer by going to Layer, New, Layer via Copy.
| | 01:02 | Next go to Edit, Free Transform and then Ctrl
click or right click and choose Flip Horizontal.
| | 01:10 | Double click to apply that.
| | 01:11 | Select the Move tool, and reposition
this to the right side of the face.
| | 01:15 | Now, one thing that I find helpful
is lowering the Opacity a little bit.
| | 01:18 | So you can kind of see where you are going.
| | 01:20 | How far over this needs to be.
| | 01:22 | One of the things that it tells me is,
I need to rotate this a little bit.
| | 01:25 | Press Command + T on a Mac, Ctrl + T on a
PC, I'm just going to rotate that a tad bit.
| | 01:30 | The reason is this that she has a little bit
of a lean to the left in this particular image.
| | 01:35 | So I apply that, take my opacity up.
| | 01:38 | Now, I'm going to click on my Mask icon to add a mask here.
| | 01:41 | Grab my brush tool, paint with black at a 100%
and I want to paint away the rest of the face.
| | 01:46 | We will work on the eye later, but I don't
want to affect, or the nose or the lips.
| | 01:50 | Just a little shadow on the chin
that will be nice to get rid of that.
| | 01:53 | Hair, I want to bring back a lot of original
hair there, and we can blend those two together.
| | 01:59 | let's just take a look at how we are doing so far.
| | 02:02 | So far we are going in a descent direction.
| | 02:05 | I'm going a little bit quickly, so I maybe missing a
few areas but I more want to demo again how this works.
| | 02:11 | And say, OK yeah, for the most part
we are gaining that bit of symmetry.
| | 02:16 | As I look at this I think it is just too close to that side.
| | 02:19 | So I'm going to pull this out to the right a little bit.
| | 02:21 | I'm widening her face a tad bit more here.
| | 02:23 | So here is my Before and After.
| | 02:25 | So has a little bit of the same dimension as far as the
width, it is not like a skinny kind of awkward face.
| | 02:30 | I then need to go back to my Mask, mask this off some more,
| | 02:34 | so that I've that's working here better,
make sure all those areas are fine.
| | 02:38 | let's take a look at our before and after.
| | 02:41 | So now it is really that jaw line starting
right there, in order to straighten that.
| | 02:46 | Add a little bit more symmetry.
| | 02:48 | You know a lot of times we think that our
faces are symmetrical, but really they arent.
| | 02:52 | Command + T this one Ctrl + T on a Mac and I'm going to put
the anchor point down here in this bottom part of the chin.
| | 02:58 | Click and drag to the left that allows
me to rotate off of that axis point.
| | 03:05 | See if that was a good move there.
| | 03:07 | Now, wasnt a good move?
| | 03:10 | it is great when you are giving demos or
teaching something and it doesnt work for you.
| | 03:14 | I'm sure that never happens to you.
| | 03:17 | But now that was fine it was not that big of a deal,
but it is always fine when things happen on the fly.
| | 03:22 | OK. So, so far so good.
| | 03:25 | We have this going in here for the most part
and I'm just working to make sure I'm masking
| | 03:29 | out the other areas, painted with black or white.
| | 03:32 | I've added some symmetry to the face and I'm going
to nudge that over with a Move tool, just a tad bit.
| | 03:36 | I'm trying to find a sweet spot,
I'm not totally satisfied with it.
| | 03:39 | But for the most part, let's say, hey, we improved
that jaw line there that looks a little bit better.
| | 03:44 | Well what else can we do with symmetry in regards to this image?
| | 03:47 | Well, the eyes.
| | 03:48 | If you notice the right eye doesnt look very good.
| | 03:51 | So I'm going to click in the Background Layer.
| | 03:53 | Grab the Marquee Tool.
| | 03:54 | We shouldn't say, it doesnt look good, but it looks different.
| | 03:58 | Copy this to a new layer.
| | 04:00 | Layer, New, Layer via Copy or use the shortcut.
| | 04:03 | Free transform it.
| | 04:04 | Edit, Free Transform, right click or Ctrl
click, Flip Horizontal and select the Move tool.
| | 04:11 | we will position this eye over here.
| | 04:14 | Make sure this is nice and lined up.
| | 04:16 | Create a Mask and with a Brush tool we are going to go
ahead and paint away those edges and paint away the eyebrow.
| | 04:23 | We have a little bit of the eyebrow definition there.
| | 04:25 | That was kind of nice actually, define that eyebrow
a little bit, the edge here, pick that all the way.
| | 04:31 | Now, we have two very similar eyes.
| | 04:34 | Now, sometimes we have Free Transform in something like this.
| | 04:38 | You may want to make sure the position
is right, that's why I keep nudging this.
| | 04:42 | I'm using the arrow keys to move that around.
| | 04:44 | Just get it to exact sweet spot that I wanted.
| | 04:47 | that's my before and after.
| | 04:48 | OK, yeah. That looks nice.
| | 04:50 | You may want to Free Transform it so it is
a little bit different, but in this case,
| | 04:53 | I will just say, hey that's in a pretty good spot.
| | 04:56 | Definitely a different image, let's look at our before and then
after we are changing in the jaw line, we are changing the eye.
| | 05:01 | Now do you need to this on all images?
| | 05:04 | No not at all.
| | 05:05 | Yet are there some images that will benefit from this?
| | 05:07 | Yes. Is it always that an eye, always the cheek, always the lips?
| | 05:11 | No, but it is worth trying sometimes.
| | 05:13 | let's try the lips, just to see what happens.
| | 05:15 | Click in the Background Layer; make a
Marquee selection; Command or Ctrl J to copy
| | 05:20 | that to new layer, Command for the Mac, Ctrl for the PC.
| | 05:23 | Free Transform that bad boy.
| | 05:26 | Ctrl click or right click, Flip that horizontally.
| | 05:29 | Double click to apply the Free Transform
and then move that over here.
| | 05:33 | What we can do is just get that right in a sweet spot, click on
the Mask icon grab your Brush tool, you know the routine, right.
| | 05:42 | Not necessarily rocket science, but
it is knowing when to apply that.
| | 05:45 | So here is my before and after, couple of things I need to do
| | 05:49 | with this is change the rotation
just a little bit, bring that down.
| | 05:53 | Now when I rotate it here, it is rotating
round that axis point, didnt work for me.
| | 05:57 | I will rotate off the top lip a little bit, there so I
move the axis point by clicking and repositioning it.
| | 06:04 | And then I need to mask these together, tad bit better.
| | 06:12 | let's take a look at the before and after.
| | 06:13 | Before and after pretty simple, subtle, yet sometimes the
simple, subtle things can make all the difference in the world.
| | 06:21 | Well that wraps up our look at using these
techniques in order to create Symmetry.
| | 06:25 | there's more ground we have to cover in regards to
structure and we will do that in the subsequent movies.
| | Collapse this transcript |
| Improving the shape of eyes, ears, noses, and faces| 00:00 | In this movie, we will be working
on the file jasper_distortion.psd.
| | 00:04 | What we are going to be doing with this
particular file is working on the overall shape
| | 00:08 | of the entire face as well as some small details.
| | 00:11 | let's go ahead and open that one up
inside of Photoshop by double clicking it
| | 00:14 | and then press F to go to full-screen view mode and zoom in.
| | 00:18 | Now you know this I've a notes layer, couple of things
that I want to do; I want to remove the distortion,
| | 00:22 | there is a little bit of distortion
because of the lens that was used
| | 00:25 | to capture this particular portrait, so I want to change that.
| | 00:27 | Also, I want to work on the nose and the ear.
| | 00:30 | let's go ahead and copy our Background layer.
| | 00:32 | The quickest way to do that is to press on
the Mac, Command+J, on a PC that's Ctrl+J.
| | 00:37 | That will give us a new layer; we can name this layer distort.
| | 00:41 | We are going to fix the distortion, we are actually not
going to distort it but that's a fine layer name for us now.
| | 00:45 | We are going to our filter; Filter, Distort, Lens Correction.
| | 00:51 | Now this filter isnt intended to be used on people, yet I've
found that it works incredibly well with people, especially,
| | 00:57 | when you are using lens as a create a little bit of distortion.
| | 00:59 | So all that I'm going to do is remove
a tad bit of distortion here,
| | 01:03 | just a little bit, let's say right about there and click OK.
| | 01:07 | Now let's look at our before and after once this renders out.
| | 01:11 | So heres our before and after, you can see we
just brought things back just a little bit.
| | 01:16 | We are going to take up even a little bit more now as I see
that Filter, Distort, Lens Correction and a little bit more.
| | 01:25 | One of the things you are going to notice is that I've
this bending in of my border so I need to fix that.
| | 01:30 | I could fix that with cloning that would be a pretty
easy fix especially on a neutral background like this.
| | 01:35 | I take this in pretty far, let's at 2.00, let's click OK.
| | 01:40 | So now here is my before and after, great, so far
so good; we are going in a good direction Id say.
| | 01:45 | let's turn off our Background layer.
| | 01:48 | One of the things that you can see is I
definitely has this problem with these edges.
| | 01:52 | Couple of things I could do here; I could either clone those
in and work through my different edges and clone them in
| | 01:57 | and I've done that in a number of images or I can crop it.
| | 01:59 | Now because this particular image is about structural
improvements, I'm going to go ahead and crop this.
| | 02:05 | So I'm going to extend my Crop tool
across the image and then bring it in,
| | 02:10 | I'm going to crop off the extra portion of the image there.
| | 02:17 | let's return to apply that crop and then let's zoom in.
| | 02:20 | Now let's look at our before and after by
turning the eye icon in this layer on and off.
| | 02:24 | OK, I think that's going in a good direction.
| | 02:27 | we've removed some nice distortion.
| | 02:29 | So again, try that technique with your portraits.
| | 02:31 | I think you will find that it works really
well in a number of different situations.
| | 02:34 | The next thing that I want to work on is the ear over here.
| | 02:37 | So I'm going to go ahead and grab my marquee tool by pressing
the M and then I click to make a selection around the ear.
| | 02:44 | Now I want to make a pretty big selection because I'm going
to be free transforming this selection, so I will go ahead
| | 02:50 | and copy this to a new layer by pressing my shortcut or going
to Layer, New, Layer via Copy or using that shortcut there.
| | 02:58 | Next, I want to free transform that;
Edit, Free Transform and then Ctrl+click
| | 03:02 | or right click inside of that free
transform area and choose Warp.
| | 03:05 | Now what we are going to do here
is just push this in a little bit,
| | 03:08 | keep that top part on, just looking
to bring that in tad bit there.
| | 03:15 | Press Return or Enter to apply that so
heres my before and after, so far so good.
| | 03:22 | A little bit of problem up top, no big deal.
| | 03:24 | Click the mask icon to add a mask, grab your
Brush tool and then with your brush tool,
| | 03:30 | we will paint with black to fix that seam up at top.
| | 03:33 | So there we go, we have a pretty nice edit there
and just want to create a nice seam on this.
| | 03:37 | I think that will work fine.
| | 03:39 | The next thing that I want to do with this ear to make
it just a little bit smaller is liquify this selection
| | 03:44 | that I've already free transformed.
| | 03:46 | So I'm going to go to Filter, Liquify.
| | 03:50 | In the Liquify dialogue window, I'm going to use my
Forward Warp tool, have a relatively high brush density,
| | 03:58 | relatively low brush pressure, decent brush size,
I'm just going to take this just a tad bit here.
| | 04:06 | The trick with viewing the forward warp tool, small clicks.
| | 04:13 | So there is my before and after, again just taking that in trying
to make a little bit more of a flattering portrait in this case.
| | 04:20 | I will zoom in on the image.
| | 04:21 | The next part of the image that I want to work on is the nose.
| | 04:24 | So I'm going to go back to my distort
layer, heres this original layer that I've,
| | 04:28 | there's the ear that ear layer looks pretty good.
| | 04:31 | On the distort layer, I will grab my Lasso tool, and I'm going
| | 04:35 | to make a pretty rough lasso selection
of this portion of the nose here.
| | 04:40 | So let's go around and select the nose and the surrounding skin
because we will need a little bit of that surrounding skin.
| | 04:48 | We will copy this to a new layer by going
to Layer, New, Layer via Copy there we go.
| | 04:53 | it is now on its own layer and we can free transform this layer;
Edit, Free Transform and we are going to take this down in size
| | 05:02 | and then double click inside of the free transform area.
| | 05:05 | Now we probably are going to need to reposition
the nose just a little bit so that things lined up.
| | 05:10 | let's look at our before and after,
there's before, there's after.
| | 05:13 | that's nice just taking that down a tad bit there.
| | 05:16 | Mask the edges away, click on the mask icon, grab
your brush tool, choose black in your color picker
| | 05:23 | and paint away, blend this into the background.
| | 05:30 | Now, this is a pretty subtle nose reduction, we could
go even further and you will find that this kind
| | 05:35 | of nose reduction technique works really, really well.
| | 05:38 | Command+T, we are just going to take that down
in size here, a little bit more, Ctrl+T on a PC.
| | 05:46 | When you do that you need to make sure
you go back to your mask, grab your brush,
| | 05:51 | clean up any problem areas, smaller brush; left bracket key.
| | 05:58 | let's look at our before and after, I
think we are going in a good direction,
| | 06:03 | I will zoom out; see if that looks good, before and after.
| | 06:08 | Now bring that nose down a little bit, so I'm
going to move it down just a tad bit there.
| | 06:12 | it is probably right there, that's looking good,
couple other things to do in regards to the mask there,
| | 06:20 | just work on our seams just a tad bit and
I will get our before and after going.
| | 06:25 | OK, so the nose now is a little bit smaller.
| | 06:27 | let's look at our before and after all
together, heres before and heres after.
| | 06:31 | We are going in a good direction.
| | 06:32 | The next thing that I want to do is I want to work
on the nose and I'm going to do that with Liquify.
| | 06:38 | Filter and Liquify then I'm going to zoom in on the nose here.
| | 06:42 | I've my brush, I want a small brush this
time so I'm going to take my brush size down,
| | 06:46 | I will try it with the current brush pressure and rate and
all that I'm going to do here is try to bring up this part
| | 06:53 | of the nose, I want that to come up a little bit,
little bit more pressure, little bit larger brush.
| | 07:01 | Not that large that's a little bit too much.
| | 07:04 | let's bring in that up, take the brush size down.
| | 07:08 | Shortcuts for the brush tool work the same
way as they do in Photoshop, which is nice,
| | 07:11 | so that's the right and the left bracket key.
| | 07:14 | I'm going to bring in the sides here; I just want to
make that a little bit smaller there on both sides.
| | 07:22 | Bring in both sides of the nose there; I'm just bringing
in the highlight and the shadow along the edge of the nose.
| | 07:31 | Now, a lot of times when you liquify, it doesnt look bad.
| | 07:35 | So you always have to keep that in mind, after you apply the
Liquify, it is a little bit of give and take; sometimes you nail,
| | 07:43 | sometimes you are going to have to go back and do it over
again because you are making some pretty strong adjustments.
| | 07:50 | let's click OK and see how we did
with this particular adjustment.
| | 07:54 | Heres my before and after, reshaping the nose before and
after and it better works and we will zoom out a little bit.
| | 08:03 | Now that I see that I kind of think the nose is a little
bit too low so I'm going to raise it up just a tad bit here.
| | 08:09 | Maybe right where it was was fine actually, so far so good.
| | 08:16 | Heres our before and after, we have an improved up portrait, we
are almost done with this one but the one thing that I noticed
| | 08:23 | as I'm looking at this image, is the eyes became smaller.
| | 08:26 | I want to have bigger eyes, so I'm going
to go ahead and go to my distort layer.
| | 08:30 | I'm going to grab my lasso tool and I'm going
to make a rough lasso selection of both eyes,
| | 08:40 | copy that to a new layer; Layer, New, Layer via Copy.
| | 08:43 | Now that those are on a new layer, but I think
I'm going to position those on my topmost layer
| | 08:48 | because I want those way up top and I will name this layer eyes.
| | 08:52 | I should probably name the other layers, shouldn't I?
| | 08:54 | This one is ear and this one is nose
and I go back to the eyes layer.
| | 09:00 | Now, when I free transform these eyes so that they are
bigger; Edit, Free Transform and hold down the Shift key
| | 09:07 | to constrain proportions while you are doing
this and I will make these bigger; in this case,
| | 09:11 | I made them about 6% bigger, I can see that up top.
| | 09:15 | that's pretty significant yet, keep in mind
that they were actually smaller to start
| | 09:20 | with because I distort them, I made
them smaller, click on the mask icon.
| | 09:26 | Because I've a lot of problems with my edges,
I'm going to fill this mask with black.
| | 09:31 | On a Mac that's Command+I, on a PC that is Ctrl+I and then
I'm going to grab my brush, choose white from my color picker
| | 09:39 | and I'm going to paint these new eyes in here.
| | 09:42 | I many need to move their position a little bit, it looks
like I'm a little bit off in regards to my positioning.
| | 09:48 | Heres my before and after and then I will use the
arrow keys, just nudge those down a little bit.
| | 09:54 | Grab the brush, paint in it little bit more of the shadow.
| | 09:58 | It would be nice to fix those shadows
underneath the eyes, wouldn't it?
| | 10:01 | Well, we haven't gone there yet but we will in another movie.
| | 10:03 | So let's look at our before and after with
those eyes, we just kind of brought them back
| | 10:07 | and remember that the eyes originally were right here.
| | 10:10 | So heres before and after, so I really didnt
change the size of the eyes, hardly at all.
| | 10:16 | They are back to their original size, it is just the
face that's been fixed so heres my before and after
| | 10:22 | and that looks a little bit funny but as we click
through our layers, we can see how we improved that.
| | 10:28 | That is a better portrait.
| | Collapse this transcript |
| Tailor-fitting a wedding dress| 00:00 | In this movie we will be working on
the file michael_costa_face_dress.tif.
| | 00:03 | Go ahead and open that one up in Photoshop.
| | 00:06 | This particular image was provided to
us by one of my friends Michael Costa.
| | 00:11 | He is an amazing and accomplished wedding photographer,
check out his work at michaelcostaphotagraphy.com,
| | 00:17 | and the reason I mentioned that is because he
captured this image in Paris and decided to use it
| | 00:22 | for an advertisement in a high-end wedding magazine.
| | 00:25 | I asked Michael, "Hey, you know, how much of that add costs you?"
| | 00:28 | desired a curiosity, and he said, "Well,
Chris, let me put it to you this way.
| | 00:31 | It costs me as much as a car".
| | 00:34 | So on that note the retouching better be
pretty good, right, the stakes are high.
| | 00:39 | So let's take a look at how we can
improve this already beautiful image.
| | 00:43 | Notice the notes layer, we want to work on the dress, the
tonality on the face and then down here on the stomach.
| | 00:49 | We will turn that notes later Off and begin to work on the dress.
| | 00:53 | You also notice the grain structure, this was captured with film,
| | 00:56 | and that grain actually looks really nice back
there and it fits to this type of an image.
| | 01:00 | We will click in the Background layer, we are
going to make a selection of the dress here.
| | 01:05 | So we will zoom-in on that corner of the dress
there so we can really take a look at that.
| | 01:10 | We will make a selection, and in this
case we simply will need the top part
| | 01:15 | of the dress right here, and then a little bit of the background.
| | 01:22 | Now, it is hesitating (ph) there because
I think I want more of the background.
| | 01:25 | So I'm going to hold down the Shift key, I'm going to add
to my selection so I've even a little bit more of this guy.
| | 01:30 | Now I'm going to copy this to a new
layer, do you remember that shortcut?
| | 01:33 | Mac Command+J, PC Ctrl+J bam!
| | 01:37 | that's now on a new layer, we will call this layer dress.
| | 01:39 | Now let's take a look at that, there we
have that little piece of the dress there.
| | 01:43 | Couple of things I can try here, first to
start it I'm just going to try to pick it up
| | 01:46 | and move it, see what happens if I move that.
| | 01:48 | I say, well, you know what, I can get it to a good
place, that will be a really nice spot right there.
| | 01:53 | The back part isnt looking good with the
front part, that seam, that look so nice,
| | 01:57 | because this dress was not custom-tailored
for this particular model.
| | 02:01 | So we need to custom tailor it ourselves, I like that.
| | 02:04 | Now we need to do is Free Transforming, right?
| | 02:06 | Command+T (Mac), Ctrl+T (PC), we can
put over little rotation point there.
| | 02:12 | I think of that there is a point that this will rotate
around and then pull up the back side of the dress there.
| | 02:18 | Oh man! That is such a good nice edit.
| | 02:20 | let's take a look at that, heres our before and after.
| | 02:24 | it is almost, almost perfect, bring this down just a little bit
I think, double-click that, let's look at our before and after.
| | 02:32 | The nice think about this kind of a
retouch is that the tone structure
| | 02:36 | and the grain and all that just going to match perfectly.
| | 02:38 | let's zoom-out to see if it is actually good, heres
before and after, and you know what, I think that is good.
| | 02:44 | The only problem I'm noticing is I've
a few repeating patterns of the grain,
| | 02:48 | I might want to flatten out this part
of the garment here just a tad bit.
| | 02:51 | So I'm going to create a new layer by clicking on
the New Layer icon and I will call this dress2.
| | 02:57 | Grab the Clone Stamp tool and nice small brush
here, and I'm just going into go through here
| | 03:04 | and try to sample some different areas, I'm trying to
interrupt the pattern, the grain structure, just a tad bit,
| | 03:10 | so that there arent similar types of grain,
Option+Clicking other areas matches the tone.
| | 03:16 | But I don't want to match the actual grain, and then I'm
also going to try to take down some of these little bumps
| | 03:23 | on the dress, just a little bit, let me zoom-in even
further here, just take some of those down a little bit,
| | 03:28 | I know the dress does have a little bit of a natural wave to it,
| | 03:33 | part of the beauty of this dress, but I
want to minimize that, just a tad bit.
| | 03:37 | As long as I'm doing some detail work in here,
so I'm just clone stamping from both sides.
| | 03:43 | Bringing some tone in there, subtle improvements.
| | 03:46 | I think they will be nice, let's zoom-out.
| | 03:48 | let's look at our before and after.
| | 03:52 | Do you know what?
| | 03:53 | I like what happened in the dress.
| | 03:55 | I don't like what I did to the grain in the background.
| | 03:57 | So I'm going to mask that out.
| | 03:58 | Click the Mask icon, grab my brush, make the
brush smaller, but I do not like what I did there.
| | 04:06 | I do like the dress adjustments, not the grain.
| | 04:10 | I think I got to Clone Stamp tool
happy, does that ever happened to you?
| | 04:14 | It happens to me, sometimes I overdo it.
| | 04:18 | Alright, the last thing that I need to do with the dress here.
| | 04:21 | There is a little bit of a seam that I want to minimize.
| | 04:24 | So I will go back to this layer with the Clone Stamp tool, press
that by clicking it on the toolbar or you can press the S key
| | 04:34 | to select that, I'm just minimizing the gap
there, just a little bit, it is small, I know.
| | 04:40 | Those details really count, heres our before and after.
| | 04:42 | Well that dress is looking a ton better, let's work on the face.
| | 04:45 | So I will zoom into the face here, and we
notice that we have some dark tones here
| | 04:49 | and some bright tones here, we want to fix that.
| | 04:51 | So we are going to go to the Background layer, and we are
going to copy the Background layer by pressing Command+J
| | 04:56 | on the Mac, Ctrl+J on the PC and we will call this face.
| | 05:00 | Then we are going to grab our Dodge tool, check that
out Dodge tool, very cool, Dodge Tool is amazing,
| | 05:06 | what we can do with a Dodge tool is we can use actually the Burn
and Dodge tool at one time, working on my Midtones, low Exposure.
| | 05:14 | Let me crank up the Exposure in order to illustrate something,
this is bad, yeah, it will be helpful for illustration.
| | 05:21 | I make an adjustment, I can brighten.
| | 05:24 | Hold down the Option key on the Mac, Alt key on
the PC, now I'm darkening, I'm in the same tool,
| | 05:30 | but I can alternate between dodging
and burning with that shortcut -- ooh!
| | 05:34 | that's an amazing shortcut.
| | 05:35 | Again that is with either tool hold down the Option key
on the Mac or the Alt key on the PC, and think of that,
| | 05:41 | it is just kind of flipping or reversing the functionality there.
| | 05:45 | So I will go ahead and start to bring this
down and I want to do this incrementally.
| | 05:49 | So I'm trying to start with a low Opacity here just to brighten
that up a little bit, let's look at our before and after,
| | 05:55 | yeah that's nice, work on my edges, tad
bit, smaller brush, the dark area over here.
| | 06:02 | I'm just trying to even out this
tone just a little bit, over here,
| | 06:08 | as long as I'm here I manage I will
hit underneath the eyes a little bit.
| | 06:13 | Alright, I know this isnt structural, but I just couldnt
help myself, kind of had to do that with this image, right.
| | 06:18 | Diminish some of these shadows as long as we are here.
| | 06:20 | let's look at our before and after, and then
zoom-out a little bit to see how we are doing.
| | 06:23 | OK, well, so far so good, I like that.
| | 06:25 | Now, I'm going to do a bigger brush, even lower Opacity
and just hit that there, even things out, even-steven.
| | 06:39 | OK, we are doing some nice evening work.
| | 06:42 | I think that looks good.
| | 06:44 | Nice thing about doing this on a layer, if it is too hard
I can lower my Opacity and drop it back, and you know what,
| | 06:50 | when I drop back just a couple of percentage
points, on my monitor that's look pretty good.
| | 06:55 | let's look at our before and after, we definitely
improved the face there, that's looking a ton better.
| | 07:01 | We could do a little bit more over work with that, but
for demo purposes I think that's going in a good place.
| | 07:05 | let's click on the top layer and then
add some brightness to the eyes and face.
| | 07:09 | Create a Curves Adjustment layer by clicking on the
Adjustment Layer icon, and then brighten up the image overall.
| | 07:15 | Now that is too much I know, click OK.
| | 07:18 | We are going to invert the Mask, on a Mac that's
Command+I, on a PC that is Ctrl+I, it is now black.
| | 07:23 | On this Mask I'm going to paint with white, and you are going
to think that I'm crazy as I do this because I'm going to paint
| | 07:32 | with my Bursh tool, D on the keyboard selects the Brush tool.
| | 07:36 | I'm going to add brightness to the eyes here, and that
brightness is too intense, I know, but stick with me,
| | 07:42 | I will lower my Opacity, and I'm going to brighten the face.
| | 07:46 | it is probably too much on the face thereto and under here, under
the nose, a little bit less for the forehead, brighten that up.
| | 07:54 | Then after I brighten that I will lower my Opacity.
| | 07:57 | I like to do things a little bit harder first because then it
helps me see my edges and then back it off and all I'm trying
| | 08:03 | to do here is just bring a little bit more brightness to the
face, and I say, you know what, I think that is kind of nice
| | 08:09 | like how it brings out the eyes a little bit more,
the cheeks a little bit more, brightens up the skin.
| | 08:14 | Last thing I would like to do is to cleanup or even
out the skin a little bit, so I will create a new layer
| | 08:19 | and grab the good old Healing brush, nice small brush, do that
by pressing the left bracket key Option+Click similar areas.
| | 08:28 | I'm just looking to try and get the tonal
structure or the grain structure there
| | 08:33 | to equal out a little bit, a little bit bigger here.
| | 08:41 | I want to get too close to those dark areas.
| | 08:44 | That gives me problem, so I need a Clone Stamp tool
on Normal, low Opacity right bracket big brush,
| | 08:55 | so I want to get that streak out,
see that little streak in the face.
| | 08:59 | That streak needs to come out.
| | 09:02 | let's take a look at the before and
after altogether, there is before,
| | 09:05 | there is after, that's looking a lot better, wouldn't she?
| | 09:09 | But we have more ground to cover and
that has to do with the stomach down here
| | 09:15 | and we will do with the stomach in the next movie.
| | Collapse this transcript |
| Reducing the stomach size| 00:00 | We are going to keep working on this image
to see if we can improve it even some more.
| | 00:04 | Well so far so good.
| | 00:05 | let's go ahead and merge all of our layers to a new layer.
| | 00:08 | We are going to do that by pressing
Shift+Option+Command+E that will merge everything
| | 00:13 | to a new layer and I will name this Layer Merge.
| | 00:15 | Now I like to do that simply as a way
to kind of create a History snapshot.
| | 00:19 | It will also help me with some specific editing techniques
if I need to make some edits to the image overall.
| | 00:24 | I can now do that because all of those layers are merged.
| | 00:27 | What I want to do here is look at a couple of different
techniques for working on this particular portion of the image.
| | 00:32 | We have a little bit of a bend in the dress that we want to fix.
| | 00:35 | So let's zoom in that particular area and as we zoom in on
it, we know that it will be nice to kind of bring that in,
| | 00:41 | even that line out a little bit and then also
even out these folds a tad bit here as well.
| | 00:46 | There are a couple of different techniques
or approaches that we can take.
| | 00:50 | One approach is going to be using Liquify.
| | 00:53 | So let's go ahead and try that first.
| | 00:54 | we will navigate to our Filter drop down menu and choose Liquify.
| | 00:58 | Now with the Liquefy tool I'm going to zoom in on that
portion of the image, Command + on a Mac and Ctrl + on a PC
| | 01:05 | and currently I've the top default tool
selected Forward Warp Tool and I'm going
| | 01:10 | to just go ahead and click and move some of these pixels.
| | 01:14 | Now looks like I need a little bit of larger Brush Density here.
| | 01:19 | Just going to physically go through this and shift these
over here to the left, let's try to create tad bit more
| | 01:25 | of a straight line, zoom out a little
bit so I can see what I'm doing.
| | 01:29 | Nice thing about this is I'm able to
control how the rocks bend as I do this.
| | 01:34 | The problem with all of this retouching that we will be doing
in this movie which we can fix the problem is that we are going
| | 01:41 | to be blurring film grain and we will need
to bring back some of the detail later.
| | 01:46 | If we want to see our Before we can turn Show Backdrop on
| | 01:49 | and by showing Backdrop we can use
specific layers and have that come on.
| | 01:53 | So I'm going to say go down to the very bottom layer which is
Background and I'm going to say Show it in front of where am I.
| | 01:59 | So here is my Before and then After so I
can see if I'm going in good direction.
| | 02:04 | Sometimes it is nice to lower the Opacity there so you can see
how far you are pushing things, actually as you are editing.
| | 02:10 | It can help you determine if you are going in a good direction.
| | 02:14 | let's turn that off so we can focus on the image at hand.
| | 02:18 | Another tool that's actually really nice,
believe it or not, is the Pucker tool.
| | 02:22 | Now you may think OK that tool is just over the top
and I'm with you, it is a little bit over the top,
| | 02:28 | but there are times when this tool can help and I'm going to
take a risk and I'm going to guess this is going to be too much.
| | 02:34 | But I'm not trying to just to hit that, a couple of times,
| | 02:36 | just bring that in just double little
tiny bit, maybe bigger Brush there.
| | 02:41 | That was too much, definitely.
| | 02:43 | But I think there are couple of little hits
will help out that particular area of the image.
| | 02:48 | Now this tool and its complementary tools are
used in a number of different ways as well.
| | 02:52 | The one thing that's important with these
tools I think is to try and get a larger Brush.
| | 02:57 | If you use a small Brush what tends to happen is things become
a little bit pointed versus as the shape being well distributed
| | 03:03 | and in this particular image we could do a little bit
with the Blur tool and make a pretty large Brush size here
| | 03:09 | and again we don't want to be over the top here
but we will just hit the top part of the image,
| | 03:13 | just increase the size there a little bit and click Ok.
| | 03:16 | Now as we do that and zoom out and we will
see if we are going in a good direction.
| | 03:19 | So here is our Before and After and in this case I would
say you know what the stomach looks good but the top part
| | 03:25 | of the dress that's too important it is too elegant in an image.
| | 03:28 | that's just kind of a cheap edit almost.
| | 03:30 | So we are going to create a Mask.
| | 03:31 | Click on the Mask icon and then I'm going to mask that out,
| | 03:34 | paint that away because I don't think
that helped out this image at all.
| | 03:37 | I think the elegance of it, works much better in this way.
| | 03:40 | OK. So zoom in down there on the stomach and as I look at
the stomach I say, "You know what, that looks pretty good."
| | 03:46 | That stomach is a ton better except I lost all of the noise.
| | 03:50 | So I'm going to copy a portion of this image, grab
my Lasso tool and I'm going to copy this portion
| | 03:56 | of the image here approximately the area where I've been
working and I'm going to make sure that I've all of it,
| | 04:03 | anywhere I see pixels that are smudged together.
| | 04:07 | I'm going to copy this to a new layer,
Command J on a Mac, Ctrl J on that PC.
| | 04:13 | I copy this to new layer.
| | 04:14 | we will call this Grain, then I'm going
to go to Filter->Noise->Add noise,
| | 04:21 | zoom in, zoom way in, zoom as far as you can in.
| | 04:25 | Lets take a look at our Before and After.
| | 04:27 | You know my settings that are here,
were pretty good from the get-go.
| | 04:30 | I've got really lucky on that one, that's the thing that you
hope of when you are demoing or creating one these Movies.
| | 04:37 | let's take a look at that.
| | 04:38 | I like Gaussian, the Amount 1.3 that is just money.
| | 04:42 | If I take that up what we are going
to see or take that down just too low.
| | 04:45 | 1.2, let's try that.
| | 04:48 | Gosh looks so good.
| | 04:49 | Actually 1.3 worked really good.
| | 04:52 | Click OK to apply that.
| | 04:54 | let's look at our Before and After and you see that what it
did was it just brought that Grain structure back to the image.
| | 05:00 | Now in this case I brought a little bit too much of it back
around the edges, so I'm going to click on the Mask icon,
| | 05:07 | choose my Brush tool, paint with black or white.
| | 05:13 | Anywhere where I see that might benefit from
this I'm just looking to get the grain to match.
| | 05:19 | Before and After - Wow!
| | 05:21 | I think that's really good.
| | 05:22 | I think I got really lucky with that.
| | 05:25 | let's look at our Before and After and see how we are doing.
| | 05:27 | Here is our Before and then After,
Before and After that looks really good.
| | 05:33 | Well I said I would show you another technique which I
want to show you that-I will a how it to you quickly.
| | 05:38 | let's say we don't use Liquify.
| | 05:40 | We merge everything into the top most layer,
Shif+Option+Command+E on the Mac, Shift+Alt+Ctrl E on a PC.
| | 05:47 | Marquee tool, make a nice selection, copy that selection
to a new layer, Command J on the Mac, Ctrl J on the PC.
| | 05:54 | Then Free Transform that selection.
| | 05:56 | So we are going to Free Transform it.
| | 05:57 | Ctrl click inside of here and choose Warp.
| | 06:01 | In this case we are just going to Move
this over and you know how this works.
| | 06:05 | Youve seen this before.
| | 06:06 | You know where I'm going with all this stuff, right.
| | 06:08 | that's the nice thing about retouching, is the tool set isnt
very broad and deep we use the same tools over and over again.
| | 06:17 | Here is my Before and After.
| | 06:18 | let's compare that to this one.
| | 06:20 | Here is the other one and then the one I just did.
| | 06:25 | Also those are pretty good but you know what?
| | 06:27 | In my case I liked Liquify better because I was
able to straighten out some of those wrinkles.
| | 06:32 | Now of course I'ven't added Film Grain,
but I would do that the same way.
| | 06:36 | One of the reasons I wanted to show both
techniques, and one of the reasons I've been trying
| | 06:40 | to show multiple e techniques throughout this training is just
to get you thinking that there is no one cure-all technique.
| | 06:46 | A lot of times it is a combination of multiple
techniques that equal the best results
| | 06:50 | or for one particular image its one technique
for another image it is a different technique.
| | Collapse this transcript |
| Thinning the waist and legs| 00:00 | In this movie we will be working on the file shape.tif.
| | 00:03 | Go ahead and open that one up in Photoshop.
| | 00:05 | This image comes to us by a way of one of my colleagues Christy.
| | 00:08 | Christy, thanks a ton for usage of this particular image.
| | 00:11 | I've some notes here which say that what I want to
do is I want to thin out the hips and the legs here.
| | 00:15 | Now, this actually was a pretty high-end fashion shoot,
| | 00:18 | but it is just the way that this particular image
was captured and the garment that doesnt look great.
| | 00:22 | So what we want to do is improve this.
| | 00:24 | So we want to take some of the width out there.
| | 00:26 | How can we do that?
| | 00:27 | we are going to click on her background layer,
grab the Lasso tool and make a selection.
| | 00:31 | In this case, I'm going to make a selection up here on
the top part of the shoulder and I'm going to go down
| | 00:37 | and go into the area that I want to work on, which is this
part of the leg here, make my way around in the background.
| | 00:45 | Now, that I've a nice selection, I'm going to copy that
to a new layer, Command + J on the Mac, Ctrl + J on a PC.
| | 00:51 | we will this R for the right side.
| | 00:53 | Now, let's free transform it, Command + T. What I need to do
| | 00:56 | with the free transform is change how
this free transform when you rotate it.
| | 01:01 | I'm going to have it pivot right there on the shoulder and
then I'm going to click and drag, or rotate this to the left.
| | 01:08 | That looks pretty good.
| | 01:10 | Now, I just need to lengthen this out a little
bit so that that belt line is up and press return.
| | 01:15 | let's look at our before and after.
| | 01:17 | Wow, that was pretty easy, right?
| | 01:19 | That was almost too easy.
| | 01:20 | we will click on the Mask icon, grab our brush and then paint
with black to fix the scene there, bring those details back.
| | 01:30 | let's look at our before and after, so far, so good.
| | 01:34 | One side has been taken care of, let's take the other side.
| | 01:37 | Click on the background layer, use the Lasso tool and
again same thing we are going to be making a selection.
| | 01:43 | I think my selection is a little bit too close there.
| | 01:49 | Hold down the Shift key to add to the selection.
| | 01:51 | it is a great shortcut.
| | 01:55 | Holding the Shift key is to add to a selection.
| | 01:58 | Hold down the Option or the Alt key is to subtract.
| | 02:01 | So we have that side selected.
| | 02:03 | Press Command + J on the Mac, Ctrl + J on the PC, Command
+ T on the Mac to free transform, Ctrl + T on the PC.
| | 02:12 | A lot of shortcuts here, but important ones, right?
| | 02:15 | we will put that up there on the shoulder so we can pivot
right there on that shoulder point, bring this side in
| | 02:23 | and see where we want that, how about right about
there, I'm going to make this is a little bit taller,
| | 02:31 | so that that belt line, if I need to zoom in, so I can
see that belt there, just bring this there, tad bit,
| | 02:38 | OK that looks good, zoom out to see how we are doing.
| | 02:41 | Pretty good, click on the mask icon, grab
the brush tool and then I'm going to go ahead
| | 02:46 | and brush that scene back in so that looks really nice.
| | 02:51 | let's take a look at our before and after.
| | 02:53 | There is before and there is after
structurally, definitely improving the image.
| | 02:59 | Now, we could go even further.
| | 03:00 | If for some reason we felt like you
know what we didnt go quite far enough,
| | 03:04 | we would like to take more in, we could obviously do that.
| | 03:07 | I will take a little bit more here in.
| | 03:08 | let's zoom in to see how we are doing there, before and after.
| | 03:12 | it is going in a decent direction bring that up top, make
the belt line up that way and look at our before and after.
| | 03:21 | I think that works as well.
| | 03:24 | One of the problems we noticed is that that hand
in the background wasnt covered up by anything.
| | 03:28 | I'm going to fix that by clicking on the background
layer, create a new layer, grab good old Clone Stamp tool
| | 03:35 | and nice brush Option + Click, turn off
the other layers there for a moment.
| | 03:42 | I'm going to keep paint this part of the image
away because I don't need it anymore, right?
| | 03:50 | I've those arms on their own layer.
| | 03:53 | Now you notice that I didnt actually painting
away, I'm just cloning on top of those,
| | 03:57 | this way that cleaned it up so there's just that clean up
work there, let's zoom out and see how we are doing overall.
| | 04:02 | Here is our before and after.
| | 04:05 | Isnt that fascinating?
| | 04:06 | How you can begin and changed size simply by using what you
have and repositioning it and sometimes that's going to be one
| | 04:13 | of your best approaches when youre
working on your images is to do just that.
| | 04:17 | Again our before and after.
| | Collapse this transcript |
| Flamenco project pt. 1: Thinning the waist| 00:00 | In the next few movies, we will be
working on the image flamenco.tif.
| | 00:03 | Go ahead and open that one up inside a Photoshop
and press F to go to full-screen view mode.
| | 00:09 | Now I've started this image off by showing you the after.
| | 00:12 | Here is the after where we are going with this particular image.
| | 00:15 | let's zoom in a little bit so you can
actually see it and heres the before.
| | 00:20 | that's what we have to start with.
| | 00:21 | So the roadmap is telling us we are
going to add a little bit of light.
| | 00:23 | Work on the stomach, work on this portion of the image.
| | 00:26 | We want to scoot that in also make it a little bit longer.
| | 00:29 | let's turn off the roadmap, turn off the
reference folder and let the games begin.
| | 00:35 | OK, well let's work on the area where we think we are
going to need to do the most work and that is down here.
| | 00:39 | So I'm going to make a selection of this area but before
I do, I know that I'm going to be tweaking this selection
| | 00:45 | out a little bit so I'm probably
going to messing up my background.
| | 00:48 | So I want to get a good selection of the background with
the magnetic lasso and select along the edge of the dress.
| | 00:54 | Now if this isnt perfect, it doesnt really matter that much.
| | 00:58 | I'm just going to go ahead and try to get
this area in a way that's pretty decent.
| | 01:03 | I should go up here actually.
| | 01:06 | Copy that to a new layer by going to Layer, New Layer via Copy.
| | 01:10 | Basically, I've just copied that
portion of background to a new layer.
| | 01:14 | you will see why that will come in handy later.
| | 01:17 | But a lot of times what will happen is you will
modify something, stretch something, bend pixels.
| | 01:21 | In someway, you will need some good background.
| | 01:24 | That background, I think, will help us out later.
| | 01:26 | let's turn that layer off; we don't need it right now.
| | 01:28 | Then let's go ahead and grab the
regular lasso tool and what we want
| | 01:32 | to do is make a nice solid selection
around this portion of the image.
| | 01:41 | One thing that I realized I did, which won't work,
is I didnt select enough of the background here.
| | 01:46 | So I'm going to hold down the Shift key and make this
selection go out a little bit further and I don't know
| | 01:51 | if I'm actually going to need this background, I can't
remember at this point how I did this last time but I do want
| | 01:56 | to have a little bit extra breathing room because I'm
going to shift this part of the image quite a bit.
| | 02:01 | Now, I click in the background layer and copy that to a new layer
by going to Layer, New, Layer via Copy or use your shortcut.
| | 02:07 | Now Command+T this or Ctrl+T on a PC, Command+T on a Mac
and then reposition how this will rotate and what we want
| | 02:15 | to do is just rotate this so that we still have the
nice shape that we had before, you will see here.
| | 02:20 | Well, I needed that background to cover up
that part of the dress so I'm going to go ahead
| | 02:23 | and bring that in a little bit so now it is leaned in much more.
| | 02:27 | Then Ctrl+Click and choose Warp and now this is where
we are going to really change the shape of this,
| | 02:33 | flatten out this curve a little bit which I think
will help us out tad bit with this particular image.
| | 02:38 | I may come in to some background problems as I do this, also
looks like I'm coming into some problems up top so you need
| | 02:46 | to fix those bring that top point over to
the right a little bit and then bring this in
| | 03:02 | and press Return to apply that transformation.
| | 03:05 | let's see how we did.
| | 03:06 | Heres our before, heres our after.
| | 03:09 | I think that might work for us.
| | 03:11 | So let's click on the mask icon.
| | 03:13 | Now a couple of areas we are going to need to mask.
| | 03:15 | I will grab the brush tool and actually before I grab the
brush tool, I'm going to grab the move tool, press my arrow key
| | 03:22 | and just position this over to the right a little bit.
| | 03:24 | Did you notice how that shadow or that
highlight didnt line up; I need that to line up.
| | 03:28 | So now it does.
| | 03:30 | Now I'm going to grab my brush tool and I'm going to
paint with black not on the image and I click in the mask
| | 03:37 | and paint with black to create a nice seam there.
| | 03:39 | So I mess up as I did here.
| | 03:41 | I hit the X key that flips between black and white and
what I'm looking to do here is paint at 100% opacity
| | 03:48 | at this case and I just want to create a nice seam.
| | 03:51 | I need this fabric to look realistic and so I'm just
going to go through the different portions of fabric.
| | 03:56 | See, what I can do to try to create what I think will
look like a pretty nice seam there and so far so good.
| | 04:03 | let's zoom out, look at our before and after.
| | 04:05 | Here is before, here is after.
| | 04:07 | OK, that's looking good I think we are going in a good direction.
| | 04:11 | Now, what about the background there?
| | 04:12 | Notice that the background now is shifted its direction
so I'm going to turn my background layer here it is,
| | 04:18 | select that layer with the move to I'm
going to scoot this background over.
| | 04:23 | Now, as I scoot this over, I'm going to bring over those lines.
| | 04:26 | I'm also bringing the background
over into and on top of the image.
| | 04:30 | That doesnt look very good but I can fix that with a mask.
| | 04:34 | So I click on the mask icon, grab my brush tool, B on
the keyboard or select it in the toolbox and then paint
| | 04:41 | through these areas where that background
went on top of the dress.
| | 04:45 | We don't want it to go on top of the dress but we can
use this background to cover up a few problem areas.
| | 04:52 | let's look at our before and after,
here is before, here is after.
| | 04:58 | Now you see those problems, you didnt even really noticed before
how far off those were but that background actually save the day.
| | 05:04 | You also need to mask off the background here a little bit too.
| | 05:07 | Therere a few little edges I notice that didnt quite workout.
| | 05:10 | So again, let's take a look at our image so far.
| | 05:13 | We have the background, we have this image which is bringing over
this moving that to the left and we have the background sitting
| | 05:19 | on top of it, which just kind of leveled things out a little bit.
| | 05:22 | A few of those layers together work really well,
we've now brought our image to a pretty good place.
| | 05:27 | So I'm going to mask in a little bit more of the dress here.
| | 05:29 | It looks like my background is covering
up quite a bit of the dress down there.
| | 05:33 | I don't want that to happen and look at my before and
after and make sure there arent any other problem areas.
| | 05:39 | I think that looks pretty good that's work on my seams.
| | 05:44 | Hey! that's a pretty good breaking point.
| | 05:45 | We have more ground to cover and
we will do that in the next movie.
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| Flamenco project pt. 2: Shape and height| 00:00 | I'm glad you are back because I've realized and I
actually like what I did in regards to editing this image.
| | 00:05 | There is one thing that I want to fix and that is the shape.
| | 00:08 | Right now these legs are really straight; I
need a little bit of more of an S-curve there.
| | 00:12 | So, let's merge our layers.
| | 00:14 | There are couples of different ways that you can do this.
| | 00:16 | The easiest is by way of shortcut.
| | 00:18 | Remember that one on the Mac, Shift+Option+Command+E,
PC that's Shift+Alt+Ctrl+E.
| | 00:24 | Now, I'm going to make a selection of the areas that
I want to work on which is this portion of the legs.
| | 00:29 | I want to copy that to a new layer.
| | 00:30 | So, I will go to Layer, New, Layer via Copy.
| | 00:33 | Now that I've this on its own layer, I call this dress.
| | 00:38 | Free transform that; Edit, Free Transform.
| | 00:43 | Then I'm going to right click or Ctrl+click and choose Warp.
| | 00:47 | What I want to do is just bring out some of the shape
here, so I'm going to bring a little bit of shape out here.
| | 00:52 | Bring it in down this way.
| | 00:53 | OK, a little bit more curvature on that I think
that's going to look better, I will press Return.
| | 00:58 | let's see if it does.
| | 00:58 | Here is our before and after, I think it does.
| | 01:01 | That makes the image a little bit more dynamic.
| | 01:04 | So I like that.
| | 01:05 | I think that helped out, it was subtle, important for me.
| | 01:08 | Next thing I want to do is make this
model have a little bit longer legs.
| | 01:12 | So I'm going to merge everything to a new layer;
Shift+Option+Command+E Mac; Shift+Alt+Ctrl+E on the PC.
| | 01:19 | Then I'm going to select the bottom part of
this image and I will click on the mask icon.
| | 01:27 | So what I've in this layer is just
this bottom portion of the image.
| | 01:32 | Now that it is just the bottom portion,
I'm going to press Command+T.
| | 01:37 | Then I'm going to free transform this up so that this
particular model will have a little bit longer legs.
| | 01:44 | Now that maybe a little bit too far
but a lot of times this will help
| | 01:48 | in different situations to just lengthen out their legs tad bit.
| | 01:51 | let's do that.
| | 01:52 | That looks good there, press Return.
| | 01:54 | Now my mask isnt perfect, right?
| | 01:56 | No big deal, we will go ahead and go in with
our paintbrush and we will paint with black.
| | 02:01 | I made a mistake there almost when paint it down.
| | 02:04 | I don't want to do that, so I've to paint that away, fix that up.
| | 02:07 | If you make any of those mistakes, just hit the
x key and then you can paint back and forth,
| | 02:12 | change your brush size until you get nice
clean edges and everything looks good.
| | 02:17 | You are happy and you are excited about the way
that you are processing your image and it is going
| | 02:23 | in a good direction; you are creating more visual impact.
| | 02:26 | So keep in mind that this technique can
work in a number of different situations.
| | 02:30 | Yet here, so far, so good.
| | 02:32 | The image is looking better.
| | 02:34 | Next thing that I want to do is work on
the stomach so I will zoom in a little bit.
| | 02:37 | let's go ahead and zoom in on the stomach there.
| | 02:40 | Then we are going to create a new layer.
| | 02:42 | Click on the new layer icon and give this layer a new name.
| | 02:45 | We will call this stomach.
| | 02:46 | We will use the healing brush and with the healing brush
what I'm looking to do is just take out a few shadows.
| | 02:51 | So I will Option+click some areas that are nice
and shadow-less and my brush a little bit smaller.
| | 02:59 | that's going to dip into these areas.
| | 03:04 | I'm trying to do this in order to just
flatten out the stomach a little bit.
| | 03:12 | If I've shadows that showing me that I've
shape, less shadows; I've less shape.
| | 03:19 | So we will go ahead and go through there.
| | 03:21 | let's look at our before and after.
| | 03:23 | Zoom out a little bit to see if we are going in a good direction.
| | 03:26 | I think that we are little bit more that
could be done here on this side over here.
| | 03:32 | Another nice way to do this is to use clone stamp on
lighten that get through those shadows incredibly well.
| | 03:39 | So far, so good.
| | 03:40 | let's do a little cloning on top of that.
| | 03:42 | So I will use clone stamp, go to
Lighten, lower my opacity about 50%.
| | 03:47 | Right bracket key to make a nice large brush size,
| | 03:50 | I'm just going to go through here lighting
up these areas that I've been retouching.
| | 03:59 | Nice big brush, lower the opacity even more.
| | 04:10 | Now a lot of times when you make edits like
this, theyll be a little bit too strong.
| | 04:13 | Mine is that way.
| | 04:14 | Lower the opacity so we just want to
diminish the light there a little bit.
| | 04:18 | I think that is going in a good direction.
| | 04:20 | let's zoom out to see how we are doing.
| | 04:22 | Here is our before and after, so far so good.
| | 04:25 | The last thing that I want do with this image is I want to add
a little bit of directional light coming from this direction
| | 04:30 | and a little bit of color and tone
and we will do that in the next movie.
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| Flamenco project pt. 3: Color, tone, and light| 00:00 | Now in this movie we are not going to do anything in regards to
improving the structure of the image, but we are going to work on
| | 00:05 | color and tone and a little bit of light.
| | 00:08 | I thought it would be fun to include this anyway even though it's
outside of the confines of the chapter because it's just kind of fun,
| | 00:13 | it's great to finish things off.
| | 00:15 | Here we at this image. I'm going to work on the color and tone.
I'm going to do that in a couple of different stages.
| | 00:20 | I'm going to go ahead and create a Hue/Saturation Adjustment layer.
| | 00:23 | Click on the Adjustment Layer icon and choose Hue/Saturation.
| | 00:26 | I'm going to bring the Saturation
down quite a bit here. Click Ok.
| | 00:29 | Next click on the Adjustment Layer icon and choose Color Balance.
I want to add some reds and add some yellows.
| | 00:35 | I'm going to warm this image up quite a bit,
| | 00:38 | so far, so good. I'm going to go into my Highlights, I'm
going to add a little bit of a Yellow and Red there as well.
| | 00:44 | The image is getting closer to where I want it,
| | 00:46 | so far so good. The next thing that I want to do is I want to
add some light. So I'm going to merge all of these layers together.
| | 00:52 | On the Mac Shift+Options+Command+E,
| | 00:55 | on the PC Shift+Alt+Control+E.
| | 00:59 | We name this layer Light.
| | 01:01 | Navigate to our Filter drop down menu
and choose Render>Lighting Effects.
| | 01:05 | And what we are going to do here is choose a Spotlight.
| | 01:08 | Now notice that- actually because I had
previously done this on this computer,
| | 01:12 | the Spotlight is already setup for me and
the settings are actually pretty darn good there.
| | 01:17 | So I will go ahead and choose a direction for that.
So I can choose where I want the light to come from.
| | 01:24 | It could be nice to come from this way
because we have this rim light here
| | 01:27 | and little bit of directional light would be nice.
| | 01:29 | And I'm going to control my overall Ambience lighting
| | 01:32 | and overall Intensity of this particular light
| | 01:35 | and click OK.
| | 01:37 | I'm getting closer and closer. Now that is much
too intense right? So I want to simply back that off
| | 01:42 | and lower the Opacity of that. All I'm doing is looking
to redirect the way that the light falls just a little bit,
| | 01:49 | it doesn't need to be over the top,
| | 01:50 | but it brings a lot of nice light on the
face, gives a little sense of direction,
| | 01:55 | and makes the image a little bit more ethereal.
| | 01:57 | Next up it is going to be to create a Curves Adjustment layer.
| | 02:00 | Click on the Adjustment Layer icon and choose Curves.
| | 02:03 | Brighten up your Whites; bring your Shadows down,
that's going to give it this real neat warm feel.
| | 02:12 | Going to the Red channel you could add a little bit of Red to that if you
wanted to. Going to the Blue/Yellow channel, add a little bit of Yellow.
| | 02:19 | Actually I'm going to... take a little bit of Yellow out.
| | 02:22 | Little bit too Yellow for me. Click Ok. Lets look at
our Before and After after this final adjustments.
| | 02:27 | Here is Before,
| | 02:29 | and here is After.
| | 02:32 | Now as I look at the Before and After I think, great. We have
brought this image to a really good place. Now there is obviously
| | 02:37 | more that we could do to make this image even better, yet for
the intent of this particular chapter we have accomplished what
| | 02:42 | we set out to accomplish and that wraps up this image.
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| Combining multiple images| 00:00 | I wanted to include one more movie that has
to do with the structural image enhancement.
| | 00:04 | that's quite common when you are photographing people
whether it is photograph of a family or high end fashion.
| | 00:09 | We are going to be working on this image family.tif.
| | 00:12 | Open that one up in Photoshop and let's
zoom in a little bit on this image
| | 00:17 | and here we can see we have this nice family photograph.
| | 00:20 | let's zoom where we can actually see the image.
| | 00:23 | Here is the first exposure and then the second exposure.
| | 00:26 | As I toggle back and forth between these two exposures I
notice there are few expressions I like in one exposure
| | 00:32 | and other expressions I like in another exposure.
| | 00:35 | Well, how we are going to combine both these
exposures together in order to create the best image.
| | 00:40 | What we are going to do first is bring
both exposures into one Photoshop document.
| | 00:44 | Next we will select both layers, click and Shift click.
| | 00:48 | Navigate to the Edit drop down menu and choose Auto-Align Layers.
| | 00:52 | I love Auto-Align.
| | 00:53 | Projection->Auto and click Ok.
| | 00:56 | Sit back and enjoy the show.
| | 00:58 | Here we go, here are the results.
| | 00:59 | Before and After.
| | 01:00 | Those images are now aligned.
| | 01:03 | Next thing I need to do is click in the top most layer.
| | 01:05 | But first I've to go to Full Screen
View mode and zoom in a little bit here
| | 01:09 | and I want to work on this side of the image over here.
| | 01:12 | I'm going to add a Layer Mask yet I'm going
to hold down the Option key on the Mac,
| | 01:16 | Alt key on a PC which will add a Layer Mask filled with black.
| | 01:20 | Next I'm going to select the Brush tool.
| | 01:21 | Press the B key to do so.
| | 01:23 | Paint with white, very soft edge brush.
| | 01:26 | And I'm going to bring in this expression
here and just go through
| | 01:37 | and make sure you don't have any
Ghosting or anything strange going on.
| | 01:40 | Here is my Before and After.
| | 01:42 | Very nice.
| | 01:43 | One of the things that I'ven'ticed happens
sometimes when you are creating effects like these is
| | 01:47 | that you may a little bit of Ghosting as I mentioned.
| | 01:50 | So I want to create that so you can see how we can fix it.
| | 01:54 | let's take a look at this here.
| | 01:59 | How about its right there.
| | 02:01 | Before and after.
| | 02:02 | Do you notice how we have a little bit
of a repeating pattern right there?
| | 02:05 | What you can do when you have that, notice on the sleeve as well,
is on your Mask paint with black or white with a small brush
| | 02:12 | and hide the scene, paint it with a little bit of a zigzag
so its not quite so straight or defined and then my painting
| | 02:18 | with a zigzag you are really going to disguise that you are
going to place the Ghosting in some different locations.
| | 02:23 | You need to be careful of course but it can
really hide that, so that will work well.
| | 02:27 | Alright, fix that color there because
that has a little bit of Ghosting as well.
| | 02:31 | OK Before and After and I think we
are in pretty good shape for that one.
| | 02:35 | Well there is one more expression that I want to bring
back and that's the expression of the eldest boy here.
| | 02:40 | What I'm going to do is hide this mask.
| | 02:42 | Hold down the Shift key and click on the Layer mask.
| | 02:45 | Next click in the image thumbnail.
| | 02:48 | I'm going to make a Marquee selection.
| | 02:49 | So I will select the Marquee tool from the toolbox
by pressing the M key or by selecting it there.
| | 02:54 | I'm going to make just a rough selection of his face.
| | 02:59 | Copy that to a new layer.
| | 03:00 | I'm going to do that by going to Layer->New->Layer via Copy.
| | 03:04 | Now that I've his face on a new layer
I'm going to turn the mask back on.
| | 03:08 | Hold down the Shift key click on the mask.
| | 03:10 | Here you can see we have this new expressions in layer one.
| | 03:14 | We will call this layer New Face.
| | 03:17 | Next select the Move tool.
| | 03:18 | Press the V key on the keyboard and reposition
this expression or this face into this location.
| | 03:23 | Now because I did Auto-Align layers, this is going to work really
well and just nudge in the surround to get it in the right spot.
| | 03:31 | Here is my Before and After.
| | 03:33 | Now even with my rough selection
edges, that's working pretty well.
| | 03:37 | Although I want to sweeten it up just a little bit more.
| | 03:39 | Click on the Add Layer Mask icon.
| | 03:41 | Select the Brush tool.
| | 03:42 | And I'm just going to paint with black to work on these edges
just a little bit, make sure this is blending in just right.
| | 03:50 | Before and after.
| | 03:52 | OK I think that looks pretty good and here is our overall Before
| | 03:57 | and After structural image enhancements
by combining multiple exposures.
| | 04:02 | Now I've one more example that I want to show
you, this one comes to us by way of Jimmy Nelson.
| | 04:07 | I'm going to zoom in here a little bit.
| | 04:08 | Press tab to get rid of everything and
then F7 to bring back my Layers palette.
| | 04:13 | Now we are not going to work on this image yet
I thought it would be valuable to shoo this.
| | 04:16 | Here is the original shot.
| | 04:18 | Jimmy is a phenomenal fashion photographer.
| | 04:20 | Here we have the original shot and the expression
| | 04:22 | in this particular image wasnt the expression
that was chosen for the final composite.
| | 04:26 | So here we have this one.
| | 04:28 | It was taken from another image in the same way that we took
that expression from another image and brought it together.
| | 04:33 | Now in this case there has been some retouching applied as well.
| | 04:36 | Now zoom in a little bit so you see that.
| | 04:38 | Here is our Before and After.
| | 04:40 | So just to illustrate that this technique
is valuable for all kinds of images.
| | 04:44 | So when you are editing your images
keep an eye out for specific images
| | 04:48 | that may have a good expression that
you could combine with another image.
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|
|
6. Reducing and Removing WrinklesReducing wrinkles with the Healing Brush tool| 00:00 | Welcome to Chapter 6.
| | 00:02 | In this chapter we are going to be looking at how can we
remove or reduce, I should say wrinkles from our images.
| | 00:08 | The first image we are working on is a photograph of my beautiful
wife and daughter Annika and Kelly go ahead and open that one
| | 00:14 | up inside the Photoshop and then zoom in a little bit.
| | 00:17 | This is the photograph that was taken just a week ago
after one of my daughters ballet shows and she was a mouse.
| | 00:24 | It was so cute.
| | 00:26 | Alright. Well, it is just a snapshot yet, what I want to
do here is reduce or diminish these wrinkles a little bit.
| | 00:31 | There are a number of different ways that we can do this.
| | 00:34 | I'm going to zoom in a little bit further here.
| | 00:36 | One of the most common ways to do is with the healing brush
although you will see this will be a little bit problematic,
| | 00:41 | but let's give it a shot anyway.
| | 00:42 | let's create a New Layer and let's do that by
way of shortcut Shift + Command and on the Mac,
| | 00:47 | Shift + Ctrl and on the PC and we will call this r eye.
| | 00:51 | We will grab the Healing Brush Tool there we go we have it
and now we are going to zoom in even closure because we need
| | 01:00 | to be really careful that we are just healing the wrinkles here.
| | 01:04 | I will go ahead in Option or Alt + Click a good sample area
of the skin and then I'm looking to paint over the wrinkles.
| | 01:12 | I'm going to go ahead and do this as far as I can with
this particular sample area and then let go that's
| | 01:19 | when the magic actually happens Option
+ Click and paint a little bit more.
| | 01:23 | Option + Click and paint a little bit more.
| | 01:25 | Now, some of you are thinking that OK, Chris you are
hitting these wrinkles really hard, I'm aware of that,
| | 01:30 | I'm aware that the Healing Brush has some limitations,
others of you maybe thinking well that's kind
| | 01:36 | of a amazing you can even do that,
so here is our before and after.
| | 01:40 | The problem of course is it doesnt look real, look
it is very unnatural, we will zoom out a little bit
| | 01:45 | so we can actually see it at a regular zoom right here,
heres our before and after that looks very strange.
| | 01:51 | So we want to do is bring some of these wrinkles back, an
easy way to do that would be to simply lower the Opacity
| | 01:57 | that way we are not removing those wrinkles
because those are character lines we want those.
| | 02:01 | We are reducing them and by reducing them they were less intense.
| | 02:05 | We are seeing that there is less light that's being caught there.
| | 02:08 | I'm just looking at my before and after
to see if it is going in a good direction.
| | 02:11 | Id say yeah definitely going in a good direction.
| | 02:14 | We can probably even bring them back a little bit more.
| | 02:16 | Just have a little bit less of those wrinkles,
not necessarily remove them altogether.
| | 02:21 | Alright, with that wraps up our first look at wrinkle removal.
| | 02:25 | I will catch you in the next movie.
| | Collapse this transcript |
| Reducing wrinkles by brightening| 00:00 | In this movie we are going to be learning some more
wrinkle reduction techniques and we are going to be working
| | 00:04 | on this file graduation.psd very typical graduation photo right,
shot at noon or 1:00 Oclock and the light is not very flattering,
| | 00:14 | well how can we improve this particular image, because the
lighting is just really accentuating the wrinkles in the face.
| | 00:21 | How can we diminish those just a little bit?
| | 00:23 | Well, there is quite a bit that we can do here.
| | 00:25 | There is a number of different techniques.
| | 00:26 | I'm going to zoom in on the face here, so we
can really take a good look at the wrinkles.
| | 00:31 | it is that trap light inside of there,
that we want to get rid of.
| | 00:33 | Well, how could we get rid of that?
| | 00:35 | One technique that we could use which you are
going to think I'm crazy when I show you this,
| | 00:39 | but it actually will work very pretty well, is to
create a Levels Adjustment Layer go to the Output Levels
| | 00:44 | and increase your Output Levels notice
that it is brightening the wrinkles.
| | 00:50 | Now, it is hard just to see how this is going
to actually work, so stick with me for a moment.
| | 00:53 | I click OK, then I invert the mask Command + I in a Mac, Ctrl + I
in a PC grab my brush and paint with white relatively low Opacity
| | 01:03 | in this case about 20% or so and I'm just going to
paint on those wrinkles and if you don't know much
| | 01:13 | about Levels what we were doing here is we are just bringing
up the darkest tones in the image and then I'm masking
| | 01:19 | where I want those dark turns to be brought up.
| | 01:21 | So I'm doing a little bit of burning and dodging, but it is
almost as if I'm reverse engineering the burning and dodging.
| | 01:27 | I'm just going through the image here, paint on those areas,
| | 01:30 | any wrinkle that I want to bring back a little
bit and I'm painting a little bit haphazardly.
| | 01:35 | A lot of times itd be nice to paint a
little bit more exactly yet so for so good.
| | 01:41 | Now, I need to go to my mask and blur that out Filter, Blur,
| | 01:44 | Gaussian Blur I want smoother transitions along
those lines that I've painted, I will click OK.
| | 01:50 | let's take a look at our before and after, OK
we have definitely diminishing those wrinkles.
| | 01:54 | Double click the Levels dialogue box and you can
see that I now have controls as far as how far I go.
| | 01:59 | Now, if I go too far things are going
to get a little bit strange,
| | 02:02 | yet as I just bring this up just a little
bit I can take down those real deep shadows.
| | 02:06 | So sometimes this technique will
work really well on different images.
| | 02:10 | In this case, I would say it is OK, it is
definitely taking the edge off of the wrinkle
| | 02:14 | and it is one of many burning and dodging techniques.
| | 02:17 | let's go a little bit further by creating the New Layer.
| | 02:19 | Now, that we have knock them down a little bit and let's grab the
Clone Stamp tool on Lighten on a real low Opacity so I will go
| | 02:26 | to about 10% here and I'm just going to go
through and I'm going to clone to a New Layer.
| | 02:31 | Now, I'm going to clone away these deep, dark shadows.
| | 02:35 | Again, think of this as burning and dodging, but this
time we are burning and dodging with the Clone Stamp tool,
| | 02:40 | working to lighten the wrinkles that are more pronounced.
| | 02:49 | I'm just being careful of the areas that I'm sampling from,
| | 02:53 | slowly making my way through the image,
try increasing my Opacity a little bit.
| | 02:58 | Get into bigger wrinkles, can be less for the
smaller wrinkles, let's see how I was doing so far.
| | 03:04 | Heres our before and after.
| | 03:06 | Again, before and after and all we are doing is just
removing the light from those particular wrinkles.
| | 03:11 | Well, now that we've removed the light, itd
be nice to smooth things out a little bit.
| | 03:15 | Now, let's go ahead and create a New Layer.
| | 03:17 | On this New Layer we will do some healing, grab the
Healing Brush and this is going to be pretty heavy.
| | 03:22 | We have seen the healing before we saw that in the previous
movie, so we go in there and get a nice big Healing Brush sample
| | 03:29 | out that area, a little bit of a
strange color shift going on there,
| | 03:32 | so I'm going to need to deal with
that, I will be able to deal with that.
| | 03:36 | New Layer so I'm just going to go
through pull out those wrinkles,
| | 03:40 | make sure it have skin texture, heres my before and after.
| | 03:44 | OK, that's way too intense, lower your Opacity of that layer.
| | 03:48 | We just want to diminish the wrinkles not remove
them all the way, just take it to right about there
| | 03:53 | and then zoom out, see how we are doing on this particular eye.
| | 03:56 | If we Option or Alt + Click the eye icon we
can see there is our before and after it.
| | 04:02 | We are definitely going in a good direction.
| | 04:04 | We haven't altered the shape of the face, we
haven't taken the wrinkles out completely.
| | 04:08 | Now, certain images you will want to go pretty hard,
you will want to take a lot of the wrinkles out.
| | 04:12 | In other situations like in this case because there is a lot skin
in there, we won't have work on them and we want to slowly build
| | 04:18 | into them, and I think we have done that here.
| | 04:20 | We first used Levels to take them down a little bit, then
we did a little bit with a Cloning that was really nice
| | 04:27 | and then we brought in some Healing on top of that.
| | 04:29 | We go through that with all the eyes in the image.
| | 04:31 | The last thing that I want to look at in this
particular image is because the lighting is so harsh,
| | 04:36 | another thing that we definitely want to
do is create a Curves Adjustment Layer.
| | 04:39 | We will start up just by brightening
up that layer and clicking OK.
| | 04:43 | Now, the image doesnt look good, we will invert the
mask Command + I and then with the Brush we will start
| | 04:49 | up with low Opacity in this case 27 that should work fine.
| | 04:52 | I'm going to paint in that Curves Adjustment Layer
and you will notice on the forehead what I'm trying
| | 04:56 | to do is just diminish the intensity of those shadows.
| | 04:59 | Now go through, now paint with different Opacity levels.
| | 05:03 | We could go a little bit higher here for
this shadow and this portion of the eye,
| | 05:08 | even higher it looks like I can get away with.
| | 05:11 | Always press the number keys to do this,
bring in a little bit of lights to the face.
| | 05:18 | The shadow areas, trying to even out the tonality
of the image, any area where there is a dark shadow,
| | 05:27 | we want to brighten that up, brighten
up the difference in the shadows.
| | 05:32 | What I can do is take away some of the just ultra harsh
lighting that we have here, that we couldnt do anything
| | 05:38 | about because it is the snapshot, snapshot at this
point you are not going to say, hey, move over there,
| | 05:44 | move over into the open shades spot
and there's better lighting over there.
| | 05:48 | Sometimes you get away with that, sometimes you don't.
| | 05:51 | Alright. So let's take a look at how the final layer is doing.
| | 05:54 | There is our before and after oh, it is doing --
it is just trying to pull back some of the shadows,
| | 05:58 | bringing a little bit more light into
the image, lower the Opacity on that.
| | 06:01 | Here is our before and after.
| | 06:04 | We are improving the image a little by little and if there is
ever an area that we went too hard with, we can always go back
| | 06:10 | and lower the Opacity a little bit, in
order to bring back some more detail.
| | 06:15 | Well, that wraps up another creative
look at how to remove wrinkles,
| | 06:18 | and a little bonus to how to even out tone in your images.
| | Collapse this transcript |
| Creative Tip: The right tools for the job| 00:00 | Welcome. You know in rock climbing, one of
the tools that's really important is a carabiner.
| | 00:05 | Now this is a small tool, sometimes an overlooked tool,
| | 00:08 | yet if you want a climb to high heights you really need
to have a handful of carabiners. In Photoshop retouching,
| | 00:14 | there are tools like that as well. In particular there are
a set of tools that are integral to the retouching process.
| | 00:20 | That is the set of tools that help us burn and dodge and
often times these tools are overlooked. We think OK, they're
| | 00:27 | not very important. I'm going to use the Healing Brush
or the Clone Stamp tool. Yeah, those tools important.
| | 00:32 | Yet, some tools that are perhaps are even more important are the
tools that help us burn and dodge. Swo if you want to get good at
| | 00:38 | Photoshop and get good at Photoshop retouching, learn how to burn
and dodge because it will help your retouching by leaps and bounds.
| | Collapse this transcript |
| Reducing wrinkles with the Burn and Dodge tools| 00:00 | In this movie we will be working on retouch_01.psd.
| | 00:03 | let's zoom in on this image and what we want to do in regards
to the wrinkle remover here is talk about burning and dodging.
| | 00:11 | So we are going to go ahead and copy this
Layer click and drag it to the New Layer icon
| | 00:15 | and we will double click the name and call this wrinkles.
| | 00:18 | Next, we are going to grab Dodge
Tool I'm going to set it to Shadows
| | 00:23 | and we are going to lower Opacity probably at about 10% here.
| | 00:26 | I'm just going to look to go thorough the
image and follow the flow of the wrinkle,
| | 00:31 | try to bring up the brightness of those wrinkles.
| | 00:35 | Smaller brush size for the smaller wrinkles.
| | 00:38 | You really want to try to match what you are working on,
because you don't want to brighten the other side of the wrinkle
| | 00:44 | and a wrinkle has a dark side and a bright side.
| | 00:47 | We actually probably want to bring that one down.
| | 00:51 | So we are going to make sure we are getting in there and working
on both sides, in this case we are just doing the brightening
| | 00:57 | and if you want to darken the portion of the image like
that part right there press the Option key on the Mac,
| | 01:02 | the Alt key on the PC and that will flip you tool so that you
can begin to darken that and you can go work on one side of it,
| | 01:09 | you can work on the other and take my Exposure up a little bit.
| | 01:14 | Also, going to work on my Midtones tab a bit more because
that's what those are now, because they are not shadows
| | 01:19 | because I've brightened them and I'm just going through here.
| | 01:23 | Lots of a little detail work, lots of little shadows
I could work on right, but let's see how we are doing.
| | 01:29 | Heres our before and after.
| | 01:30 | let's zoom out before and after.
| | 01:33 | We are going in a good direction.
| | 01:35 | Now, the only thing that I ten to notice that happens when you
are burning and dodging this the things can go really white.
| | 01:42 | Let me take up the Exposure and go to -- let's go to
Shadows, if I brush bigger and illustrate what I mean.
| | 01:49 | So when I do that notice that it is going to that white
color, so there's a little bit less tonality there,
| | 01:55 | sometimes it is helpful to add a little bit of color back.
| | 01:57 | Now there are a couple of different ways you can do that.
| | 02:00 | This particular image it is not too wide,
it is not too important, but let's try.
| | 02:05 | We will create a New Layer, grab the Brush Tool and then we
hold on the Option key and move on the sample a the skin area
| | 02:11 | that has some nice tone to it and I'm going to try to get
something that's a little bit yellow, so I will click over here.
| | 02:17 | it is actually nice brown turn there and I go ahead and with
the low Opacity, in this case about 20% I'm just going to paint
| | 02:24 | on top of this and I'm going to paint that tone on top of this.
| | 02:27 | So let's take a look at our before and after,
also act to brighten things up a little bit.
| | 02:32 | Now, if I take this to blend mode of colors though what will
happen is that we will just use the color value there the hue
| | 02:38 | and it will set that on top of that retouching.
| | 02:41 | it is very subtle, perhaps almost impossible
to see and this kind of a training movie.
| | 02:46 | Yeah, one of the things that I found is when you are doing
your burning and dodging, setting a color on top of it
| | 02:51 | so that it doesnt go white it can help out immensely.
| | 02:55 | With this particular image is it compelling and on
aspiring, no, but as you work on your images and as you work
| | 03:03 | on wrinkles be aware of that, be aware
that things can go a little bit white.
| | 03:07 | One thing that I could do is try going at a higher
Opacity and perhaps a little bit of a darker color there.
| | 03:14 | We sample another color, see if I can give you
a better visual for what I'm talking about here.
| | 03:20 | Take my brush color up that's too pink isnt it.
| | 03:26 | let's undo that one.
| | 03:28 | let's grab the Brush and perhaps grab
something that's a little bit more yellow.
| | 03:33 | Then paint in there.
| | 03:40 | My on aspiring example just is not happening, that color is not
do anything for me, actually do not like that color that I added.
| | 03:50 | So I'm going leave that as it was and say, hey you know what,
that is good enough, but keep an eye up for that because I think
| | 03:55 | that will help you a lot as you get into burning and dodging.
| | 03:58 | As you can see the eye on the right looking a lot better.
| | 04:01 | let's look at before and after.
| | 04:02 | Wrinkles increase in size and in length
over time so they become deeper and longer.
| | 04:08 | A lot of times if you are going to retouch, it is a good
idea to start on the outer edge and then work your way in.
| | 04:13 | In this case I started right here on this big
wrinkle because that's what was most important.
| | 04:17 | These crows feet and wrinkles are
probably want to leave most of them.
| | 04:20 | You want to take that out, but do you keep that in mind you
want to make them shorter and less pronounced, less deep.
| | 04:26 | Alright, well, that wraps up this movie.
| | Collapse this transcript |
| Reducing wrinkles with layer burning and dodging| 00:00 | In this movie we will be working on
the file julie_eyes.psd and what I want
| | 00:04 | to do here is show you yet another brilliant dodge technique.
| | 00:08 | In this case we are not going to be using the burning
and dodging tools, but we will be using something else.
| | 00:13 | Go ahead and open up that file and zoom in on the image and as
we zoom in on the image, we can see that there are some wrinkles,
| | 00:19 | actually like these wrinkles, but
let's say that we want to remove them
| | 00:24 | and one of the ways we can do that is by create a New Layer.
| | 00:27 | we are going to do that by way of
shortcut on the Mac Shift + Command + N
| | 00:32 | on the PC Shift + Ctrl + N and we
call this bd for burn, dodge layer.
| | 00:37 | We will take our blend mode to good old Soft Light.
| | 00:41 | Now we can use this Soft Light blend mode
and the paint with black or white in order
| | 00:46 | to burn and dodge and you may heard of this before.
| | 00:49 | Yet, we are going to do even a little bit
more, we in a little bit more control,
| | 00:53 | we need to build things up even more
than just painting with black or white.
| | 00:57 | let's first look at painting with black or white.
| | 00:59 | I click OK, now if I paint with black
and I grab my brush and I paint
| | 01:04 | with 100% Opacity, 100% Flow make my brush a little bit bigger.
| | 01:09 | I will go ahead and paint on the cheek here,
we can see that I make the cheek darker OK,
| | 01:14 | flip that to and the cheek now, I made the cheek brighter.
| | 01:19 | Now, because of the Soft Light blend mode, I'm able to
brighten or darken the tones in pretty interesting ways.
| | 01:25 | Now, in this case this isnt looking very good so let's undo.
| | 01:28 | Well, if I zoom in on the eyes and I paint it with
let's say a bit of white there and erase this part here,
| | 01:41 | so now that little bit of catch light in the eye,
a little bit too stronger, lower your Opacity OK.
| | 01:46 | So I've painted in a little bit catch light
in the eye and that can work really well.
| | 01:50 | Yet you can see that I don't have a ton of control,
it is not like I'm building up the tonality,
| | 01:55 | I'm just painting it and then I'm lowering the Opacity.
| | 01:58 | Now, well that can be a good way to go, there is some
other techniques you can use that will really help
| | 02:03 | out when you are burning and dodging on a Soft
Light layer and that is the Opacity and the Flow.
| | 02:08 | let's deconstruct those for a moment.
| | 02:10 | Here I've my brush and I'm going to take my
blend mode to Normal so I can see how this works.
| | 02:16 | I'm going to move over here, so I've a place to paint.
| | 02:20 | What I want to do is just paint at 100%, 100% Opacity,
100% Flow then let's paint at 50% Opacity approximately.
| | 02:28 | So now as I paint at 50% Opacity and go back
and forth across this particular stripe,
| | 02:33 | it doesnt go any darker than 50%, OK, interesting.
| | 02:38 | Now, let's take the Opacity back up
and look at Flow, how does Flow work?
| | 02:41 | If I take Flow down to let's say 10% and I paint one stripe
that's a 10%, well if I paint over that again now that's 20,
| | 02:49 | now that's 30, now that's 40, now that's 50, now that's
60 and you get the idea I can go all the way to 100%.
| | 02:55 | OK. With Flow I can see, it gives me a
little bit of control to be able to build up.
| | 03:00 | Opacity is over all intensity.
| | 03:03 | If I set my Opacity down to say 30% and with the flow of
11%, I can only paint as high as 30% so I'm still painting,
| | 03:12 | I'm still painting, I'm still painting, I'm still painting,
I'm still painting, so I could get as high as 30%.
| | 03:18 | There are couple of shortcuts to change these numbers, as
you know if you press the keypad that changes the Opacity.
| | 03:24 | Well, if I hold down the Shift key
and press the keypad so I'm pressing 6
| | 03:28 | or 7 then it changes the Flow a single number changes
the Opacity, Shift plus a number changes the Flow.
| | 03:35 | Now why is that important?
| | 03:36 | While we are burning and dodging let's go to our Soft Light
Layer you can see that there are different amounts here.
| | 03:41 | If I've a low Flow, let's go to the Flow let's say 10% again
and I just wanted to do some simple burning and dodging.
| | 03:48 | I will grab my Brush zoom into the eye over here, nice,
small brush, soft edges and I'm going to paint with white.
| | 03:56 | My Flow down even to further and I'm just going to go ahead and
paint over these wrinkles, looks like I need to bring my Opacity
| | 04:02 | and Flow up a little bit for these particular wrinkles.
| | 04:06 | I'm going to go ahead and just paint
over these guys, keep painting.
| | 04:10 | The more I paint the more I'm able to build this up.
| | 04:13 | let's take a look at before and after, so there is our before
and after, it is almost as if very painterly or it is almost
| | 04:21 | as if it is like the Burn and Dodge tool as a matter
of fact it is very much like the Burn and Dodge tool.
| | 04:26 | You just have a little bit more control
and sometimes doing this on a New Layer,
| | 04:30 | a Soft Light layer is nice because
you are not on the original layer.
| | 04:33 | it is a new layer, there is nothing
on it you can turn it on and off.
| | 04:37 | You can control the Opacity it gives you a ton of flexibility.
| | 04:40 | So let's crank things up a little bit.
| | 04:42 | A little bit higher Opacity, a little bit higher
Flow I'm going to get right in and get some
| | 04:46 | of these wrinkles out, so I'm zooming on these wrinkles.
| | 04:48 | First pass you can see, I'm getting out there, heavier
wrinkles and then as I go on I can bring out more.
| | 04:55 | Now, if I want to darken the tone I hit the X key that changes
things from black to white, so I can go in between there
| | 05:02 | and darken the tones in between the spaces there.
| | 05:05 | Because all wrinkles as you know have
a bright line and then a dark line
| | 05:08 | and slowly I can build this up and remove these wrinkles.
| | 05:12 | Now, I'm not even anywhere close removing
this completely so I'm going to speed things
| | 05:16 | up in order to speed up my demo here a little bit.
| | 05:18 | I'm just going to go ahead and perhaps make my brush;
tab it (ph) bigger and it is kind of a bad idea
| | 05:26 | that was this big of a brush, but I'm going to do it anyway.
| | 05:32 | So youve just got to go for it, don't you?
| | 05:35 | Just got to crank away.
| | 05:38 | Alright. So do this a little bit here zoom
out see how we are doing with your wrinkles,
| | 05:44 | heres our before and after, we are doing pretty well.
| | 05:47 | I'm able to do this level and build this up this way because
I've this specific control and I can change these numbers
| | 05:55 | at any point, so I just lowering my Opacity overall to work
on other parts of the eye, light and tone, burn and dodge
| | 06:03 | and that can help me out just I can't even tell you how much,
because now you just have this credible flexibility regards
| | 06:10 | to overall intensity of what we are
doing as well as the over all Flow.
| | 06:16 | So how it builds up.
| | 06:17 | we will look at our before and after.
| | 06:18 | So we are making great progress here.
| | 06:21 | The thing that I would like do after I've done this
is probably then go and do a little bit healing.
| | 06:26 | So I will create a New Layer, zoom in on that area, grab
the Healing Brush and there are some people in retouching
| | 06:32 | who are curious they say I never used the Healing
Brush, the Healing Brush that is for wimpy retouches,
| | 06:39 | that is for people who do not know how to Burn And Dodge.
| | 06:42 | Now, we say OK fine, I understand that, I understand
that Burning and Dodging is a wonderful way to retouch,
| | 06:48 | yet I think there is some times where you can get away
with using it, when it helps you out a little bit.
| | 06:54 | In this case I'm just taking out all the lines
there and now that I had the brightness layer here,
| | 07:00 | bring up the brightness then have my clean layer things
are a little bit more clean except for those lines
| | 07:06 | on the forehead, because of these two layers.
| | 07:10 | I can go on and dial on my Opacity and let's zoom in a
little bit and that's it relatively natural looking retouch.
| | 07:17 | We are making some good head way and progress there and those
two layers together that really give us the good results.
| | 07:24 | Well, my help here is that this technique of using a new
layer, changing the blend mode to Soft Light and then painting
| | 07:31 | with black or white and modifying the Opacity
and the Flow my hope is that if I knowing
| | 07:36 | that technique it will help you remove even more wrinkles.
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| Removing face and garment wrinkles| 00:00 | In this movie we will be working on
the photograph kee_photography.psd.
| | 00:03 | What we are going to doing is looking at how to remove wrinkles
from the face as well as from garments and we are going
| | 00:09 | to learn some more techniques in regards to wrinkle removal.
| | 00:12 | Go ahead and open up this file inside the
Photoshop this one comes to us by a way
| | 00:17 | of KEE Photography thanks Michael
and Jasmine once again, great image.
| | 00:21 | This was featured on a cover of a
magazine, so it was a cover shot.
| | 00:24 | There was some amazing retouching that was done here.
| | 00:26 | let's look at the after there is the
retouched image, here is the before.
| | 00:31 | This was the image as it appeared on the magazine cover, except
the cigarette was actually removed for the magazine cover.
| | 00:37 | So we can see that before and after, fun
to see that, fun to see what people do.
| | 00:42 | Well, how do we begin to work on this image?
| | 00:45 | Well, let's zoom in and let's zoom in and work on the face here.
| | 00:49 | I've the original I want to copy that,
so I'm going to go ahead and click
| | 00:52 | and drag that to the New Layer icon and
I will call this New Layer retouched.
| | 00:58 | Now, on this retouched layer there are
a number of things that I'm going to do.
| | 01:02 | First one is grab the Patch Tool and I'm going to zoom real
close in on the face here and I'm going to select this wrinkle
| | 01:12 | on the face there, nice good selection of that,
make sure I've Source selected in the Options bar,
| | 01:18 | click and reposition Command + D on the Mac to deselect
Ctrl + D on the PC to deselect, OK so far so good.
| | 01:26 | that's looking nice.
| | 01:27 | Now, grab the Healing Brush can press J and
Shift + J to access that to scroll through those.
| | 01:33 | I'm just going through and just clean this
up, make sure my edges are really nice.
| | 01:36 | So there's a kind of my before and after.
| | 01:38 | Now, I've a little bit of a dark spot there.
| | 01:40 | Healing Brush isnt going to work very well for
me, so I'm going to try the Clone Stamp tool.
| | 01:45 | This case I'm going to take my Blend Mode to Lighten or Screen
and of a real low Opacity and I'm going to sample brighter tone.
| | 01:52 | I'm just going to do a little bit of cloning, burning and
dodging here to remove that, just look at the before and after.
| | 02:01 | OK, so far and so good I think we are going in a nice direction.
| | 02:05 | let's zoom in on the eye up here.
| | 02:06 | Now because the eye is close to this other dark area I really
need to remove that with a tool that doesnt involve healing,
| | 02:13 | most likely that's going to be the Clone Stamp tool, or one
of the burning and dodging techniques that we have learned.
| | 02:19 | I'm going to go ahead and try to see how my Clone Stamp
tool works and for the most part it is doing a decent job.
| | 02:25 | I'm slowly pulling that wrinkle out.
| | 02:27 | Again, you want to approach this very slowly because
you don't want to bring in unnecessary brightness.
| | 02:33 | I'm going to take my Opacity down even further because I just get
a little bit layerey (ph) especially if an image is going to be
| | 02:40 | on a cover of a magazine that the retouching will be noticed.
| | 02:43 | So let's take a look at our before and after, OK so far
we have removed those wrinkles that is looking nice.
| | 02:48 | A couple of other areas that we can
work on one is this down here,
| | 02:52 | there is a little bit of shadow, itd
be nice if this were, pure skin here.
| | 02:56 | So again Clone Stamp tool on light, in this case
I'm on 5% and I'm just working that bring this
| | 03:02 | down let's take a look at my before and after, not enough there.
| | 03:06 | So I'm going to bring that up.
| | 03:07 | Take my brush size down a little bit and just
bring in some brightness on top of this area.
| | 03:13 | You know what I think Healing Brush it is going to save
the day for you, because the skin is just so nice and even.
| | 03:19 | I can get in there with these big wider brush strokes, at least
in regards to retouching turns go, which mean small little clicks
| | 03:29 | and my image is looking much better,
much, much better so far so good.
| | 03:33 | We are removing number of the wrinkles, the
blemishes, of course there is more that we need to do,
| | 03:39 | but I wanted to illustrate some different
techniques and how to do this?
| | 03:42 | let's move down to the garment.
| | 03:44 | We have some wrinkles here, a couple
of problems how can we fix those?
| | 03:48 | Well, we are going to grab the Patch Tool.
| | 03:50 | Go ahead and select the Patch Tool and what I'm going
to do is, do the same thing that I did with the face,
| | 03:55 | grab one of these wrinkles pretty big wrinkle there and then
I'm going to sample a nice, clean area of the dress Command + D
| | 04:02 | on the Mac, Ctrl + D on a PC to remove that
then I'm going to go to the smaller wrinkles
| | 04:08 | down here same kind of thing, look for a nice clean patch.
| | 04:12 | If I've any other problem areas, as I do here
because I introduced a problem based on the cloning.
| | 04:18 | I created a problem for myself while I was fixing
it, isnt funny that that happens sometimes.
| | 04:23 | I'm just going to go through with the Patch Tool, I'm
going to work on trying to smooth all of this out.
| | 04:29 | let's take a look at our before and after.
| | 04:31 | Here is our before and after that's looking very nice.
| | 04:34 | A couple of our edges could do some work that's
where the Healing Brush is going to come into play.
| | 04:38 | So I'm going to go ahead and Option + Click those
areas and try to create a little bit of gradation.
| | 04:43 | The Healing Brush does a nice job at blending things, sometimes
that's bad, but in the case of trying create gradation
| | 04:51 | between tonality like this on the dress that is wonderful.
| | 04:56 | let's zoom out and see how we are doing.
| | 04:58 | Here is our before and after.
| | 05:01 | Zoom in a little bit more on the image there, before
and after and this is where the image you needs to go,
| | 05:07 | which is quite a bit away the way, yet we have a pretty good
start and we are starting to remove those wrinkles and that wraps
| | 05:14 | up this move and this chapter on wrinkle removal.
| | Collapse this transcript |
|
|
7. Enhancing EyesChanging eye color| 00:00 | Learning how to enhance and improve eyes
is in a girl to portrait retouching.
| | 00:05 | We are going to start off with the fun technique
and we will be working on this file annika.psd.
| | 00:09 | Go ahead and open that one up in Photoshop and go to
full screen view mode and then zoom in a little bit.
| | 00:15 | We are going to look at how can we can change eye color.
| | 00:18 | that's ought to be fun to work on this
image because the colors are so vivid.
| | 00:21 | This is a portrait of my daughter Annika for a Halloween.
| | 00:25 | She wanted to be a little mermaid and
she wanted red hair, she needed red hair.
| | 00:29 | So she and I went down to the Halloween store
and got this red hair spray and that was sprayed
| | 00:34 | in the hair and in the backyard, she looks so cute.
| | 00:36 | I said, wait Annika, I've got to take a picture.
| | 00:39 | So here we have this picture with these
nice vivid colors and what we want it
| | 00:42 | to do is change her eye color just for the fun of it.
| | 00:45 | So what I'm going to do is click on my background layer and click
| | 00:47 | and drag that to the New Layer icon and
then I will name this new layer eyes.
| | 00:52 | Next, navigate to the Image dropdown menu, select
Adjustments and then go down Replace Color.
| | 01:00 | Replace Color is an amazing dialogue let me show how this
works and I want to show you how this works by trying
| | 01:05 | to change the hair color, I know that's not what we are
trying to do here, but I think it will really help out.
| | 01:09 | So I'm going to go head and select one
of the colors in the hair I see that hey,
| | 01:12 | that is the color I'm working on and now I've a mask.
| | 01:15 | The Fuzziness slider as I increase
that, gives me more of the hair.
| | 01:19 | So I want to see the details I've, will just shift the Hue.
| | 01:22 | let's say I want to shift this to nice blue hue OK well that
works good, except that -- I don't have enough for the hair.
| | 01:28 | We will increase the Fuzziness.
| | 01:29 | OK, will that do everything for me?
| | 01:31 | No. Because I just didnt get these other colors in the hair,
| | 01:34 | well then I need to select the Eye Dropper
that allows me to add to my sample color.
| | 01:38 | So I'm going to go ahead add that color to it.
| | 01:40 | Now that's a little bit too high, so I'm going to bring
back my Fuzziness and then grab a few more colors here.
| | 01:45 | You can solely see that I'm starting to be able to
build up a pretty good selection of the hair color
| | 01:49 | and then I could then change the color number of different ways.
| | 01:52 | I do have some problem areas and let's
Saturate this color to see those problem areas.
| | 01:57 | Look at the cheek, OK I brought way too much color
on in the cheeks, and we can see that in the mask
| | 02:02 | and as I exaggerate this more, we can see
that I'm changing too much of the image.
| | 02:06 | So it is going to be a balance between using
your Eye Droppers and the Fuzziness slider
| | 02:12 | and a lot of times there is some
give and take that needs to happen.
| | 02:14 | Now, that just looks funny and weird and all
that stuff and not necessarily a good edit.
| | 02:19 | So how do we make good edits with
this particular dialogue window?
| | 02:22 | On the Mac hold down the Option key on a PC hold down the Alt key
now, and I will change Cancel to Reset we were back to normal.
| | 02:30 | let's work on the eyes.
| | 02:32 | Grab the Eyedropper sampler there, click on the eyes
that's actually pretty good selection right there.
| | 02:37 | I notice I've some of the background that's no big
deal then I'm going to change the Hue of those eyes,
| | 02:42 | make them a nice bright green just for a fun
of it, because I want to make Annika laugh.
| | 02:47 | I'm going to grab the other Eyedropper to add some tones to this.
| | 02:51 | Make sure I've lot of color there,
fly the Fuzziness one over the other.
| | 02:58 | Now, all these background problems I'm seeing, I'm
not worried about those and I will tell you why?
| | 03:03 | We are going to click OK and look at our before and after.
| | 03:06 | Before, after eyes look great, backgrounds
we have problems, no big deal.
| | 03:11 | Click on the Mask icon we want to invert this mask.
| | 03:15 | Do you remember that shortcut on a
Mac Command + I, on a PC Ctrl + I.
| | 03:20 | Now, that we have inverted the mask, we see no green,
it is the original image everything is concealed
| | 03:26 | on this particular layer, so we need to grab our Brush.
| | 03:29 | We need to make sure we have really
nice soft brush, zero Hardness there.
| | 03:33 | We will increase the size a little bit more right back
a key there and I'm just going to paint in the eyes.
| | 03:42 | I'm painting at the 100% Opacity.
| | 03:46 | Right now, I could paint a little less, so I want a little
bit less screen I'm just going to go around this area.
| | 03:52 | let's look our before and after.
| | 03:53 | there's our before and after.
| | 03:55 | We now have new green eye color and it is pretty fun.
| | 04:00 | Now, the intensity of the eye color
is contingent upon those adjustments
| | 04:03 | that we made inside of Image Adjustments, Replace Color.
| | 04:07 | I can't go really any high at this point.
| | 04:09 | I can't take this down by lowering this layer Opacity
if I want a little bit less screen in there I can take
| | 04:14 | that down or bring it back up to have the full deal.
| | 04:17 | Alright. Well, let's take a look at one more quick technique.
| | 04:20 | Another thing you can do for eye color is
use an Adjustment Layer called Solid Color.
| | 04:25 | This Adjustment Layer is nice because
it gives you a lot of flexibility.
| | 04:28 | So I will go ahead and select that, I'm going
to choose a nice bright green and click OK.
| | 04:33 | Now, my image doesnt look good right now,
because all I can see is green that's OK.
| | 04:38 | Change my Blend Mode to Color, click on that Blend Mode dropdown
menu and choose Color alright, well I've vision for this.
| | 04:45 | I know where I'm going.
| | 04:47 | I need to invert this mask.
| | 04:48 | Remember the shortcut Command + I on a Mac, Ctrl
+ I on the PC, then same thing we did last time.
| | 04:55 | we will grab our Brush, this time I'm going to
paint 90% Opacity so I click 9 on the keyboard.
| | 05:02 | I want a little bit less color in here because this is just
going to be so intense that I don't want to over due it.
| | 05:08 | I may have over done already, but that's
OK, because I can always lower the Opacity.
| | 05:14 | So there I've that color in, so heres my before
and after just kind of fun, bright, vivid color,
| | 05:20 | lowered Opacity a little bit because
it was had too over powering.
| | 05:25 | The nice thing about using this kind an Adjustment
Layer is all that I need to do to change the color now,
| | 05:30 | is double click the icon in Layers
Palette and then choose a new color.
| | 05:33 | I can choose all kinds of colors here and you notice I'm
just sliding through these colors and picking another one.
| | 05:39 | Now, if I find a color that I like, like let's say orange, which
I don't really like, but I know that I don't have enough painted
| | 05:46 | into the edges, because orange is very different than blue.
| | 05:49 | I would just need to click OK and then go back to
my mask and paint that mask in a little bit more.
| | 05:54 | The intensity of the color as well as the proximity
of that color to the original color is going
| | 05:59 | to depend how close your mask actually needs to be.
| | 06:03 | In this case because it is a very
different color, I need to fix up my mask.
| | 06:06 | On the other hand if I went back
to green, now my mask is too big.
| | 06:10 | I will need to paint with black and in
this case and clean up some of those edges
| | 06:14 | because that green is spilling over
into the whites of the eye there.
| | 06:18 | Because it is really close to the blue
and it is picking up more of that color.
| | 06:23 | Alright. Well, that showed us a couple of
different techniques for changing eyes color.
| | 06:26 | let's look at our first one, a little bit more subtle.
| | 06:28 | There is the first green, eye change in the
second one was pretty overpowering and crazy.
| | 06:33 | I could back that off too of course,
if I want to lower the opacity.
| | 06:37 | Two techniques for changing eye color.
| | 06:39 | Now in this movie we have just been having some fun with
this, but keep in mind, this can be a real helpful technique
| | 06:45 | if you have some eye color, that you
just want to bring out some of the Hue.
| | 06:49 | let's you have portrait of someone that has really nice brown,
green eyes and you want to bring out a little bit of the green.
| | 06:54 | Well, you can go in there and just enhance the Saturation
of the green a little bit with one of these techniques,
| | 06:59 | so that the eyes has a little bit more vivid color.
| | 07:02 | So we've looked at a couple of fun techniques for
changing eye color and that's wraps up this movie.
| | Collapse this transcript |
| Brightening eyes with Screen Blend mode| 00:00 | In the next couple of movies, what I'm going to do is
share with you some techniques for brightening eyes.
| | 00:05 | We are going to startup by working on this file Sophia.tif.
| | 00:08 | Go ahead and double click that one and open it in Photoshop.
| | 00:11 | Press F to go to full screen view mode.
| | 00:13 | Now, it is a great natural light portrait
of my daughter, Sophy good old stuff.
| | 00:18 | There is something that I just love about natural light.
| | 00:20 | What I want to do though is I want
to brighten up the eyes a little bit.
| | 00:23 | So I'm going to zoom in on the image and there
are a handful different ways to brighten eyes.
| | 00:27 | let's take a look at one technique.
| | 00:28 | We will select the background layer and then copy that by going
to Layer, New, Layer via Copy or using the shortcut there.
| | 00:35 | Now, that we have this new layer,
I'm going to name this layer Screen.
| | 00:39 | We are going to take this to the screen blend mode.
| | 00:42 | Now, one of the things that's nice about the blend
mode is that there is a shortcut for the blend modes.
| | 00:47 | I just pressed it, what was that shortcut, don't you want to
know that that's so awesome to go to that Screen blend mode.
| | 00:53 | On a Mac that is Shift + Option + S on a PC that is Shift
+ Alt + S that takes you right to that Screen blend mode.
| | 01:00 | Now, you may be thinking OK that's a little bit of an
overkill, I don't want a shortcut for the Screen blend mode.
| | 01:05 | Fine, you can go ahead and just select it that way.
| | 01:08 | Those of way you find it helpful, use
it, it is not helpful no big deal.
| | 01:11 | Alright. So we are on this layer screen and we
can see that, yeah we have brighten the eyes,
| | 01:15 | actually have twice the brightness level as they had previously.
| | 01:19 | You can think of that Screen blend mode,
like taking to an old school projectors
| | 01:23 | with the same image and projecting them on to the walls.
| | 01:26 | So it is double the intensity, double
the brightness of the actual image.
| | 01:31 | Well, that's too much because we rack the rest of the image.
| | 01:33 | So we need to create a Mask, so we will click on the Mask icon.
| | 01:36 | We need to invert the Mask, on a Mac press Command
+ I, PC good old Ctrl + I right, so that's inverted.
| | 01:43 | You can zoom in on those eyes, grab our Brush tool.
| | 01:47 | I want a pretty low Opacity.
| | 01:49 | I've something to 20 that actually might
be good for me, I will leave it there.
| | 01:54 | Lowered my Brush size by pressing the left bracket key.
| | 01:57 | In this case I'm painting with white.
| | 01:59 | A couple of things that I need to do here, while I'm painting.
| | 02:02 | I need to make sure that what should bright is bright,
meaning the lower portion of the eye in the case,
| | 02:09 | or the opposite side of the light direction, so over
here maybe more on the left should be the brightest.
| | 02:14 | So I'm going to increase my Opacity a little bit there.
| | 02:16 | I'm going to bring in more brightness on this side over here.
| | 02:20 | As I look at this it is Command + Z to undo
that Ctrl + Z to undo that, as I do that,
| | 02:26 | I need to trying to bring a little
more brightness into the left eye.
| | 02:31 | Right eye has some nice brightness in there and I'm
just changing my Opacity and painting on the image.
| | 02:36 | let's zoom out, look at our before and after.
| | 02:39 | Great. We brought in some nice brightness in the eyes there.
| | 02:41 | If it is too much we can of course lower
the Opacity of the overall adjustment there.
| | 02:47 | By lowering the Opacity of the layer,
and those eyes are much brighter.
| | 02:50 | I'm going to zoom all the way out, kind of see if
I'm going in the direction, use my before and after.
| | 02:55 | That looks nice, except it feels
like I went a little bit too far.
| | 02:59 | You know you do that sometimes, you make an
adjustment and say, OK I just need to back it off.
| | 03:03 | I'm going to back it off quite a bit.
| | 03:04 | Here see how it looks down in the 30s
alright, that's what I'm talking about.
| | 03:09 | Nice and subtle, brightness of those eyes that looks really good.
| | 03:14 | I'm just evaluating before and after.
| | 03:16 | There something wonderful about eyes and
improving eyes in really subtle ways.
| | 03:20 | On the top layer, I've this nice frame that was
created with this Photoshop Plug-in it is put
| | 03:25 | by onOne Software it is called PhotoFrame I'm just going to
turn that on because I think that would add a nice effect.
| | 03:30 | Then finally to wrap up this image, I'm going
to add a little bit color and tone by clicking
| | 03:34 | on the Adjustment Layer icon and choose the Color Balance.
| | 03:38 | I'm going to increase my reds, increase my yellows
just giving it this little kind of a sepia tone here.
| | 03:45 | Click OK once I'm satisfied with the color and zoom in a little
bit more to check out the image and I say we call it a wrap.
| | 03:57 | Heres our before and after.
| | Collapse this transcript |
| Brightening eyes with Curves| 00:00 | In this movie, we are looking that yet
another technique for bighting nice.
| | 00:04 | We are working on the file dylan.psd.
| | 00:06 | Go ahead and open that one up inside a Photoshop.
| | 00:09 | Press F to go to full screen view mode.
| | 00:12 | This is a portrait of one of my best friends son Dylan.
| | 00:15 | Dylan is an amazing kid.
| | 00:17 | One thing is I love about photographing people and about
photography in general, is that it is something that I do
| | 00:22 | because I enjoy it, but it is an amazing
way to give a gift to another people,
| | 00:26 | there is nothing like giving a gift
of a portrait to someone else.
| | 00:29 | Alright. Well, we have the original image and it is a Dylan
is playing in the friends backyard and we stopped playing
| | 00:34 | for a moment, he looked up at me and the light was
really interesting, so I snapped to click photo.
| | 00:38 | It really captures Dylan.
| | 00:40 | So I did a little bit of retouching, cleaning
that image up, basically with the Healing Brush.
| | 00:43 | So it is now cleaned up.
| | 00:45 | Yet as I zoom in on the image, I notice
that the eyes are a little bit soft.
| | 00:48 | I need to bring some definition of those eyes.
| | 00:50 | I would like to detail in the rest the image, yet the
eyes need some work, so again heres my before and after.
| | 00:57 | In my evaluation that's the part
of the image that needs something.
| | 01:00 | Right. So I'm going to go ahead and click on the
Adjustment Layer icon and choose good old curves.
| | 01:05 | Now, with curves what I'm looking to
do here is just to bring up this curve.
| | 01:09 | Now, as I do that I know that I'm brining up the
rest of the image, but what we are going to do right,
| | 01:13 | we are going to mask off the rest of the image.
| | 01:16 | So I'm paying real close attention to the
eyes and whats happening to those eyes.
| | 01:19 | So I'm just moving some curve points
here, watching the eyes click OK.
| | 01:26 | Now, let's invert that mask by pressing Command + I in
a Mac, Ctrl + I in a PC then we will grab the Brush Tool
| | 01:33 | by pressing the B key or selecting that in the Tool Box.
| | 01:36 | Now to choose your Bursh size, you can
press the right or left bracket key
| | 01:40 | or you can Ctrl + click and you can
change the Brush size this way.
| | 01:44 | One nice soft Brush, click a decent size
there click off of that and then we will paint
| | 01:50 | in a little bit of this brightness into the eye.
| | 01:55 | My Opacity, my opinion is very too low, I'm
going to crank it up all the way to 100.
| | 01:59 | So I can see whats happening.
| | 02:01 | I want to bring in some brightness here.
| | 02:03 | One thing that really helps when you are bringing in
brightness like this, is to make sure that you get what you want
| | 02:09 | to get meaning that you are painting areas you want to
paint so that zoom in, can really help you out there.
| | 02:14 | There is our before and after.
| | 02:15 | I'm going go ahead and open up the Curves
Adjustment Layer by double clicking that icon there.
| | 02:20 | I'm going to bring up these points took away that
lower one, really want to brighten them up, click OK.
| | 02:28 | let's look at our before and after, there is
before, here is after, zoom out a little bit.
| | 02:34 | Now, that's really interesting, except
it is a little bit too bright,
| | 02:38 | a little bit over the top right, so I want to bring it down.
| | 02:41 | I'm going to do that by clicking on the
Adjustment Layer icon and choosing Curves.
| | 02:45 | I will bring this curve down just a little
bit in the blacks here and click OK.
| | 02:50 | Now, I affected the entire image,
but I've a really good mask here.
| | 02:54 | How can I apply this mask to the layer above it.
| | 02:57 | Here is a wonderful shortcut.
| | 02:59 | On the Mac hold down the Option key on the PC that's
the Alt key and then click and drag that mask.
| | 03:05 | Notice my cursor changes, when I do that it
says "Do You Want to Replace the Layer Mask?"
| | 03:10 | Yes. I already have one good mask minus will use it again.
| | 03:13 | Now here is my before and after that
little bit of darkening there.
| | 03:16 | I can go into that adjustment, I can say, well
let's bring a little bit darker tones there.
| | 03:21 | Perhaps brighten it up a tab that more
to click OK look at our before and after.
| | 03:27 | Again that's subtle, but it is just real within a
little bit, heres now our before and then after.
| | 03:32 | Then finally, we can go into these layers and lower the
Opacity of those layers to get it to the just the right spots,
| | 03:39 | so that we are not over exaggerating the brightness
in the eyes, but we are making it look good.
| | 03:43 | Here is our before and then after, love it.
| | 03:46 | Next thing I want to do is turn on this
layer, that have the frame that was created
| | 03:50 | with the Plug-in from onOne Software called PhotoFrame.
| | 03:53 | I really enjoy that plug-in if you
are interested in it, check it out.
| | 03:56 | Do a quick Google search for onOne Software
and you can find more details about it there.
| | 04:01 | Alright, my portrait is almost done,
except I want to add some color and tone.
| | 04:06 | I know this is a movie that supposed to be about eyes,
but I got to sneak in a little about color and tone right.
| | 04:11 | Click on the Adjustment Layer icon choose Color Balance, now it
increase my reds and my yellows and make this nice sepia tone.
| | 04:18 | Click OK that looks OK, but I want it to make this even better.
| | 04:22 | So I'm going to copy this layer, clicking
and dragging it to the New Layer icon.
| | 04:26 | The layer above, I'm going to take this to a blend
mode of Soft Light, now this is too hard, too much,
| | 04:32 | so I need to lower the Opacity of both of these layers.
| | 04:34 | The underling layer, I'm going to take
this way down, maybe somewhere in the 30s.
| | 04:38 | The top layer, I'm going to take this way down,
somewhere perhaps a similar range 30s or 40s.
| | 04:43 | Now, look at our before and after,
here is our before and then after.
| | 04:46 | That top layer just adds that contrast it says, if the
color is mapped into the tone of the image, I love that,
| | 04:53 | this underlying layer that really controls the
overall colors, so if I want to have more colors,
| | 04:58 | more of those nice warm tones I can
increase that then I've that contrast on top
| | 05:02 | which really makes this image come together for me.
| | 05:05 | Again, here is our before and then after.
| | 05:09 | I'm going to zoom in a little bit, so we can see the face there.
| | 05:12 | Before and after that's a much nicer
portrait and that wraps up this movie.
| | Collapse this transcript |
| Advanced eye tone and color enhancements | 00:00 | In this movie, we are going to dig deeper into brightening eyes.
| | 00:03 | I think this is going to be one of
your favorite movies in the chapter.
| | 00:06 | Go ahead and open up the file jkim_eyes.tif.
| | 00:09 | Now, this is the photograph that was
captured by fashion photographer Jenny Kim.
| | 00:13 | Thanks Jenny for using the file.
| | 00:14 | let's zoom in on the image.
| | 00:15 | This is the original image, as shot, un-retouched.
| | 00:18 | What we want it to do is start to work on the eyes.
| | 00:21 | Now, we are going to work on the eyes
with a couple of different layers.
| | 00:24 | We are going to progressively build up some interest in the eyes.
| | 00:26 | First things first, click on the Adjustment
Layer icon and choose good old Curves.
| | 00:31 | Now, what I'm going to do with my Curves
adjustment, is I'm going to brighten up this image
| | 00:36 | and then I'm going to bring up my black points.
| | 00:38 | You notice that less of the blacks are not affected.
| | 00:40 | Why am I doing that?
| | 00:41 | Well, you will see in a second.
| | 00:43 | So we will go ahead and apply that
first curves adjustment, click OK.
| | 00:46 | Now, we are going to change this layer Blend Mode to Soft Light.
| | 00:49 | I'm going to go ahead and take this down to Soft Light.
| | 00:52 | What a Soft Light, well, it will increases
contrast and increases color saturation.
| | 00:58 | The eyes are already looking better.
| | 01:00 | I'm going to reorder my layer and put
it underneath this reference folder.
| | 01:03 | So go ahead and put that down there and you know that these
reference folders I've and a lot of the images to show you some
| | 01:09 | of the adjustments that I've made, just
as a way to kind of give you a guide
| | 01:13 | of what you can do in regards to working on the images.
| | 01:16 | Alright, well here I've my Curves
adjustments, so far so good, nice contrast.
| | 01:20 | Those eyes are already looking better, of course,
I've affected the rest of the image, no big deal.
| | 01:25 | On a Mac press Command + I on a PC that's
Ctrl + I that inverts the selection.
| | 01:30 | Select your Brush Tool by selecting it
in the Tool Box or pressing the B key.
| | 01:35 | Right bracket key to make a bigger brush.
| | 01:38 | I'm going to paint with pretty high Opacity.
| | 01:41 | I'm going to go all the way up to 100 and see what happens.
| | 01:43 | I'm just going to go and click in the eye here, bring in a little
bit more contrast, so let's zoom in and see how we are doing.
| | 01:50 | So heres my before and after, look at the other eye as well,
zoom out a tad bit so I can better look at, both of these.
| | 02:01 | Before and after I love it, I love it.
| | 02:04 | Now, let's take a look at that Curves adjustment Layer.
| | 02:06 | Double click the Adjustment Layer icon.
| | 02:08 | Now, why did I make those two adjustments there?
| | 02:11 | If I've my blacks down, you notice that
the eye will get a little bit too dark,
| | 02:14 | same thing if I hadnt brighten it, the
image will just become really dark.
| | 02:18 | So again, here is my before and after
just it darken things too much.
| | 02:22 | So the Soft Light give me contrast, but then
I decide I want to brighten the image over.
| | 02:26 | I don't want to affect my blacks too much, so I
can dial in the amount of that Soft Light Blending
| | 02:31 | that I want by adjusting this curves, so I click OK.
| | 02:35 | Alright well that looks pretty good.
| | 02:37 | Now, sometimes you will say, you know what that's looks nice,
| | 02:39 | but I would like a little bit more
punch to this, how could I get that?
| | 02:43 | Pretty simple.
| | 02:44 | Click and drag this to the New Layer icon,
now I've doubled the intensity of that affect.
| | 02:49 | Now, double in my case is too strong.
| | 02:51 | it is especially too strong in the top part of the image.
| | 02:54 | So I will click in my Mask, grab black in
my Color Picker and I will mask that out.
| | 03:01 | I want that to become too dark up there.
| | 03:04 | let's now take a look at our before and after,
just affecting the lower portion of the image.
| | 03:07 | I like that, I like that the detail on the
eyes there, except a little bit too strong.
| | 03:11 | So lower my Opacity.
| | 03:13 | So here is my before and after.
| | 03:15 | So I'm building this up from here to here
and the eyes are looking so interesting.
| | 03:21 | Alright. Well, I want to go even further.
| | 03:24 | The next thing we are going to do is click on
the Adjustment Layer icon and choose Curves.
| | 03:28 | This time, we are going to do the opposite as we did before.
| | 03:31 | We are going to darken the image, bring the
mid tones down, also bring our white point
| | 03:36 | down a little bit, mid tones even down more, click OK.
| | 03:39 | Now, blend mode is going to Screen and what
Screen does is it brightens up the image.
| | 03:45 | Heres our before and after and those adjustments that I made
in the Curve here, help it, so it doesnt brighten it too much.
| | 03:52 | Again, so my whites don't just completely blow out.
| | 03:55 | So I'm bringing those down a little bit and it
helps us out, it brings it back a little bit.
| | 03:59 | OK. We need to invert the Mask Command + I on a Mac,
Ctrl + I on a PC let's zoom way in on these eyes.
| | 04:06 | This time we need a really small brush, so
I'm going to make my brush really small.
| | 04:10 | In this case about five pixels down.
| | 04:14 | Select white in my Color Picker and then I'm going to
paint on the areas of the image, where I see brightness
| | 04:21 | and I want to paint in a direction that matches the
direction of the way that the eyes are shaped and the way
| | 04:27 | that the direction of the light is caught in these eyes.
| | 04:30 | I'm going to go ahead paint through this.
| | 04:31 | I'm going to paint of the other one.
| | 04:33 | Now, I know this effect will be a little
bit too intense, but I'm OK with that,
| | 04:38 | because this helps me see my edges,
it helps me see how I'm doing.
| | 04:41 | Now, if you make a mistake, because I will make one here
and I paint too far one way, well just get your brush,
| | 04:47 | hit the X key to paint with black and
then you can paint that mistake away.
| | 04:51 | let's zoom out and take a look at our before and
after with this layer, heres before and then after.
| | 04:56 | We are painting that brightness into the eyes, really intriguing.
| | 05:01 | Now again, if that's too intense for here, lower the Opacity.
| | 05:04 | If you want more of it, copy that layer, have double the
layer of that, but it adds that nice brightness into the eyes.
| | 05:11 | Now, some people will just do that, theyll just
add the brightness, let's sure that's nice.
| | 05:15 | Some people will just add the contrast and
deepen the tone of the eye, but why not do both.
| | 05:19 | For me here is our before and after it is both
of that really adds that intriguing the eye.
| | 05:25 | Now, there are a couple of more things I would like to do here.
| | 05:27 | One perhaps would be to organize my layers,
two may be a little bit of color work.
| | 05:31 | First, let's organize our layers.
| | 05:33 | Click on one layer and then Shift + Click on the other and press
Command + G on a Mac, Ctrl + G on a PC and name this layer eyes.
| | 05:41 | Now I've ability to turn this on and off and
a lot of times what I need to do with eyes,
| | 05:45 | is I need to take this to a 0% Opacity
and then slowly bring it up.
| | 05:49 | I'm guessing with this image is going to be
somewhere right in the middle, maybe around 50 or 60.
| | 05:54 | let's try 57 there, that looks really good.
| | 05:58 | Now that I see this, if I go to 100 that's a little bit over the
top, so I'm going to bring that back and now I've the ability
| | 06:04 | to control all those adjustments because
they are grouped, may be a little bit higher.
| | 06:08 | You are going to have some fun with it, that looks nice.
| | 06:10 | Alright. Last thing I want to do is just
for the fun of it is work on eye color.
| | 06:14 | So I'm going to go ahead and I'm going to create a New Adjustment
Layer click on the Adjustment Layer icon and choose Solid Color
| | 06:22 | and I'm going to choose green, I've a nice green here.
| | 06:24 | let's see what happens with that, maybe a little
bit brighter green, click OK then invert the mask.
| | 06:30 | Command + I in a Mac, Ctrl + I in a PC.
| | 06:34 | A little bit bigger brush here, zoom in on the eyes.
| | 06:40 | Before I begin painting, we need to take our Blend Mode to Color.
| | 06:44 | Now, that we are on the Blend mode of color, what I'm going
to do is paint with white, Opacity of 100% and I'm going
| | 06:50 | to paint on the portion of the eye that is blue.
| | 06:59 | If you make a mistake as I did there, don't worry too
much about it because you can hit X key on your keyboard,
| | 07:05 | which will make you paint with black and you can
alternate back and forth between black and white.
| | 07:12 | So I'm going to bring in this color.
| | 07:15 | I'm looking to not cover up the brown in
the eye, because I want that still right.
| | 07:20 | Look at the outer edge of the eye there, back over
here, once again I need to go a little bit further
| | 07:28 | out with this color, let's zoom out to see how we are doing.
| | 07:32 | OK, well so far so good.
| | 07:34 | Here is our before and after, I've
a nice new color in the eyes there.
| | 07:38 | If I want to change it, double click the icon in the
adjustment layer, I can change it, I can darken that eye color.
| | 07:44 | I can brighten it, might need to be a little bit darker.
| | 07:47 | So I will go ahead and bring that down and tad
bit, let's take a look at our before and after.
| | 07:53 | Here is before that eyes color change,
we will zoom in a little bit.
| | 07:56 | There is after, it is kind of hard to see, isnt
it, I will zoom out a little bit, before and after.
| | 08:01 | Now the nice thing about this is let's say, I decide, it would
be nice to perhaps print this see if this green is going to work,
| | 08:07 | or you are going to need to lower the Opacity a little bit, a
little bit too much green there, what would with this be like,
| | 08:11 | if I enhance the blues, well, copy this layer.
| | 08:14 | Click and drag it to the New Layer icon, turn the
Visibility on of course, bring your Opacity all the way up.
| | 08:19 | Double click the icon for this Adjustment Layer and choosing
view, in this case I'm choosing blue, choosing aqua blue,
| | 08:32 | trying to find a blue that it might look good.
| | 08:34 | I know I need to lower the Opacity I know, I know.
| | 08:39 | Fix up my Mask a little bit as well, but let's give it to shot.
| | 08:43 | Lower the Opacity there, click our before and after.
| | 08:48 | In this case, we are brining out a little bit more of
the natural tone of the eyes, before and then after,
| | 08:53 | we are actually doing a little bit
more of those blues that looks nice.
| | 08:57 | let's take a look at our image altogether before and
after, here is before and then the grand finale after.
| | 09:04 | Well, alright that wraps up our work on this image.
| | Collapse this transcript |
| Adding a catch light| 00:00 | In this movie, we are working on the file catch_light.psd.
| | 00:04 | Open that one up in Photoshop, after go to full screen view
mode, and then let's zoom in on this image and let's go ahead
| | 00:11 | and double click the Zoom tool that will take it to you 100%
and we have this photograph that we have seen previously.
| | 00:17 | We have already done some retouching on this image, right?
| | 00:19 | it is looking nice, except one of the things I need to do, is
I need to improve the catch light because I've a catch light
| | 00:24 | in this left eye over here, at least my left.
| | 00:27 | On my right, this eye it is a little bit covered.
| | 00:29 | it is covered by the hair; I don't see much of that.
| | 00:31 | So I need to bring that over to add a little bit
more life to the image, a little bit more vitality
| | 00:37 | and this is going to be a really simple technique.
| | 00:39 | If you ever have catch lights in any images,
you can use them in multiple locations.
| | 00:44 | So what we are going to do here is grab our lasso
tool, zoom it a little bit further on the eye.
| | 00:49 | We are going to make a real rough lasso
selection around this catch light.
| | 00:52 | We are going to make a rough selection because we will be
masking this off later to get this to fit in really nicely.
| | 00:59 | Next, we need to copy this to a new layer on the
Mac that is command J on a PC that's control J. Now,
| | 01:05 | we have that catch light on its own layer; there it is.
| | 01:09 | I'm going to go ahead and name this layer clight, catch light.
| | 01:12 | We have got the move tool, by pressing V on the key
board or selecting it from the tool box and then click
| | 01:18 | and drag this catch light over here to this eye.
| | 01:21 | Couple of things I need to do.
| | 01:23 | First things, first, pre transform this command T on the Mac,
control T on the PC, just going to repossession this catch light,
| | 01:29 | to follow the way that the light is working
here in the eye, a nice guide there for me.
| | 01:34 | You get that in the right position; change its size a little bit.
| | 01:37 | Looks like it is a little bit smaller in my
opinion and then press return to apply that.
| | 01:42 | let's take a look before and after.
| | 01:43 | OK! We are going in a good direction except we have
the rest of the eye here that doesnt look good.
| | 01:49 | So I'm going to hold down the option key because I'm on a Mac.
| | 01:52 | If you are on the PC, that's the Alt key
and click on the icon to add a layer mask.
| | 01:57 | Now, that creates a mask that's filled with black.
| | 02:00 | Next, grab your brush tool, paint with white,
you can access white by pressing the X key,
| | 02:05 | it flips those foreground and background colors.
| | 02:08 | Now, I need a real small brush and a soft edge brush.
| | 02:11 | Left bracket is smaller size, shift
left bracket is a nice soft edge brush.
| | 02:16 | I'm just going to go ahead and paint where I
know that catch light should be right there.
| | 02:21 | let's take a look at it before and after, it would be X key,
paint away that edge, look at my before and after to see
| | 02:29 | if I'm going in the right direction and grab the
move to one, just move this around a little bit.
| | 02:34 | I'm using my arrow keys to reposition that.
| | 02:36 | I just want to get right and exact spot.
| | 02:38 | Zoom out; let's see how we are doing.
| | 02:40 | Here is our before and after.
| | 02:43 | We have successfully rebuilt that catch light, adds a little bit
more vitality, a little bit more interest to that eye over there
| | 02:51 | on our right side and that wraps up this movie.
| | Collapse this transcript |
| Sharpening eyes with Smart Sharpen| 00:01 | In this movie, we will be looking at
how we can improve eyes with Sharpening.
| | 00:05 | We will be working on the file dr_russell_brown.tif.
| | 00:08 | Open that one up in Photoshop, after go to full screen view mode
| | 00:12 | and then double click the Zoom tool,
that will take the image to 100%.
| | 00:16 | Here we have this portrait that I
captured not too long ago of Russell Brown.
| | 00:19 | He is the senior creative director at a Adobe and
Russell has influenced me in immense ways, amazing guy.
| | 00:25 | What I wanted to do is I'm going to
improve this portrait of Russell.
| | 00:28 | Now, the image is sharp.
| | 00:30 | I know it is sharp.
| | 00:30 | We shot it at real shallow depth of field, like 1.2 or something
like that, because I can see that his eye brows are sharp here,
| | 00:36 | yet his eyes arent sharp because he is wearing glasses.
| | 00:40 | So how can I improve this image by sharpening those eyes?
| | 00:43 | Well, what we are going to do is copy our background layer.
| | 00:46 | We are going to do that by clicking on that layer
and dragging it to the New Layer icon or by using one
| | 00:50 | of our shortcuts Command+J on a Mac or Ctrl+J on a PC.
| | 00:54 | Next, we will name this layer sharpen.
| | 00:58 | We are going to be using smart sharpen in this movie.
| | 01:01 | We can navigate through our Filter
drop down menu and select Sharpen.
| | 01:05 | Smart Sharpen.
| | 01:06 | Now, what we wanted to do in this Smart Sharpen
dialogue window is we want to remove Lens Blur.
| | 01:11 | That sharpening works best, so we are
going to go ahead and remove Lens Blur.
| | 01:14 | Now, the Amount is going to be somewhere probably around
100, the Radius, because this is the pretty low rays files,
| | 01:20 | it is going to be really low may be
something like 0.4 looks good to me.
| | 01:25 | The actual Radius that you will be using on your
images is going to be contingent upon the resolution.
| | 01:30 | If this was a huge file that Radius
is going to be a little bit higher.
| | 01:33 | This is a pretty small file.
| | 01:35 | it is been sized down.
| | 01:36 | I think it is about 1000 pixels wide.
| | 01:37 | So I need a real low Radius here and then I click on the
image to see my before and after, and I say you know what,
| | 01:43 | that looks pretty good there and I will click OK.
| | 01:47 | Now, I've sharpened the entire image which I don't want to do.
| | 01:49 | I just want to sharpen the eyes, so I'm turning this on
and off to look at my before and after and I like it.
| | 01:56 | Next thing, click on the Mask icon, then invert your mask.
| | 02:01 | You know that shortcut, right?
| | 02:02 | Command+I on a Mac, Ctrl+I on a PC, grab
your Brush Tool, zoom in a little bit further
| | 02:08 | by pressing Command++ on a Mac or Ctrl++ on a PC.
| | 02:12 | Now, we are going to paint with white and I'm going to paint
with white, in this case at 100% on this portion of the eye.
| | 02:18 | I want to be really careful as I get to the edge of the
glasses here because I don't want to exenterate the hail load,
| | 02:24 | it is already there, on the edge of those glasses, double click
to Zoom tool to go to 100%, that's probably the best zoom, right,
| | 02:32 | to able to see when you are sharpening because it
shows you the detail you will get when printing.
| | 02:37 | So I'm clicking that eye icon off.
| | 02:39 | There is my before.
| | 02:41 | There is my after on my monitor.
| | 02:43 | This looks wonderful.
| | 02:45 | I've now greatly improved this photograph
because those eyes are sharp.
| | 02:49 | A couple of problems I'm noticing, in the middle
portion of the eye, it is a little bit too sharp
| | 02:53 | so grab my Brush Tool make this a nice
small brush and I will paint with black.
| | 02:58 | I don't want that little reflection there
is to become too sharp, double click that,
| | 03:02 | let's look at my before and after, here we go, that looks nice.
| | 03:06 | That catch light looks a little bit more normal,
nice detail in the eyes and that wraps up this movie.
| | Collapse this transcript |
| Sharpening eyes with High Pass| 00:01 | In this movie, we will look at one
more technique for sharpening eyes.
| | 00:04 | We will be working on the file portrait.psd.
| | 00:07 | Go and open that one up inside a Photoshop by double
clicking it, press F to go to Full Screen view mode.
| | 00:12 | let's zoom in a little bit on this particular portrait.
| | 00:14 | Now, here we have this nice portrait.
| | 00:16 | We want to add a little bit more sharpness to the eyes.
| | 00:19 | One way that we can do that is by copying the eyes, so go ahead
and make a selection of the eyes, I will grab my Marquee Tool
| | 00:25 | and make a pretty rough selection of this
portion of the face and I copy that to New Layer
| | 00:29 | by pressing Command+J on a Mac or Ctrl+J on a PC.
| | 00:33 | We will name this layer eyes.
| | 00:35 | The reason I selected just a portion of the image is
because I don't want to increase my file size dramatically.
| | 00:40 | The reason I didnt make a good selection is because I'm going to
be using masking to mask in the areas that I want to have sharp.
| | 00:47 | So I'm just making a real rough selection
here so that I can move quickly.
| | 00:51 | Next, navigate to your Filter drop down
menu, choose Other and then High Pass.
| | 00:56 | High Pass is a pretty amazing filter.
| | 00:58 | What you can do is use this to dial in edge sharpening.
| | 01:02 | So in this case wherever I'm seeing edges, let me zoom in a
little bit, so we can actually see what is happening here,
| | 01:06 | wherever I see these edges, I'm going to
be able to add some sharpening to my image.
| | 01:10 | Now, if I increase this too far to where
we actually see color and the detail,
| | 01:14 | that's not going to work for me,
so I need to bring this down too.
| | 01:16 | I'm just seeing those nice edges there.
| | 01:18 | It should look almost like a release
stamp or something along those lines.
| | 01:22 | So go ahead and say you know right
about there and it is pretty nice.
| | 01:26 | One thing you will notice is there
is a little bit of dis-colorization
| | 01:29 | when you zoom in, we will need to fix that, OK, click OK.
| | 01:33 | Next, I'm going to navigate to my Hue/Saturation adjustment by
going Image, Adjustment, Hue/Saturation or pressing Command+U
| | 01:40 | on a Mac, Ctrl+U on a PC, then I'm going to de-saturate that.
| | 01:43 | I want to make sure that I don't have any color
here I don't want to exaggerate any color.
| | 01:47 | Next, I'm going to take this to a Blend Mod of Soft Light.
| | 01:52 | Do you by chance know the shortcut to take
this layer to the Blend Mode of Soft Light?
| | 01:56 | Well, you press on a Mac Shift+Option+F, on a
PC that's Shift+Alt+F, that's a great shortcut.
| | 02:04 | Now, if you hate shortcuts no big deal,
just select it from the drop down menu,
| | 02:08 | but Soft Light is one of those Blend
Modes that photographers use all the time.
| | 02:12 | The sharpening technique requires it.
| | 02:14 | So let's look at our before and after,
I will zoom in even further.
| | 02:17 | There is my after, here is my before,
after; nice sharpening there.
| | 02:21 | Now, I don't wanted to sharpen all that portion of the face,
so I will create a Mask by clicking on the Add Layer Mask icon,
| | 02:27 | invert the mask by pressing Command+I on a Mac, Ctrl+I
on a PC, then with the Brush Tool, paint it with white,
| | 02:36 | I'm just going to paint with white in the areas that
I wanted to sharpen which in this case the eyes,
| | 02:41 | so I'm going to sharpen the eye lashes a little bit as well.
| | 02:43 | So I want to sharpen to a little bit of a flow.
| | 02:47 | Couple of areas I'm going to watch out for the whites of the
eyes, I'm going to mask that off, make sure I don't sharpen that
| | 02:51 | and then a couple of the highlights in the eyes.
| | 02:54 | I don't want them to be come to exaggerated sharp.
| | 02:57 | OK, let's look at our before and after.
| | 02:58 | Now, that's really subtle yet significant.
| | 03:01 | Now, let's say that's not enough sharpening for you.
| | 03:03 | Well, what you need to do is go back to your background layer,
make another selection of those eyes, press that shortcut,
| | 03:09 | Command+J on a Mac, Ctrl+J on a PC, Filter, Other, High
Pass, increase this even more and increase this too much.
| | 03:18 | I'm going to do this so that you can see it because I know
| | 03:20 | in these movies become small, it is
kind of hard to see whats happening.
| | 03:23 | De-saturate that Command+U on a Mac, Ctrl+u on
a PC, then go to that Blend Mode of Soft Light.
| | 03:30 | Now, when I do that and I zoom in, let's compare our sharpening.
| | 03:33 | Here is one level of sharpening.
| | 03:35 | Here is the other level.
| | 03:36 | That one is much more subtle.
| | 03:38 | That one actually looks good to me.
| | 03:40 | Yeah you may not be able to see it very well so
this time you can see those much more sharpening.
| | 03:44 | Now, of course I would need to create a Mask and I'm
going to do that by Option or Alt clicking the Mask icon
| | 03:50 | in the Layers Palette and then I will paint with white
to paint in the sharpening where I want it, on the eyes,
| | 03:56 | I'm just going to go ahead and brush along the different portions
of the eyes where I want that, then have that before and after.
| | 04:03 | it is a nice way to add a little bit of definition to eyes.
| | 04:06 | that's on this technique which uses High Pass
sharpening can really make those eyes come to life.
| | 04:12 | Alright, well, that wraps up this movie.
| | Collapse this transcript |
| Increasing eye size with Free Transform| 00:01 | In this movie, we will be learning a technique that is used
so frequently, that is so popular it actually has a name.
| | 00:07 | it is called Hollywood Eyes and what this technique has
to do with is it just gives us a way to increase the size
| | 00:13 | of peoples eyes in order to increase visual interest.
| | 00:18 | We are working on the file jenny.psd.
| | 00:20 | Go and open that one up in Photoshop, after go to Full
Screen view mode and then zoom in on the image a little bit
| | 00:26 | so we can take look at what we are going to do here.
| | 00:28 | Now, the nice thing about this technique is that it
adds a bit of visual interest and it is easy to perform.
| | 00:34 | Select the Marquee Tool from you Tool Box by pressing
the M key or selecting it inside of the Tool Box there.
| | 00:40 | Make a Marquee selection around the eye so it
extends a little bit past of the eyes to left
| | 00:46 | and the right and above and below, that looks pretty good.
| | 00:49 | Next, copy this selection to New Layer.
| | 00:52 | On a PC that's Ctrl+J, on a Mac that's
Command+J, name this New Layer Hollywood eyes.
| | 01:00 | Next, press Command key on the Mac, Ctrl key on a PC to access
Free Transform and what we wanted to do here is change our width
| | 01:08 | and height in our "Options Bar above to a 105%.
| | 01:13 | Now, for Hollywood Eyes to work you can increase the percentage
anywhere from one to six percent, I'm going to try five here.
| | 01:20 | Now, press Return and then double click to apply
that transformation, alright, so far so good.
| | 01:25 | Yes, the rest of the image looks a little
weird, my edges, but the eyes are looking great.
| | 01:30 | The next thing I need to do is add a layer mask.
| | 01:33 | So in the Layers Palette click on Add layer
mask, grab your Brush Tool, paint with black
| | 01:39 | and you need to paint away all of these edges.
| | 01:41 | We have some problems, so go and paint those away, make
sure I fix up the hair there, that's really important right,
| | 01:48 | tune the eyes a little bit it is important, alright let's take
a look at our before and after, before and after so far so good.
| | 01:56 | Now, one of the things that I would like to do when
I masking is to take a look at my mask by itself,
| | 02:02 | I can do that by Option or Alt clicking the mask.
| | 02:05 | Option on a Mac, Alt on a PC, so that will
show me, OK, there is my mask, that looks OK.
| | 02:11 | Sometimes I also want to see it as
this red ruby that is overlaid.
| | 02:15 | You can access that on a Mac.
| | 02:17 | it is Shift+Option click, on a PC its Shift+Alt click the mask.
| | 02:21 | Now, it will show me any areas of my
mask that I may have some problems.
| | 02:24 | So I will see up here, maybe nice to bring this in
a little bit, little bit between the eyes there,
| | 02:30 | just make sure that it is masking of all the important stuff.
| | 02:32 | It is so then I will Shift+Option click that
again on the Mac, Shift+Alt click that again,
| | 02:38 | OK before and after here is before and after.
| | 02:42 | Now one of the things you will find when you use this
technique is it will make the people and your images look
| | 02:47 | like they have a little bit more life like they are a little
bit more alert, like they are a little bit more interesting.
| | 02:52 | There have been numerous studies which you have gone on
to show that increasing the size of the eyes and the size
| | 02:58 | of the pupils actually increases visual interests.
| | 03:01 | It increases peoples attraction to the images
and it makes them a little bit more appealing.
| | 03:05 | Now, so far we have increased the size of the eyes overall.
| | 03:08 | OK, well that's great.
| | 03:09 | Well, another thing that we can do is actually increase
the size of pupils, that's pretty easy as well.
| | 03:13 | let's zoom away in one of these eyes here and what we
are going to do is go ahead and make a selection of one
| | 03:19 | of the pupils, so I will grab the Eliptical Marquee.
| | 03:22 | I need a pretty soft Feather here, maybe 3 pixels, 2 or 3 pixels
will work, I will try 2, make a selection around a pupil there,
| | 03:30 | I want to have a pretty good selection around this
pupil, make it a little bit bigger than the pupil there,
| | 03:35 | press Command+J on a Mac, Ctl+J on a PC that brought the
pupil to its own layer, so there it is, now Free Transform it.
| | 03:44 | On a Mac that's Command+T, on a PC that's Ctrl+T, In this
case I'm just going to manually increase the size of this.
| | 03:51 | I will hold down the Shift key, I will grab one of the corner
points and I'm looking to just make this a little bit bigger.
| | 03:56 | I don't want to make this so big that it looks odd.
| | 03:59 | let's zoom out and look at our before and after.
| | 04:02 | Here is our before and after.
| | 04:04 | I think that is a little bit too low.
| | 04:06 | I need to increase the size there before and after.
| | 04:08 | Now, it is going to look a little strange, as I've only
done on one eye, so I need to go back into the other eye.
| | 04:14 | Again the Marquee Tool, make a nice
selection around the eye there.
| | 04:18 | Copy that to a New Layer Command+J on a Mac, Ctrl+J on
a PC and then on the Mac Command key, on a PC Ctrl key,
| | 04:28 | increase the size of the pupil there and make
sure that these are pretty close in size.
| | 04:32 | Sometimes I will even drag it over to the other
one say OK that it looks pretty good there.
| | 04:37 | If you wanted the exact, use those percentages up top, those
can really help out, reposition this with the Arrow keys,
| | 04:46 | so make sure that I'm putting this on the right spot,
right portion of the eye, take a look at my other one
| | 04:58 | and I'm just looking out my before
and after, zoom out a little bit.
| | 05:02 | let's see how we have done here.
| | 05:03 | Here is our before and then after, again before and
after and then those are pupils before and after.
| | 05:12 | Now in my opinion, in this particular image, I don't like the
increased size of the pupils because the light is so bright,
| | 05:18 | those pupils were expecting them to be pretty small.
| | 05:21 | You will find on certain images is that, that what really helps.
| | 05:24 | So my creative decision at this point is to turn that layer off.
| | 05:28 | I like the Hollywood eyes.
| | 05:29 | I think that looks good.
| | 05:30 | The pupil is just isnt do a turn for me with
this image, so I'm going to turn that off.
| | 05:34 | Now, there is something important to keep in mind.
| | 05:36 | Continue, reevaluate the edit.
| | 05:38 | Make sure it is looking better.
| | 05:40 | Sometimes just because you can do
something doesnt mean you should,
| | 05:44 | yet I want to show you that technique,
because it is a really valuable technique.
| | 05:48 | Try it on some of your images and be sure you evaluate it.
| | 05:50 | Take a look; see if it looks better or worse.
| | 05:53 | Alright well that wraps up our work on this image and we look
| | 05:56 | at how we can increase the size of the
eyes in order to add visual interest.
| | Collapse this transcript |
| Increasing eye size with Liquify| 00:00 | In this movie we'll be looking at yet another
technique for increasing the size of eyes.
| | 00:05 | This technique is a little bit quicker than the previous one.
| | 00:08 | We'll be working on the file portrait.PSD. Go and double click
that file to open it in Photoshop. I have to go to Full
| | 00:15 | Screen view mode. Alright what we want to do is copy the Background
layer. Press Command+J on a Mac, Control+J on a PC and name
| | 00:21 | this new layer eyes. Next, we're going to navigate our Filter
drop-down menu and choose Liquify. Now inside of liquify we're
| | 00:28 | going to use the Bloat too. The Bloat tools actually really
good for increasing the size of eyes. The trick though is
| | 00:35 | dialing in your brush size and all the rest of your tool options.
| | 00:38 | So my brush size is way too big so I'm going to take this down.
I want it to be a little bit bigger than the eye here
| | 00:43 | You can also use the bracket keys, left to right bracket, to change the
size of brush. Alright that looks pretty good, bigger than the eye overall,
| | 00:49 | connecting to the eyebrow a little bit. Perfect. Next my brush density.
I want a real high density. You remember how that works?
| | 00:55 | If I click on this right now, let's go and click on the eye,
it's going up by the Liquify to the edge of the brush.
| | 01:01 | Now if I do this really small here notice how it's just going to
liquify the center of that brush. So I so want this really nice and high.
| | 01:08 | So we have our brush density as high, brush pressure we want low and
brush rate we want low as well. Real low because we this to be subtle,
| | 01:16 | and we're going to just do a simple
| | 01:18 | couple of clicks on the eyes here.
| | 01:25 | And click OK. Now let's take a look at our before and
after. Before and after. Very subtle and very clean,
| | 01:33 | nice quick way to increase the size of eyes.
| | Collapse this transcript |
| Darkening the edge of the eye| 00:01 | In this movie, we will be learning a
wonderful technique for adding edge definition
| | 00:05 | to eyes in order to increase visual interest.
| | 00:09 | We are going to be working on two images.
| | 00:10 | The first one is eye_edges, the second one is jenny.psd.
| | 00:14 | So on a Mac, hold in the Command key and select both of them.
| | 00:17 | On a PC, hold down the Ctrl key and select both those
images, then Ctrl-click or Right-click and choose Open.
| | 00:24 | Now, both these files are open inside of Photoshop.
| | 00:26 | First I've to go to full screen view mode.
| | 00:28 | We are going to be working on this one first.
| | 00:30 | If this one isnt open for you, navigate to
the window dropdown menu and choose eye_edges.
| | 00:36 | Alright, well let's zoom in on this image.
| | 00:38 | Now, what we want to do here is add a little bit
of edge definition to this portion of the eye.
| | 00:43 | So first things first, we need to select that portion of the eye.
| | 00:46 | We are actually going to use this eye edge to increase it,
We are going to use what we have to make it even better.
| | 00:51 | Grab your brush tool, we want a real small brush, in my
case I'm going to say actually 5 pixels looks pretty nice,
| | 00:58 | a little bit bigger than that edge,
maybe even four pixels will be perfect.
| | 01:02 | Next, we are going to enter click mask mode.
| | 01:05 | Good old click mask mode, press key on your keyboard
and then paint along the edges of those eyes
| | 01:11 | and we are looking to cover that up with red.
| | 01:15 | Now, I'm painting with black, therefore it is red.
| | 01:18 | So my color picker is black there.
| | 01:20 | Go over both eyes here very carefully make
sure you have a decent selection to start with.
| | 01:27 | Hey, that's pretty good.
| | 01:29 | it is not perfect, but I think it is good enough.
| | 01:32 | If I want to fix it up, if it is not good enough,
press the X key and that will get rid of red.
| | 01:37 | Now, red and click mask is actually what isnt
selected, but that's OK because we can invert that,
| | 01:45 | just fixing these up by painting with black or white.
| | 01:47 | I think that's good.
| | 01:49 | Press the Q key to exit click mask.
| | 01:52 | Now, at this point, everything but that area is selected.
| | 01:55 | So we need to invert our selection.
| | 01:57 | We can go to select invert, Shift+
Command+I in a Mac, Shift+Ctrl+I in a PC.
| | 02:01 | Now, we just have that area selected.
| | 02:04 | Perfect! let's copy that to a new layer.
| | 02:07 | On a Mac, that's Command+J, on a PC that's Ctrl+J.
| | 02:11 | Alright! let's name this layer eye edges.
| | 02:16 | Check this out.
| | 02:17 | We are going to take this to a blend mode of Soft Light.
| | 02:20 | How good is that?
| | 02:21 | OK, zoom in a little bit.
| | 02:22 | let's see whats happening.
| | 02:23 | These are before and after.
| | 02:25 | Again, our before and after; just adding
a little bit of edge definition there.
| | 02:30 | Now, as I look at these eyes, I think you know what, they
are looking so good except there is a portion of the eye
| | 02:34 | that needs a little bit more work right there, right?
| | 02:37 | I'm going to zoom in on that, zoom way in on that and create a
new layer; take this layer to blend with the Soft Light as well,
| | 02:43 | real small brush, super small brush and I'm going to paint
with black this portion of the eye into a little bit too much.
| | 02:53 | It can be tricky; pressing Command+Z to undo
that because I'm on a Mac, Ctrl+Z on a PC.
| | 03:01 | I want to just add a little bit of a line there.
| | 03:04 | Hey, that looks pretty nice, completed that
circle; lower the opacity, so it is not so intense.
| | 03:10 | let's back off, zoom out.
| | 03:13 | let's take a look at it before and after.
| | 03:15 | Our adjustments here is before and then after.
| | 03:19 | I think those eyes are going in a pretty good direction.
| | 03:23 | We can of course lower the opacity or
mask off any areas that don't look good,
| | 03:27 | so I'm just going to my opacity a little bit here.
| | 03:30 | Look at my before and after.
| | 03:31 | it is subtle, yet significant.
| | 03:34 | We add a little bit of definition there to the edge of
the eyes and the eyes look a little bit more intruding.
| | 03:39 | Alright, well let's go to our next image.
| | 03:41 | Navigate to the window drop down menu and choose Jenny.
| | 03:44 | Now, when we zoom in on this image, one of the things
we notice is, OK, we don't have anything to start with.
| | 03:49 | The edges of the eyes arent dark.
| | 03:51 | So we have to build this up from scratch.
| | 03:54 | Alright, well we are going to zoom
way in on this eye here, way in on it.
| | 03:58 | Create a new layer.
| | 04:00 | You know the blend mode, right?
| | 04:01 | Soft Light, grab a brush tool, paint with black.
| | 04:06 | My opacity is about 70% here, so I'm
going to decrease that to about 50%.
| | 04:13 | Increase my brush size by pressing the right
bracket key, and I'm going to paint in this edge.
| | 04:36 | I'm doing this.
| | 04:37 | I'm looking to make it a little bit too intense, a little
bit too big because I know that I will be able to back it off
| | 04:44 | and now I'm actually going to blur this out a little bit.
| | 04:47 | Alright, that looks pretty good.
| | 04:48 | I'm going to increase my brush size now,
right bracket key and take my opacity down 10%
| | 04:53 | or less and let's see how this is, that works.
| | 04:57 | I'm going to add a little bit of darkness here along
the edge inside of that, looks like I need to go up
| | 05:04 | and I'm going to try going to the 20s, here I'm at 28%.
| | 05:09 | OK, that's fine.
| | 05:10 | Zooming up a little bit more, just looking to try and create a
little bit of a transition on this and I've a couple of areas
| | 05:22 | that are too dark from my own preference, but it is OK.
| | 05:26 | We are going in a decent direction.
| | 05:27 | Just trying to build up this edge, build it up and build it up.
| | 05:30 | let's zoom out a little bit.
| | 05:31 | See how we are doing, before and after,
OK, well it doesnt look too good yet.
| | 05:35 | Go to our filter drop down menu, blur and Gaussian blur,
we need to blur that out, blur the heck out of that thing.
| | 05:41 | Alright, let's make this look nice and smooth.
| | 05:45 | Click OK. let's look at it before and
after, yeah, that's not looking so bad.
| | 05:50 | Here is our before, here is our after, a little bit too strong.
| | 05:53 | So, I will lower the opacity there and again before
and after, it looks like I need to blur it even more,
| | 05:59 | filter blur, Gaussian blur and little bit more.
| | 06:05 | You need to be super exaggerated.
| | 06:07 | Here is my before and after, we can compare the two eyes, the
one on the right and the one on the left, before and after,
| | 06:14 | we have a little bit more edge definition and as I
look at that, I think that is looking pretty good.
| | 06:20 | I would like to apply it to the other eye and I will go about
doing that in the same way, painting on that Soft Light layer
| | 06:26 | to burn in those edges, to add a little bit more edge definition.
| | 06:31 | So as I look at the two eyes, I say "You know what, I like that."
| | 06:34 | So, I would go ahead and apply those same techniques to
this other eye over here on the left or at least my left.
| | 06:39 | Apply that the same exact way.
| | 06:41 | For demo purposes, I'm not going to do
that because it is a same exact thing.
| | 06:44 | Yet, that would definitely finish off this particular image.
| | 06:47 | Alright, well that wraps up our movie on how we can add edge
definition to peoples eyes in order to increase visual interest.
| | Collapse this transcript |
| Whitening eyes| 00:00 | In this movie we'll be learning some delicate techniques for
whitening eyes. Therefore we'll be working on the file Whiten eyes.PSD.
| | 00:09 | Open that one up in Photoshop. I have to go to Full Screen view mode.
| | 00:12 | Then double click the Zoom tool and let's press the spacebar
to reposition the image. Now we've seen this image previously
| | 00:19 | yet we haven't worked on the eyes. There's been little bit of
retouching that's been done to this image, but now is the time
| | 00:24 | to work on the eyes. As we get close the eyes one of things
we notice is that there's some areas that need some work,
| | 00:30 | in particular, the red veins here in the side.
A little bit of the red veins over here as well.
| | 00:35 | One of the things it's important to keep in mind,
in regards to eyes, is that eyes have contour,
| | 00:40 | and eyes really aren't white. Grab your Eyedropper tool.
| | 00:43 | Change your Sample Size to something above point sample. 5 x 5
will work for me because this image is sized down a little bit.
| | 00:50 | I'm going to sample color in the eye. Look at the color picker.
That looks brown, that looks gray. That's interesting.
| | 00:55 | Well, way down here that looks really brown.
I'll be able to take up some of those reds in there,
| | 01:00 | a little bit darker gray so it's not
actually white. So if I just create a new layer,
| | 01:05 | and paint with white on top of the eyes,
| | 01:07 | it's going to look kind of horrible, kind of flat.
| | 01:10 | Kind of as if you know, that is taking away
all the contour. That's not going to work for us.
| | 01:15 | Now we could try to lower the opacity, we could try doing some of
those things, but it's just not going to cut it. So we need to go in
| | 01:21 | and do a little bit more delicate work. So let's zoom in on the eye.
| | 01:24 | Zoom way in on it.
| | 01:28 | Perhaps even further on the eyes. I'm just zooming,
| | 01:32 | zooming, zooming, zooming! Alright here I am on this portion of the eye.
At this stage of the game too, I'm going to turn on some good music,
| | 01:39 | because I know I'm to be doing some detail work working
on these small veins here. I'm going to create a new layer.
| | 01:44 | I'm going to name this layer, L Eye.
| | 01:47 | The eye on my left. Grab the Clone Stamp tool. Rather than
cloning on a Normal blend mode, I'm going to clone on Color.
| | 01:56 | Opacity I'll it just under 100% somewhere up there, probably about 90.
| | 02:01 | Next I'll make sure I am sampling all layers. Yes, and
we'll Option-click a portion of the eye and begin to paint
| | 02:07 | away the veins that I'm seeing here.
| | 02:09 | and it's important that I use a pretty small brush,
| | 02:13 | when I have an area that overlaps, in this case,
| | 02:17 | I'm using a pretty small brush here,
| | 02:20 | get into these little areas.
| | 02:22 | We can go above, below, I'm constantly holding
down the Option key to sample different areas
| | 02:28 | As I am working on this, I'm realizing I can take my opacity
up. This eye's in pretty good shape. Sometimes the eye
| | 02:35 | isn't doing so well so you need to be a little bit more careful.
In this case I'm noticing as I'm beginning to work on it that
| | 02:42 | has some really good areas. Now when you're doing detail work
like this, you never really know if you're going in a good direction,
| | 02:49 | because you're so far zoomed in. So I'm going to do a
little bit more work on the eye here just to clean up
| | 02:55 | some of the areas that I think need the biggest
amount of work. A little bit bigger brush now.
| | 03:00 | Just a little bit more heavily because
I have improved some of these areas.
| | 03:08 | I'm going to keep going. I'm holding on the Option key,
| | 03:11 | I'm using a Wacom tablet so that I have this nice pressure sensitivity.
| | 03:19 | Alright. Let's zoom out and see how we're
doing. So I'm going to zoom out a little bit.
| | 03:23 | Take a look at my before and after. There is before, there
is after. All right! That's what I'm talking about, right?
| | 03:30 | Those are some nice details except I messed up right there a little
bit. I need to fix that up, but I'm going in a really good direction.
| | 03:36 | Definitely cleaning the eye up. It's definitely becoming a little
bit more white, and I am also keeping the contour of the eye.
| | 03:43 | Now I just tried to remove one of the veins. Zoom that right in.
Didn't work. So I need to zoom back in. I need a work on these and
| | 03:50 | I need to really work them. Meaning
I'm going to Option-click from one side,
| | 03:53 | Option-click from the other side. I'm changing my
brush size. Now one thing that's nice to do as well as
| | 03:59 | you're going through this is to try Clone Stamping on
Normal every once in a while because now it's pretty clean.
| | 04:04 | I'll lower my opacity here. I can get away
with doing a little bit of normal cloning.
| | 04:09 | This one's going to be little bit tricky so I'm going to go
ahead and use Normal at this point because I need a little bit
| | 04:16 | more heavy retouching. Normal's going to be pretty intense
as far as the retouching goes, so it's really important that
| | 04:24 | I'm sampling very similar areas and I'm doing this in small increments.
You notice that my brush strokes for the most part here are pretty minimal.
| | 04:32 | Bring my opacity up on the Normal. Try a little bit
harder to get rid of the brightness I'm seeing there
| | 04:38 | and I'll keep working on the eye.
| | 04:40 | And zoom out to see how we're doing, if we're going in a good direction.
Again there's our before and after. I think we're going in
| | 04:46 | a pretty good direction. There's quite a bit more that we have
to do so we'll keep doing that detail work on the rest of the eye.
| | 04:52 | The other eye, same thing. Zooming in, getting out those
veins and making those look nice. Now once we've done that,
| | 04:59 | let's assume that we have a pretty good eye going on there.
We'll say OK, you know that's in pretty good shape.
| | 05:05 | Another thing that we can do is zoom in,
| | 05:08 | create a new layer.
| | 05:09 | Call this L Eye 2.
| | 05:12 | And for the record, I realize the eye isn't complete
yet I hope you get the idea of how I would complete it.
| | 05:18 | I would just keep doing that detail work. So let's
pretend it is complete and I'll grab my Brush tool.
| | 05:24 | Small brush.
| | 05:26 | Another thing I can do the even our eyes
| | 05:29 | is hold down the Option key on the Mac,
the Alt key on the PC, sample the eye color there.
| | 05:32 | So that's now the color of my color picker. Lower the opacity
| | 05:37 | and then paint over the veins.
| | 05:39 | Option-click, paint, Option-click, paint,
| | 05:42 | increase your opacity a little bit.
Option-click, paint, Option-click, paint,
| | 05:46 | Option-click, paint. Here's my before and after.
We can see I'm slowly bringing that out,
| | 05:52 | Option-click, paint,
| | 05:53 | and I'm just bringing some nice tone on top of those veins.
| | 05:59 | And I'm painting with color that I have there already.
| | 06:03 | Just to clean this up even further- this is kind of my before
and after- the next thing that I would like to do with these eyes,
| | 06:09 | had I finished retouching them all the way there,
would be to create a new layer. Curves Adjustment layer.
| | 06:14 | In this case, I'm just going to bring
the brightness up just a tad bit. Click OK.
| | 06:19 | Invert the mask. Command+I on a Mac, Control+I on a PC.
| | 06:24 | Then with my Brush tool, I'll paint with white.
| | 06:26 | Pretty low opacity.
| | 06:29 | I'll just bring in some brightness here.
| | 06:32 | Change my brush size...
| | 06:49 | just going through the eye.
| | 06:53 | Painting some brightness. Let's take a look at our before and after.
| | 06:56 | Before and after. Double click that.
I'm going to increase that a little bit more.
| | 07:01 | Click OK and let's zoom out and see how we're doing. Here's our
before and then after. We're definitely going in a good direction.
| | 07:09 | We haven't gone over the top yet. Maybe that's a little
bit too bright there. So I'll back it off just a tad bit,
| | 07:14 | but I think it's going to pretty good direction.
| | 07:17 | And let's look at our before and after. I like it.
There's my Curves Adjustment layer. There are some of the
| | 07:23 | painting with the actual eye color. There's some retouching
of the veins with Clone Stamp on that Color blend mode
| | 07:30 | and with those techniques I can really whiten up this eye.
| | 07:33 | Finish up the rest of that, finish up this side and this
side over here, so that these eyes would look phenomenal.
[00:07:0.47]
| | Collapse this transcript |
|
|
8. Enhancing Eyelashes and EyebrowsCleaning up and darkening eyebrows| 00:01 | In this movie we'll be looking at some techniques that can help us
improve eyebrows. Thus we'll be working on this file eyebrow.PSD.
| | 00:07 | Open that one up in the Photoshop.
I have to go to Full Screen view mode.
| | 00:12 | Double click the Zoom tool in
the toolbox to take this image to 100%.
| | 00:17 | Finally spacebar, reposition.
| | 00:20 | Now this is a great image, yet one the things I notice
is it would be nice to clean up the eyebrow a little bit.
| | 00:24 | In particular, if I grab my Brush tool,
| | 00:28 | I think it would be nice to shape the eyebrow so that
| | 00:33 | it went along this line that I am drawing here.
| | 00:45 | Along that there. We want reshape that just a little bit. Well, how would
we go about doing that? Well that is going to be a ton of detail work.
| | 00:53 | I'll create a new layer by clicking on
the New Layer icon. I'll call this left eyebrow
| | 00:58 | Next, I'm going to zoom in even further to kind
of see what's happening here. Nice small brush.
| | 01:04 | Grab the Clone Stamp tool. Blend mode of Lighten.
| | 01:07 | Lower the opacity because I'm going start off by working on portion
of the image that doesn't need it that much, these small hairs here.
| | 01:14 | So I'm just going to go through, even a smaller brush. I can find
a brush that's about the size of those hairs, that would be great.
| | 01:20 | Option-click from different sides of the problematic areas.
So I'm going to go ahead and Option-click those areas,
| | 01:26 | Option-click above, Option-click below.
Whoops, that wasn't quite good enough there.
| | 01:32 | Undo that. On a PC that's Alt-click, on a Mac, it's Option-click.
So I'm just going to go ahead and go through here,
| | 01:40 | looking to try and lighten up some of these hairs that I'm seeing.
| | 01:44 | I'll start a little bit wide here. So I'm starting
with the hairs that are little bit further off because
| | 01:51 | you can't clean of this area, right? I have
to clean up from the end of the problem.
| | 01:56 | At this point I could also do a little bit of
healing to bring back some texture. Try a bigger brush.
| | 02:02 | My cloning. I'll grab the Healing Brush as well
| | 02:05 | and lower the brush size. I'll just go
through and hit this up with some healing.
| | 02:11 | What that's going to do for me is add a little bit of texture back.
Now I can't heal those areas that are really close to the eyebrow
| | 02:17 | because I'll get that color smudging or that
tone smudging inside of there so I'm going to be
| | 02:23 | careful not to get too close. I'm also going to
watch really carefully to see if I notice any smudging.
| | 02:30 | In this case, I think I'm doing OK.
| | 02:33 | We'll have to look our before-and-after
to see if we're going in a good direction.
| | 02:37 | Smaller brush size. Little bit more detail healing here.
| | 02:45 | Detail work. Alright. Lots of detail work.
Let's zoom out and see how we're doing.
| | 02:50 | Zoom out even further. Here's our before and after. Hey, I would
say we're going in a pretty good direction. That eyebrow's definitely
| | 02:57 | looking better, it's starting to take shape. What we'd
need to do is really go in and keep working on this.
| | 03:03 | Go in with some more details here. And I'm going to grab
the Clone Stamp tool and then with this Lighten blend mode,
| | 03:10 | a little bit higher opacity this time.
I'll work to really change the shape of this.
| | 03:16 | So I'm going to get right in there.
| | 03:18 | Take this down.
| | 03:20 | Little by little,
| | 03:22 | slowly, slowly, we are going to make this look better.
| | 03:27 | Now, there are ways that you can do this a little bit more quickly,
but a lot of times what I find is those techniques that are quick,
| | 03:35 | meaning using larger brushes or bigger
edits, they just don't look very good.
| | 03:39 | Things get a little bit smudgy.
| | 03:41 | In this case, hopefully we're going to make this
look a little bit better. We're changing the shape.
| | 03:47 | Got to think about the shape that we want it to be.
| | 03:51 | Slowly inch away at this. I'm going to zoom out and
see how we're doing. Let's look at our before and after.
| | 03:55 | Yeah. I would say we're going in a good direction.
| | 03:57 | Again I want to bring this down even
more along there. Because this is a demo,
| | 04:03 | I'm going to increase my brush size.
I'm going to start hitting this pretty heavy because
| | 04:09 | while I'm sure you love watching me click away on this image-
nah, just kidding. I'm sure you appreciate a little bit quicker, huh?
| | 04:18 | Helps it get fast. Now got a little bit too soft there and
a little bit smudgy right? That doesn't look good. I need to bring
| | 04:24 | back some texture so I'll grab the Healing Brush and
then Option-click up here and bring back some of that texture.
| | 04:30 | Have to be pretty careful though that I don't get any of
the color smudging. I have to try some different brush sizes
| | 04:37 | and this part of the eyebrow just isn't
going to look good because I did it so quickly.
| | 04:41 | But it's not horrible.
| | 04:43 | It's just not good. Which is hard with retouching
because retouching, you want it to be great, right?
| | 04:49 | It's getting a little blotchy for me and what not,
so let's zoom out and see how we're doing.
| | 04:52 | Before and after. I'd say we're going in a decent direction.
| | 04:55 | Again we'd like to improve that shape even more. I sped it up
when I started right here so the shape isn't quite as good.
| | 05:02 | Yet hopefully you're seeing how we can begin to do that.
Now one of things it's nice to do is to bring that texture back
| | 05:08 | as I've been trying to explain. One way you can do
that would be to copy these layers to a new layer.
| | 05:14 | Shift+Option+Command+E on the Mac,
Shift+Alt+Control+E on the PC. So we'll merge those.
| | 05:19 | Grab the good old Patch tool. Now with the
Patch tool, we'll make a selection of this area.
| | 05:27 | Here we go, We have a selection of that area. It needs
a little more texture. We'll bring that texture in.
| | 05:32 | Select, deselect.
| | 05:34 | Let's take a look how that works for us. Yeah. That's kind
of nice right? Now we have a little bit more skin up there.
| | 05:39 | It's not just soft. Here's our before and then after. I think
we're going a pretty good direction. The amount of the skin texture
| | 05:47 | and the detail we have up there is a little bit too high for me.
It should be a little bit less because of the brightness up here
| | 05:53 | So I'm going to lower my opacity. I still want some of it, right?
But I don't want all of it. Here's now my before and after.
| | 05:59 | That's kind of nice. Even with that area that was quick,
that's looking pretty good. I'll zoom out.
| | 06:03 | See how we're doing. Here's our before and after.
We're definitely going in a good direction except this area
| | 06:09 | where I started going quickly, pains me. I should've gone slower
there yet for demo purposes, I think that will work for us.
| | 06:16 | I hope you get the idea of how I would've finished that off.
| | 06:19 | Just zooming in. Clone Stamp tool on Lighten,
then Healing, add a little bit of texture.
| | 06:24 | Finally use the Patch tool to add texture on top of
everything. Alright. I really want to evaluate to see if
| | 06:30 | I'm going in a good direction. There a few other
little areas I think would be nice to patch.
| | 06:33 | I'll work on the seams. Anything that looks a little bit strange.
I also want to try to a sample some skin tone from different areas
| | 06:41 | so that I have too many repeating patterns of skin.
So although it does blend in very well, I want to make it
| | 06:47 | blend in even better. OK, I think it does now at
this point and I like it. I'm satisfied with that.
| | 06:54 | The last thing I'll want to show you in this particular image
has to do with how you can increase the density of eyebrows.
| | 06:59 | Now when I show you this technique,
you're going to think that I'm crazy.
| | 07:03 | But stick with me for a second. I'm going to merge all my layers to
the topmost layer. Again on the Mac, that's Shift+Option+Command+E.
| | 07:10 | On the PC, that's Shift+Alt+Control+E.
Next I'm going to grab my Paintbrush.
| | 07:17 | Choose a brush that's about the size of this particular eyebrow.
| | 07:21 | I'm going to hit Q on the keyboard. That enters Quick Mask mode. What
I want to do is paint with black and so I'll make sure I have black
| | 07:27 | in my color picker. In Quick Mask mode, it will paint this
red ruby with overlay of the area that isn't selected.
| | 07:35 | You may be thinking, well don't we want to select that area?
We do, but it's nice to be able to see with this red ruby with overlay
| | 07:43 | what isn't selected, then we'll invert that. OK.
| | 07:46 | Eyebrow is selected.
| | 07:47 | Hit Q again. We're exiting Quick Mask.
| | 07:50 | Now you can tell that I've selected everything
| | 07:54 | except the eyebrow, and that's a problem. Navigate
to the Select dropdown menu and choose Inverse.
| | 07:59 | OK, now I just have that eyebrow itself.
| | 08:03 | Let's copy this to new layer and we'll
do that by pressing Command+J on the Mac,
| | 08:07 | Control+J on the PC.
| | 08:09 | If you pick up your Move tool you'll see that indeed
you do have that eyebrow by itself. There it is.
| | 08:15 | OK, this there where you think I'm crazy.
| | 08:18 | What we're going to do with this eyebrow that's
on its own layer now- we'll name this layer eyebrow-
| | 08:23 | is take it to blend mode of Multiply. Now when I take it
to blend mode of Multiply, the eyebrow has much more density.
| | 08:31 | Now in this case, I see little bit of a color shift and it's
just way over the top. I don't need an eyebrow to be that intense.
| | 08:37 | Another blend mode that would be nice to try would be Soft Light.
In that blend mode you're going see there's a bit more contrast.
| | 08:42 | Yeah, a little bit of a color shift. Those color shifts
can be dealt with. Let's take it back to Multiply though,
| | 08:47 | we'll take it to Multiply.
| | 08:49 | We're going to lower the opacity. Lower the opacity way down. To
something like 30% there. There's our before and after. Let's zoom out
| | 08:56 | Just building that eyebrow up, just a little bit. Again I'll
zoom all the way out now so I can see this here's my before,
| | 09:03 | and then after. Finally bringing up a little bit
more of the density of that eyebrow to define that.
| | 09:07 | It will add definition to the eye. It actually
will make the eye a little bit more interesting.
| | 09:13 | Alright. Well that wraps up our look how we can
improve the shape and the density of eyebrows.
| | Collapse this transcript |
| Increasing eyelash density| 00:00 | In this movie we'll be working on the file
eyelashes.TIF. Go ahead and open that one up.
| | 00:05 | I have to go to Full Screen View mode and then zoom in a little bit.
| | 00:09 | What we're going to do in this particular movie is look how we can
increase the density of these eyelashes. You know, that's exactly
| | 00:15 | what mascara does. It increases the density, it brings attention
to the eyelashes. It makes the eye a little bit more interesting.
| | 00:20 | Well how can we do this in Photoshop? Well we need to
zoom way in so we're going to zoom way in on the eye here.
| | 00:26 | That looks pretty good. We are going to create a new layer;
we're going to create a new layer via a shortcut.
| | 00:31 | The shortcut is Shift+Command+N for the Mac.
| | 00:35 | For the PC, Shift+Control+N. We'll call this layer 'eyelashes.'
| | 00:41 | We'll change our blend mode to Soft Light,
| | 00:44 | and click OK.
| | 00:45 | So we have a new layer, blend mode Soft Light. We're going to grab
a Brush. We want our Brush to be approximately between 1 and 3 pixels.
| | 00:52 | I'll try three, see if that works. It may be a little bit
too high, but we'll give it a shot. Next we're going to take our
| | 00:56 | hardness all the way down. So there's no hardness. Soft brush.
Then we'll zoom in even further on the eye here, paint with black,
| | 01:04 | and I'll go ahead and paint over my eyelashes and what should
be happening here is we'll start to see that the density of
| | 01:12 | these eyelashes is being built-up. Wow! That one wasn't so good.
| | 01:16 | That one either. And I'm using a Wacom tablet right now
so I have this pressure sensitivity, which really helps out
| | 01:21 | because eyelashes have a bit of fall off and I want to
| | 01:25 | follow that so that I have a bit of fall
off as well, decreasing the brush pressure
| | 01:30 | as I burn down the detail on these eyelashes.
| | 01:34 | One of the things that you may be thinking as you
do this kind a detail work is, is it worth it?
| | 01:39 | Am I even seeing any kind of a difference? Well, you can't really
see the difference at this level. You only see it once you zoom out
| | 01:46 | and look at our before and after,
| | 01:49 | which I am just about ready to do.
| | 01:51 | Let's zoom out here to see how we're going. Right, there's our before,
| | 01:55 | there's our after. Let's zoom in even further so you can
see what I'm talking about. Here's our before, and then after.
| | 02:01 | Alright. Just increasing the visual interest there a little bit.
If you want more intense darkening, change this to Overlay.
| | 02:07 | Overlay will give you even more. I like Soft Light. I think that works
pretty well. I can also lower the opacity, if I want to bring that down,
| | 02:14 | dial it in. One other thing that you can do if you find
that your edges are little bit too hard is go to Filter,
| | 02:20 | Blur, Gaussian Blur. Now when you blur,
you're going to need use a real small amount.
| | 02:25 | So if you increase the amount too far- let's say I'm at .8. We'll see
how that looks. Here's my before and after. I think that looks nice.
| | 02:32 | It looks pretty realistic. If you increase it too far though,
things will get to be a little bit blurry. So I'm going to zoom out.
| | 02:39 | Look at my before and after. I definitely like that.
| | 02:42 | And then if I want increase the density of those eyelashes even more,
I'll take that blend mode to Overlay.
| | 02:47 | All right. Well that wraps up our look
how we can increase the density of eyelashes.
| | 02:52 | We're going to keep working on this image so
keep it open and I'll see you in the next movie.
| | Collapse this transcript |
| Adding eyelashes| 00:01 | Welcome back. In the previous movie,
we worked on the image eyelashes.TIF.
| | 00:05 | We'll be working on the same image in
this movie so go and open that one up.
| | 00:09 | I already have it open so I'll jump over to Photoshop. Here it is.
| | 00:12 | In the previous movie, we looked at how we can increase
the density of the eyelashes. Here's our before and then after.
| | 00:18 | Well how about if we actually want to add eyelashes? How do we go
about doing that? Well that's what we'll learn how to do in this movie.
| | 00:25 | We're going to create a new layer. Click on
the New Layer icon and we'll name this 'e1'
| | 00:30 | for eyelash one, because we're going
to be adding a few eyelashes here.
| | 00:33 | Next we're going to grab the Brush tool.
| | 00:37 | We'll go to the Brush tool option. We want to make sure we
have a pretty small diameter. I'll try a brush diameter of two.
| | 00:42 | I want to crank up the hardness. So I don't
want any softness here. Hard brush. OK, great.
| | 00:48 | I have that brush dialed in. Next I'll change my layer blend mode
to Soft Light. Alright. And then I'll go to the Paths tab.
| | 00:56 | Interesting. I'll create a new path.
| | 00:59 | I have a couple of sample ones in there for you,
but I'll create a new path and we'll call this 'e1.'
| | 01:05 | And I'll grab the Pen tool.
| | 01:07 | Then I want to make sure that I'm choosing
the Paths option. All right, I am. I'll zoom in here.
| | 01:13 | I'm going make a path that follows the relative
same trajectory as one of these other eyelashes.
| | 01:19 | I want to make it a little bit longer on both sides there,
| | 01:22 | because there's going to be some fall off that you'll see
in a second. OK I think that will work pretty well for me.
| | 01:29 | Next I'll go to the fly out menu, in the Paths tab,
| | 01:31 | and I'll choose Stroke Path. This will add a brush
stroke along this path. Now it's critical that I choose
| | 01:38 | Simulate Pressure because that will give me the fall off,
similar fall off as we can see here on these eyelashes.
| | 01:43 | They're dense here then they
become less and less dense. Click OK.
| | 01:48 | Let's take a look at how this one works. So if I click off of that,
I can go back to my Layers palette and here we have this new eyelash.
| | 01:54 | Let me zoom out a little bit. Here's my before-and-after.
Grab the Move tool and I'll move this one around
| | 01:59 | just a little bit. Free Transform it,
| | 02:02 | because I don't like its position exactly
right there. I'll just go ahead and
| | 02:08 | bring that one in a little bit.
| | 02:12 | And voila! We now have another eyelash. Now sometimes it's
going to be helpful to have this on a blend mode of Soft Light.
| | 02:19 | Sometimes on the blend mode of Overlay and sometimes,
| | 02:22 | on good old-fashioned Normal. In the Normal case, one of the
things you'll notice is that this eyelash is a little bit darker.
| | 02:29 | It looks a little bit more black. What you'd want to do
if you use a Normal blend mode to zoom in on the eyelash.
| | 02:35 | With your eyedropper, sample one of these colors of the
eyelash, which isn't black. It's brown or dark brown there.
| | 02:41 | Then create your new layer.
| | 02:43 | We'll call this 'e1a,'
| | 02:45 | another version of that eyelash. Go back
to the Paths tab and click in the path.
| | 02:50 | Click on the icon to access
the fly out menu and choose Stroke Path
| | 02:55 | and Simulate Brush Pressure, click OK.
| | 02:58 | Click off of everything, and go back to Layers.
| | 03:01 | Now because we chose that brown color, and it's
on that Normal blend mode, that will work a little
| | 03:06 | bit better in this case and I'll just reposition that one,
maybe Free Transform it again so that it fits in.
| | 03:11 | Let's compare these two. So here's the
one on Normal that's painted with brown.
| | 03:16 | And then as way of comparison, here's
the one that was painted with black.
| | 03:20 | We'll take that to the blend mode of Soft Light.
| | 03:22 | It's a much more faint eyelash, yet it blends in, has a
darker tonality there and sometimes works pretty well.
| | 03:28 | Overlay especially is going to look really nice with that particular
eyelash. Alright. I'll zoom out and we'll see how we're doing.
| | 03:34 | We'll turn one of those off and just leave one on.
| | 03:36 | Here's our before and then after. Pretty interesting,
isn't it? So we've looked at how we can increase
| | 03:41 | the density of eyelashes. We've actually looked at how we
can add eyelashes in order to increase the visual interest.
| | Collapse this transcript |
|
|
9. Improving HairPatching a gap in hair| 00:00 | In the next couple of movies we will
be working on hair gap and tone.
| | 00:04 | Go and double click that to open it in Photoshop and press F
to go to Full Screen view mode and then zoom in a little bit.
| | 00:11 | We have this nice image.
| | 00:12 | One thing that I think will be great to fix up would be the hair.
| | 00:15 | We have a little bit of a gap in the hair.
| | 00:17 | Now, this happens quite often when you are photographing people.
| | 00:19 | How could we fix it?
| | 00:20 | What we can do here is I'm going to zoom
out a little bit, so I can see what I've.
| | 00:24 | Grab the Lasso tool and make a rough Lasso selection
of this portion of hair here, real rough selection.
| | 00:34 | Next let's copy that to new layer.
| | 00:35 | Select the Layer; New, Layer via Copy.
| | 00:39 | Alright I copied it to new layer, then lets move this over,
so that we have the sitting on top of that gap there zoom
| | 00:45 | in a little bit, so we can see how we are doing.
| | 00:47 | Alright, well so far so good we have a little bit of
problems with our edges, but that's not that bigger deal.
| | 00:52 | We will click on the Mask icon, grab our paint brush by
pressing the B key and then choose black in the color picker.
| | 00:59 | What we are going to do is just mask this back, I'm painting at
100% opacity; I just want to hide the edges here a little bit.
| | 01:06 | I also want to try and hide some of the repeating patterns.
| | 01:09 | I'm going to go through this and paint away my edges, so
I think that it looks pretty good and I've hidden that.
| | 01:16 | Lets look at our before and after, so far so good.
| | 01:19 | The last thing I would say in regards to this hair patch
technique would be you really try and paint your mask back
| | 01:24 | and forth as I'm doing, so I'm going back
and forth, I'm tinkering, I'm tinkering.
| | 01:27 | So I've to find the sweet spot as far as the edges and not
trying to create too many repeating patterns with the hair.
| | 01:34 | Lastly what we want to do is change the tone of this
hair just a tad bit so we will do that by clicking
| | 01:39 | on the Adjustment Layer icon and choosing Curves.
| | 01:41 | What I'm going to do here is just brighten
this up a tad bit and then press OK.
| | 01:47 | Next hold down the Option key on the Mac Alt key on a PC and
hover between the two layers, that will give me the ability
| | 01:54 | to create a layer clicking mask, OK
perfect; so now, the curves adjustment layer
| | 01:58 | which is affecting the layer underneath
it, I'm going to mask that off.
| | 02:02 | So I want that brightness not to be
everywhere, but to the specific places.
| | 02:06 | Press Command+I on a Mac to invert Ctrl+I on a PC.
| | 02:09 | I'm going to make my brush a little bit small by pressing
the left bracket key and then I will lower my opacity,
| | 02:15 | paint with white, just want to brighten
up some of this hair here.
| | 02:18 | Tonality is a little bit different right?
| | 02:19 | It is not quite the same as it was right next door.
| | 02:23 | So, here is my before and after with that I think that's
work pretty well, helps in blending a little bit there,
| | 02:27 | here is our before and after, we have
successfully cleaned up that little gap there.
| | 02:34 | The last thing that would want to do here is create a new layer.
| | 02:37 | Call this layer clone select the Clone Stamp Tool from the
Tool Box and choose a blend mode of Lighten nice low opacity.
| | 02:47 | Probably somewhere in the twenties will work well and
then we are going to Option Click to select a source area
| | 02:54 | and we should take those dark areas down just a tad bid
| | 02:57 | and by doing this again we are just disguising
the repeating pattern, just a little bit more.
| | 03:02 | There is actually couple of little areas
I would like to take down while I'm here.
| | 03:05 | We are just going to go ahead and do that.
| | 03:10 | Little bit higher opacity, lets look at our before and after.
| | 03:17 | There is before, there is after.
| | 03:19 | I just brought those down a little bit; lower
the opacity so it is not quite so intense.
| | 03:23 | Hope everything blend together pretty well.
| | 03:25 | let's look at our before and after and
see if we are going to get direction.
| | 03:28 | Here is before and after.
| | 03:31 | Very nice we have now successfully filled that hair gap.
| | Collapse this transcript |
| Improving hair tone| 00:01 | In the previous movie, we worked on the image hair gap and tone,
and we'll be working on that same image here so go ahead
| | 00:06 | and open it up if you don't have it open. I have it open
in Photoshop so I'm just going to jump over to Photoshop.
| | 00:12 | What I want to do in this movie is look
at how we can work on the tone in the hair.
| | 00:17 | This is going to be a pretty simple technique yet it leads to some
pretty profound results. Click on the Adjustment Layer icon and
| | 00:24 | choose Curves. Next, what I want you to do is to add
a contrast curve so we have some real nice contrast.
| | 00:29 | We want to look at the hair and the tone of the hair.
| | 00:32 | Now at this stage, one of things I see is that it's shifting
the color of the image. I like the contrast, I like the density
| | 00:39 | all those things, but I don't necessarily like
the color that I'm getting so let's click OK.
| | 00:44 | Invert the mask. Press Command+I to invert that mask on a Mac,
| | 00:49 | Control+I on a PC. Then with your Brush tool,
| | 00:53 | grab white as your color,
| | 00:55 | And then paint where you want to bring in more color and tone.
| | 01:03 | I shouldn't say color there, I should save paint where you want to bring
in more tone. The color I want to get rid, I actually don't like that.
| | 01:09 | Start bringing in this brightness, this contrast,
a little bit around the face.
| | 01:13 | I'll lower my opacity a little bit. I can bring some back here
| | 01:16 | so this will be a brighter portion of hair. It doesn't
look very good right? It's going to good direction,
| | 01:22 | but that color shift is problematic. How do I fix that?
| | 01:25 | Well, all that I need to do is take
this a layer blend mode to Luminosity.
| | 01:31 | Now check this out, here's our before and then after.
That's what I'm talking about. Just bringing some brightness up
| | 01:36 | near the face, kind of having a nice bright light surrounding
that's going to bring attention to that. I can also do the opposite.
| | 01:43 | If I wanted to go the other way I could double click my Curves Adjustment layer and I can decrease for the tone here.
| | 01:50 | Then I could just make it dark in those specific area. Now that
doesn't look for a good in this case, but some cases you'll need
| | 01:56 | to darken the tone. Here I'm going
to dial in the contrast that I want,
| | 01:59 | the brightness level.
| | 02:01 | Click OK.
| | 02:02 | It's a pretty subtle improvement in the image yet pretty
significant because I don't have color shift.
| | 02:07 | I'm able to control where that brightness comes in by way of a mask.
| | 02:12 | Try this technique on your own images. I think you begin to like it and it works especially well in hair,
| | 02:17 | where there's highlights in the hair. You can use this technique
to really accent those highlights and bring them out so that the
| | 02:22 | image snaps. Alright, well that wraps up this movie.
| | Collapse this transcript |
| Lightening dark roots| 00:01 | In the next couple of movies we will be
working on this file it is titled hair_ fix_2.
| | 00:08 | In the first movie we are going to work on
root, how can we work on those root colors.
| | 00:12 | We have this nice blonde hair, yet those roots
are just too dark how can I brighten those up?
| | 00:16 | How can I bring more color to that area of the image?
| | 00:19 | In the next movie what we will be doing is working on
this hair gap, how can we patch or fill in that hair gap.
| | 00:24 | it is a two stage process first roots, second hair gap.
| | 00:28 | let's go and open this file up and then press F to go to Full
Screen view mode and then zoom in a little bit on the image.
| | 00:34 | Well now that have this image open we
are zoomed in on it, we notice that yes,
| | 00:38 | we do definitely need to do some work with these hair roots here.
| | 00:42 | How can we do that?
| | 00:43 | Well first things first, I want to create a new layer
and I want to create a new layer by way of short cut
| | 00:48 | so that I can name the layer while I'm creating it.
| | 00:51 | Alright the short cut on the Mac is
Shift+Command+N on a PC its Shift+Ctrl+N.
| | 00:57 | We are going name this layer Roots.
| | 00:59 | Now typically when you are working on roots you are going
to, want to take this to a blend mode of Soft Light,
| | 01:04 | I don't want to do that here because
I want demo how this is working.
| | 01:07 | So I'm going to go ahead and just press OK.
| | 01:10 | Now that I've this layer I'm going to grab the
brush tool by pressing B key on my keyboard.
| | 01:16 | Next, I'm going to hover over my image
and hold down the Option key on a Mac,
| | 01:20 | the Alt key on a PC that changes the brush tool
to the eye dropper that is a cool shortcut.
| | 01:28 | Alright now that I've the eye dropper I will click on the
hair, noticing my color picker that's the color that I sampled
| | 01:34 | and I'm going to go ahead and paint that
color on top of this portion of the hair.
| | 01:39 | Right now I'm painting at it looks likes about 59% opacity
perfect, I think that is going to work pretty well.
| | 01:46 | I'm just going to just cover up this portion of the
hair here, it goes through this part of the image
| | 01:51 | and let's say that's pretty good for
starters little bit more tone there.
| | 01:56 | that's looks good I'm using the Wacom tablet,
so that I've some of that pressure sensitivity
| | 02:01 | so I can paint different amount of this color.
| | 02:04 | Now this doesnt look very good I know, but check this out
I'm going to take my layer blend mode to good Soft Light.
| | 02:14 | Here is it our before and after, isnt that awesome.
| | 02:18 | Now I can bring this up I want to bring
in a little bit more of that color.
| | 02:22 | I'm going to go ahead and do that I'm going
option click and paint through the image.
| | 02:26 | Now as I do that I'm going to really white the
brightness level for the most part of the hair.
| | 02:31 | If there going be a few areas that are problematic in particular
we are going to see, there is going to be a bit of color shift,
| | 02:37 | don't worry too much about that color shift
because we will be able to fix that in a moment
| | 02:42 | so OK I'm just going to paint those some brightness here.
| | 02:51 | Going through the image on the Mac
Option click on the PC Alt click,
| | 02:57 | I would like to paint over those darker areas try sampling
different hues from the hair because you will find
| | 03:03 | that different portion of the hair will
respond to different hues in different ways.
| | 03:08 | Alright, well I say that's pretty good for the most part
I think we are going in a good direction that cover up,
| | 03:14 | the roots there a little bit just painting through
this fixing up a few areas that I want to improve on.
| | 03:20 | Lets look at our before and after, here
is our before and here is our after.
| | 03:25 | Well that's looks really nice except for the
color shift, I need to fix that color shift,
| | 03:29 | how can I do that and how can I deconstruct that color shift.
| | 03:33 | let's see whats actually happening.
| | 03:35 | In order to deconstruct the color shift
I'm going to copy the background layer
| | 03:39 | and change this layer to a blend mode of Soft Light.
| | 03:42 | One of the things you are going to notice as I do
this, that the Reds are just kind of out of control.
| | 03:46 | Now one of the things I notice is that
this image is just way to red especially
| | 03:50 | if I need the color in this image to be relatively neutral.
| | 03:53 | OK so we are seeing that red shift, the reason I did that
was because we deconstructed what happens typically with skin
| | 04:00 | and with hair when we use that Soft Light blend mode.
| | 04:03 | We can use that to advantage at times, but in this case
it is a little bit disadvantageous so I need to fix that.
| | 04:09 | Here is how I'm going to fix it.
| | 04:10 | I'm going to click on the Adjustment
Layer icon and choose hue saturation.
| | 04:14 | Next I'm going to go reds and I'm going to click on my
image, where I see some of these red shifts happening.
| | 04:20 | Let me go ahead and desaturate.
| | 04:22 | Now that I was pouring out quite a bit of that color
I will go ahead and just click around a little bit,
| | 04:26 | I expand this tad bit here to get a little bit more of those
colors see if I'm going in a good direction and I'm going
| | 04:34 | to modify my slides to see if I'm
indeed pouring out the right color.
| | 04:38 | Yeah, I think so and that's going to look good and I click OK.
| | 04:41 | Now the problem is in this case is that I'm applying this
to all of the image as my top layer I'm moving that up
| | 04:48 | that doesnt look very good, so here what I can do
on a Mac Command click the icon for the roots layers
| | 04:55 | on a PC Ctrl click this on your icon, next click
on the Mask on the hue saturation adjustment layer.
| | 05:02 | Currently we are selecting all of the areas
where we have painted in this new tone.
| | 05:07 | We want the opposite of that.
| | 05:09 | So navigate to select Inverse.
| | 05:12 | Now we have everything else selected and
what we are going to do is fill with black.
| | 05:17 | We can do that by way of short cut or by way of
long cut in my color picker in my case I've black
| | 05:22 | in my foreground color the short cut it going to be
Option+Delete for the Mac, Alt+Delete for the PC to fill
| | 05:28 | with your foreground color or you can go to edit fill and we
will foreground color or black for that matter and click OK.
| | 05:37 | Now let's deselect by going to Select
Deselect and see what we have going on here.
| | 05:42 | So here is our desaturation layer,
here is our before and then after.
| | 05:46 | You can see it is just knocking behind
the red hue and the hair there.
| | 05:49 | Now there maybe some areas that we
need to knock it down even further.
| | 05:53 | let's take a look here is our before and then here is our after.
| | 05:56 | For the most part of I would say we are going in a pretty good
direction, maybe a little bit too intense and I think it is
| | 06:02 | in my case, so I'm lower opacity a little bit.
| | 06:05 | No need to pullback that far, we just need to knock the edge
off those reds there; OK I think that's looking pretty good
| | 06:11 | and I want to look at before and after by holding on the
Option key on the Mac Alt key on the PC, here is our before
| | 06:18 | and then after, before and after, I like that except
I'm feeling like it is too intense so here is what I do.
| | 06:27 | I select both of these layers, by Clicking
and Shift Clicking I then put these layers
| | 06:32 | in a group on a Mac Command Guest: on a PC Ctrl Guest:.
| | 06:36 | Now here is our before and after of all of those adjustments.
| | 06:40 | Next lower the Opacity of the entire
group to just dial this back.
| | 06:44 | We do not need to have those roots over the
top blonde, we just want to brighten them
| | 06:48 | up so there are a little bit less exaggerated.
| | 06:51 | Again my before and after and hey I think we did a pretty
good job improving the root color on this particular image.
| | Collapse this transcript |
| Covering gaps in hair| 00:01 | Welcome back.
| | 00:01 | In the previous movie we worked on this file hair_fix_2.
| | 00:06 | We will be working on it in this movie as well.
| | 00:08 | This time we are going to deal with the gap right up
here as well as the little bit of the color and tone.
| | 00:13 | So let's go and open up this file.
| | 00:15 | Press F to go to Full Screen view mode and zoom in a
little bit and here is the progress that we have made
| | 00:21 | in the first movie here is our before and after so far so good.
| | 00:24 | I want to improve this even more.
| | 00:26 | We are going to create a series of layers here.
| | 00:28 | We are going to create these layers by way of shortcut.
| | 00:31 | The first layer that we are going to
create is going to be the work on the gap.
| | 00:35 | On a Mac press Shift+Command+N on a PC press Shift+Ctrl+N.
| | 00:40 | let's name this layer G1 for gap one.
| | 00:43 | Grab the Clone Stamp tool.
| | 00:44 | Press the S Key on your keyboard.
| | 00:46 | What I want you to do is to select a source area
right here we are going to paint that up top.
| | 00:51 | I will tell you why in a second, but go ahead and do that.
| | 00:53 | So on a Mac Option Click on a PC Alt+Click and then paint
in the hair down here; real careful as you paint that in.
| | 01:02 | Alright, so let's create a new layer.
| | 01:04 | Shift+Command+N on a Mac Shift+Ctrl+N on a PC, G2 press OK.
| | 01:09 | Turn off the visibility of G1.
| | 01:12 | Make your brush a little bit bigger this time.
| | 01:14 | Option Click, we are going to go over here to the right side
of the gap and paint this in here, going to divide and conquer.
| | 01:23 | let's turn out both layers now.
| | 01:24 | See how these are working together.
| | 01:26 | OK well so far so good.
| | 01:28 | Turn off both of those layers.
| | 01:29 | One more Shift+Command+N on a Mac, Shift+Ctrl+N on a PC,
G3; I'm going to make my brush a little bit smaller here
| | 01:38 | and I'm going to paint right down the middle.
| | 01:42 | Alright, now let's turn on all three of these layers and see how
we are doing and we will turn them on and off one at the time.
| | 01:49 | There is a before and after.
| | 01:50 | Alright, well so far so good.
| | 01:52 | One of the problems is that we have this repeating pattern.
| | 01:55 | Now, repeating pattern is a dead give away.
| | 01:57 | What I was trying to do was to clone from different areas
so the repeating pattern was in the exact same location.
| | 02:04 | Now, this last layer, I notice that it is
a little bit too close to the other layers.
| | 02:08 | So, I'm going to fix this up.
| | 02:10 | Grab my Clone Stamp Tool.
| | 02:11 | This time I'm going to Option click down a little bit lower and
I'm going to work to hide that a little bit more and I'm going
| | 02:17 | to go and just try to hide the other
areas as well while I'm here.
| | 02:21 | I want to create a little bit of a flow there.
| | 02:23 | So, I'm going to go ahead and clean
up the edges from side to side.
| | 02:27 | I'm just looking to hide that final pattern there.
| | 02:30 | Here is my before and after.
| | 02:31 | let's look at all these layers before and after.
| | 02:33 | Here is before here is after.
| | 02:35 | Well so far so good.
| | 02:37 | We need a little bit more work over here.
| | 02:39 | So Option click and I'm going to bring in
a little bit more of that hair down here,
| | 02:44 | try to bring that in and try to seam those together a little bit.
| | 02:49 | Lower the opacity just a tad bit, to create a
little bit more of a transition on this area.
| | 02:56 | We didnt knew layers do that, don't we?
| | 02:58 | Shift+Command+N on a Mac, Shift+Ctrl+N on a PC, that's G4.
| | 03:02 | Lot of little layers here, but they will all
help out in order to sweeten this up even more,
| | 03:08 | I'm going to lower my Opacity Option Click just paint over this.
| | 03:12 | Now, when you paint on a low Opacity
with hair one of the things you have
| | 03:16 | to be careful of is that, you don't make things too soft.
| | 03:19 | So, here is my before and after it was a little
bit soft, but I think for the most part I'm OK.
| | 03:24 | let's see how we were doing.
| | 03:25 | So, here is our before and after.
| | 03:28 | So far so good.
| | 03:30 | The last thing I want to work on is this edge over here.
| | 03:32 | it is a little bit too soft, right.
| | 03:34 | So let's group all these layers.
| | 03:36 | Go ahead and click and Shift Click and then
press Command+G on a Mac, Ctrl+G on a PC.
| | 03:42 | Name this layer Patch and click on the Add Layer Mask icon.
| | 03:48 | Select the brush tool by pressing the B Key and then make sure
you have black as your foreground color in your color picker.
| | 03:54 | We are going to paint with a 100% Opacity.
| | 03:57 | We are just going to mask away some of
this hair patch that we have created.
| | 04:07 | Look at our before and after there.
| | 04:09 | Alright, we are going in a good direction
little bit smaller brush paint with white.
| | 04:13 | Now to bring a little bit more in on that lower
portion there, hit the X key paint some of it out.
| | 04:18 | Alright, I think we are going in a pretty good direction.
| | 04:21 | Now, the last thing that we need to do to make this look
realistic is we need to add a little bit of color and tone.
| | 04:26 | So let's create a new layer.
| | 04:28 | Shift+Command+N on a Mac, Shift+Ctrl+N on a PC
because we are going to be working with hair color,
| | 04:34 | we know we need that blend mode of Soft Light.
| | 04:36 | We will call this layer Color.
| | 04:38 | Next grab our Brush tool and let's Option Click a
nice tone here and good brush size and we are going
| | 04:45 | to go ahead and paint over this portion of the hair.
| | 04:47 | What this will do is it will unify
the adjustments that we have made.
| | 04:51 | We will connect those adjustments to the
surrounding hair so that they are less noticeable.
| | 04:56 | We also want to hit the other side of the hair over here which
will add some nice brightening to that portion of the hair.
| | 05:03 | Again, we want to make connection with
the adjustments of we have just made.
| | 05:07 | So, we are connecting that to the rest of the
hairs so it doesnt stand out like a soar thumb.
| | 05:12 | that's looking pretty good.
| | 05:13 | The problem is it is much too red and much too intense.
| | 05:16 | What we will need to do is create a selection
from the painting that we have just done.
| | 05:21 | On a Mac hold on to the Command key and click on that Color Layer
thumbnail we have named this layer so it is Color there we go.
| | 05:28 | So, Command+Click that layer thumbnail icon on a
PC that's Ctrl+Click that layer thumbnail icon.
| | 05:36 | Next, navigate to the Adjustment Layer Icon and
choose Hue Saturation and we are going to the Reds.
| | 05:43 | Sample the hair there.
| | 05:44 | We are going to desaturate.
| | 05:46 | We are going to pull out some of the tone there; Click OK.
| | 05:52 | Next, we are going to go to the Color Layer
and lower the Opacity so it just blends in.
| | 05:57 | it is not quite so intense.
| | 05:59 | let's take a look at how we have done.
| | 06:00 | Here is our before there is a little bit of hair color.
| | 06:04 | There is point of red out of the hair color.
| | 06:05 | So we have our before and after.
| | 06:08 | The final touches definitely make all the difference
in the world and that wraps up our work on this image.
| | Collapse this transcript |
| Fixing roots and hair color| 00:01 | Alright, in this movie we will be working on the
file, hair_fix and in this movie we are going
| | 00:06 | to be working on the problem that's actually quite common.
| | 00:09 | It has to do with problem along the hairline or along the part
line and here you can see we have a lot of little bit of a gap.
| | 00:14 | Well, how do we fill that in?
| | 00:16 | How do we fill it in a way that looks natural?
| | 00:19 | we will also do a little bit of work
on the color and tone of the hair.
| | 00:22 | let's go and open this one up, I've to go to full screen
view mode and then zoom in on this particular image.
| | 00:28 | We are going to zoom in on the hair there.
| | 00:30 | We are going to go about fixing this
with a couple of different layers.
| | 00:33 | So, let's go ahead and create a New Layer by
the way of shortcut, on the Mac, Shift Command+
| | 00:37 | and on a PC Shift Ctrl +. We are
going to call this layer, Darken.
| | 00:42 | When you grab the Clone Stamp Tool by pressing the S Key
on the keyboard and changing our Blending Mode to Darken,
| | 00:47 | and we are going to take this to an Opacity
of about 70%, then believe it or not,
| | 00:53 | we are going to take our Layer Blend
Mode to Soft Light, interesting.
| | 00:57 | Clone stamp on darken Layer Blend Mode
on Soft Light, let's see how this look.
| | 01:02 | So as we paint over the image or over the bright areas with
the Clone Stamp Tool and option clicking, what I'm doing is,
| | 01:10 | I'm adding a little bit of contrast
there and beginning to darken this
| | 01:15 | and ideally I'm able to see a little bit of the hair as well.
| | 01:17 | I don't want to cover it up completely, because if
I simply paint the dark color or clone on top of it,
| | 01:24 | so that the hair is gone, it is going
to be a dead give away, right?
| | 01:27 | because it is going to tell me that there actually isnt any hair
there, all it is just paint or some solid colors sitting on top
| | 01:35 | of the hair and it is not going to work very good.
| | 01:37 | So I'm going to go ahead and hit the brighter
spots in this image here darkening those up.
| | 01:43 | Alright, so far so good.
| | 01:45 | let's look at our before and after, great.
| | 01:47 | that's looking, I think pretty nice.
| | 01:48 | Couple of the areas on the seams, I would
like to fix up and I lower my Opacity to 30%
| | 01:54 | and just work on the seams here a little bit.
| | 01:56 | A little bit of blending from the
darker tone to the brighter tones.
| | 02:00 | Now as I look at that, I don't quite like that dark spots.
| | 02:04 | I'm going to grab my Eraser Tool or my Opacity
perhaps, and just bring that back a little bit.
| | 02:10 | I don't want to go that dark there.
| | 02:11 | I think I went too far on that.
| | 02:13 | So here is my before and after, and I
leave this portion of the hair as is.
| | 02:16 | OK, so we have our Darken Layer.
| | 02:18 | Yet we need to do a little bit more work here, right.
| | 02:20 | How can we fix this up even further?
| | 02:23 | Would you probably know what I'm going to do?
| | 02:24 | I'm going to create a New Layer by the way of shortcut.
| | 02:27 | On a Mac Shift Command+N, on a PC Shift Ctrl+N.
| | 02:31 | I'm going to call this layer Color.
| | 02:33 | We now take our Blend Mode to Soft Light and click OK.
| | 02:38 | Next, grab the brush tool in the tool box and then find
a color you think will be good to cover up this area.
| | 02:45 | So I will Option click the color in here.
| | 02:48 | Now the trick is, I don't want to get too much
of this red on top of this portion of the image.
| | 02:52 | So I'm just going to go ahead and hit this,
with this darker color here on this Blend Mode
| | 02:57 | of Soft Light and then I will back this off a little bit.
| | 03:02 | Lower my Opacity down to 40% now for these areas over
here, then lower the Layer Opacity to I see a little bit
| | 03:13 | of the structure of the hair, I wanted to be gone altogether.
| | 03:16 | Hers my before and after, again, before
and after, I would say that's pretty good.
| | 03:20 | I'm going to zoom out to see how I'm doing.
| | 03:22 | Here is my before and then after.
| | 03:24 | We have done a pretty good job working
on that part and the hairline there.
| | 03:28 | Now if we wanted to go even further, wed probably create
another layer and clean up the bright spots that I see here.
| | 03:34 | There are couple of little bright spots that will be
nice to take down and we will do that with a clone layer.
| | 03:38 | So when you go ahead and press Shift Command +N on a Mac, Shift
Ctrl +N on a PC, and we will call this layer, Clean for clean up.
| | 03:45 | Grab the Clone Stamp Tool and this time I'm going to go to
a Blend Mode of Normal, pretty low Opacity and I just want
| | 03:51 | to hit these small spots here to take those down.
| | 03:54 | A little bit higher Opacity, even it
looks like brighter than I anticipated.
| | 03:58 | I'm going to take those out, trying to be careful
not to mess up the hair structure, they are too much.
| | 04:05 | Here is my before and after, that looks good.
| | 04:07 | Overall before overall after.
| | 04:10 | Very nice we are going in a good direction with this one.
| | 04:13 | So now what I want to do is, I want to
work on the color and tone of the hair.
| | 04:16 | So I click on the Adjustment Layer icon and choose
Curves and I bring everything up a little bit.
| | 04:21 | Bringing a little bit of contrast, then go to the
Blue Yellow Channel and add a little bit of Yellow.
| | 04:27 | I warm things up a tad bit here and click OK.
| | 04:29 | Next, invert the Mask by pressing
Command +I on the Mac, Ctrl +I on the PC.
| | 04:35 | Grab the Brush Tool from the Tool Box.
| | 04:38 | We take our Opacity up to about 80% here.
| | 04:41 | Nice big brush, want to make sure it is really nice and soft.
| | 04:44 | No hardness on that brush at all.
| | 04:46 | Now we are just going to go and paint on
these areas of the hair and paint away.
| | 05:00 | Now that we have a pretty decent selection by way
of our Mask we can go back and modify this further.
| | 05:05 | let's look at our before and after.
| | 05:07 | Before and then after, that's pretty subtle.
| | 05:09 | If I want a little bit more of that, I can go into the Curves
Adjustment Layer and I will brighten out a little bit more.
| | 05:15 | Perhaps add a little bit more contrast
bring in some of those yellows.
| | 05:19 | Yeah, it is warmed that up and thatll be kind of a nice.
| | 05:22 | Some times when you add yellows, it goes really hard here.
| | 05:25 | You need to add a little bit of magenta.
| | 05:26 | So I'm going to bring in some magenta.
| | 05:28 | Go back to the blue yellow channel.
| | 05:29 | that's too far, right, but those two works in unison.
| | 05:33 | When you add yellow, you can also
make the image a little bit too green.
| | 05:36 | Go to the magenta counteract that, also
the red channel will help you out here.
| | 05:40 | You can go to the Red Cyan Channel.
| | 05:43 | Add a little bit of red into the hair.
| | 05:44 | In this case I don't want too much red, so I will pull a
little bit out, then click OK, pretty subtle adjustments.
| | 05:51 | Look at our before and then after, just
modifying the tone and the color of the hair,
| | 05:55 | to make it a little bit more warmer,
a little bit more attractive.
| | 05:58 | Now I realize that it maybe difficult to see, so I'm
going to double the intensity of that area by clicking
| | 06:03 | and dragging this adjustment layer to the New Layer icon.
| | 06:06 | Now you really going to see here is our before and
then after and that wraps up our work on this image.
| | Collapse this transcript |
| Removing stray hairs| 00:01 | In the next couple of movies we will be
working on the file jamie_nelson.psd.
| | 00:04 | What we are going to be doing in the next couple of
movies is, look at how we can get rid of stray hairs.
| | 00:10 | Now we have looked at that previously in this training and I
want to show it again in order to show you a few more techniques
| | 00:15 | for dealing with stray hairs or flyaway hairs.
| | 00:18 | This image comes to us by way of Jamie Nelson.
| | 00:21 | She is an amazing fashion photographer based in New York City.
| | 00:24 | Jamie thanks a ton for the usage of this image.
| | 00:27 | let's go ahead and open this file up.
| | 00:29 | Press F to go to full screen view mode and you should
check out her work at jamienelson.com, it is really unique.
| | 00:34 | She has a unique way of using color, very talented
photographer and re-toucher for that matter.
| | 00:39 | Alright, well let's zoom in Command+ on the Mac, Ctrl+ on the
PC, and what I want to do is, look at how we can deal with some
| | 00:45 | of the flyaway or stray hairs, in particular,
some of the hairs that go over the background,
| | 00:50 | that's going to be a little tricky,
how we are going to work on that?
| | 00:53 | Also, we have some flyaways or stray
hairs that are on the forehead,
| | 00:56 | how can we improve the forehead of this particular image?
| | 00:59 | In this first movie, we are going to work on the forehead.
| | 01:02 | In the second movie, we will work on the background.
| | 01:04 | Alright, what we need to do first is, zoom in on the
image and we are going to copy the original layer.
| | 01:09 | Press Command+J on a Mac, Ctrl+J on
a PC and name this layer forehead.
| | 01:14 | Next, navigate to our Filter dropdown
menu and select, Noise, Dust & Scratches.
| | 01:21 | Yup, where do you get Dust & Scratches to retouch the
forehead, and those settings actually work pretty well.
| | 01:26 | let's take these to 1 and 0 and see how this works.
| | 01:29 | We will increase our radius until we see
these hair, these flyaway disappearing.
| | 01:33 | Yes, it is wrecked the rest of the image, but that's OK.
| | 01:36 | You will why in a second.
| | 01:37 | So I want to remove the flyaways there, and then with the
Threshold I'm going to bring back the film grain of the texture.
| | 01:44 | I'm just going to go ahead and try to find a sweet spot
to where I'm removing the intensity of those flyaways.
| | 01:50 | I'm not going to remove them all together, because
I don't want the skin to just become soft and milky
| | 01:56 | and without grain or texture, but I want to reduce them.
| | 02:00 | let's look at our before and after here, if we click
on, it is here, we can see our before and after.
| | 02:05 | it is definitely; point some of those out,
especially that one there; that looks nice.
| | 02:09 | it is reducing the number of the blemishes on the forehead.
| | 02:15 | So little bit higher there, and click OK.
| | 02:18 | Now that I've that, I'm going to hold down the Option key on the
Mac, the Alt key on the PC and click on the Add Layer Mask icon.
| | 02:25 | That now conceals all of that edit.
| | 02:28 | Select your Brush Tool by pressing the B key.
| | 02:29 | You want to paint with white, 100% Opacity.
| | 02:33 | What I'm going to do is just paint on the forehead,
this dust and scratch is removed, and as a side note,
| | 02:40 | this works really well for removing large
areas that have dust and scratches problems.
| | 02:46 | I'm going to go ahead and clean up this skin a little bit
along here, as well as diminish lot of these flyaways.
| | 02:52 | Look at my before and after, here is before,
here is after, that's nice, it is subtle,
| | 02:56 | yet it is really improving the texture up there of things.
| | 03:00 | I wanted to go ahead and apply this to some of
the areas of the skin, I can do that as well.
| | 03:04 | Paint through this image a little bit here.
| | 03:10 | I just subtly clean things up, let's look at
our before and after, there's before and after.
| | 03:15 | Alright, well the hair has been brought back a
tad bit; it looks a little bit better up here.
| | 03:19 | Now we are ready for stage two.
| | 03:21 | let's create a new layer and name this new layer forehead2.
| | 03:26 | Next, we are going to select the Healing
Brush, press the J key to get there,
| | 03:32 | Shift+J to get down to the healing
brush and select it from Toolbox.
| | 03:36 | The right bracket key is going to give me bigger brush.
| | 03:39 | Sample All layers as on.
| | 03:41 | What I'm going to do is, just look to sample these areas,
being careful not to get too close to the dark areas,
| | 03:48 | clean up some of the other parts of the forehead while I'm
here, multitask a little bit, right, you got to do that.
| | 03:59 | What I should be seeing as I'm doing this is
that, it doesnt look like a lot is happening.
| | 04:05 | If that is the case, we are in good shape.
| | 04:09 | We need a bigger brush now to get
some of the stronger areas of color.
| | 04:17 | Click at before and after, here is before and here
is after, that's looking good, before and after.
| | 04:24 | Now let's look at overall before and after.
| | 04:26 | Heres our before and after, we have definitely improved
that forehead and removed a number of the flyaways.
| | 04:32 | I'm just going to clean this up a little
bit more and let's see how we are doing.
| | 04:37 | Great, let me go ahead and lower the
Opacity of the Dust & Scratches a tad bit.
| | 04:42 | I like to do that, it tends to blend things in, a little bit.
| | 04:45 | And whats retouching, retouching is over the top, if
that just went too far, that becomes too noticeable.
| | 04:51 | That looks nice, I want to zoom out and make sure
I'm going in a good direction, before and after,
| | 04:56 | and those flyaways look really nice and we learned
a new technique along the way, which was using,
| | 05:01 | the Filter, Dust & Scratches to deal with flyaway hair.
| | 05:05 | So that techniques is phenomenal.
| | 05:07 | We also did some healing on top of
that and that wraps up this movie.
| | 05:11 | In the next movie we are going to look at how we can deal with
these flyaways that are on top of this complicated background.
| | 05:17 | See you in the next movie.
| | Collapse this transcript |
| Removing flyaway hairs over a background| 00:01 | In the previous movie we were working
on the file jamie_nelson.psd.
| | 00:03 | We are going to be working on that one in this
movie as well, so go ahead and open it up.
| | 00:08 | I already have it open in Photoshop, so I'm going to
go ahead and jump over there, zoom in a little bit.
| | 00:13 | Alright, now that I zoom in, I see that I've these flyaway
hairs on top of this really complicated background.
| | 00:20 | Well, how the heck are we are going to fix that?
| | 00:22 | Alright, what we are going to do is, zoom in.
| | 00:23 | One of the things we noticed we have problem with our background.
| | 00:25 | We are going to fix the problem in the background,
see these blemishes right here and while we fix those,
| | 00:30 | youre actually going to learn how we
are going to fix the flyaways as well.
| | 00:34 | This is really cool.
| | 00:34 | First things first.
| | 00:35 | let's merge everything to a new layer, on a Mac Shift+Option
Command+E, on a PC, Shift+Alt Ctrl+E, name this layer merged.
| | 00:44 | Next, we are going to be make a selection of the background,
select the Marquee Tool by pressing M on your keyboard,
| | 00:51 | and then make a selection of this background,
press Command+J on a Mac, Ctrl+J on a PC.
| | 00:57 | Choose the Move Tool and reposition
that on top of the blemished area.
| | 01:04 | Try to get it aligned up pretty well;
it looks like it is pretty close there,
| | 01:10 | nudging the surroundings, so I can get it in a good spot.
| | 01:15 | Suppose I can lower the Opacity, make sure it is right on there.
| | 01:19 | Alright, it looks like I need to get this,
right there; there we go, increase the Opacity.
| | 01:25 | Next, hold down the Option key on a Mac, Alt
key on a PC, click on the Add Layer Mask.
| | 01:30 | Add Layer Mask filled with black and press your B
key to select the Brush Tool and paint with white,
| | 01:36 | and we have successfully removed that blemish, how cool is that?
| | 01:40 | Before and after, all that we did was, use good
backdrop, put it on top of the bad backdrop.
| | 01:45 | Now it is all fixed up and that looks really nice.
| | 01:48 | We are going to do the same thing with the hair.
| | 01:51 | So let's flatten this layer, because this layer is good, right?
| | 01:53 | So we are going to merge this down, the short cut
to do that on a Mac is Command+E on a PC, Ctrl+E.
| | 02:01 | So that's flattened, so now we have this
really nice background, zoom out a little bit.
| | 02:05 | We are going to select the Polygonal Lasso Tool.
| | 02:07 | We are going to make a nice, big whole selection of
this background here and just moving around the frame
| | 02:19 | of the image there, Copy that to new layer, on a Mac
Command+J, on a PC Ctrl+J or if you hate shortcuts,
| | 02:26 | go to Layer New Layer via Copy, that's not too bad, right?
| | 02:30 | Here we have this new layer, we will call this 1background.
| | 02:33 | Select your Move Tool and that's the V key and we are going
to reposition this, zoom in a little bit and we are going
| | 02:40 | to reposition this, so that it aligns up here.
| | 02:44 | I'm just looking at some of other buttons that I've going on.
| | 02:49 | I can try a Blend mode in different,
so that's really helpful for alignment.
| | 02:52 | When it is all black, it means it is right on the money.
| | 02:55 | That looks nice; take it back to Blend mode off Normal.
| | 02:59 | Next, hold down the Option key on the Mac, Alt
key on a PC and click on the Add Layer Mask icon.
| | 03:06 | Now that we have that layer mask add-in, press
the B key for your Brush Tool and paint away.
| | 03:14 | The amazing thing about this, is that any
other technique working with this complex
| | 03:21 | of the background would have been literally
impossible, incredibly time consuming.
| | 03:28 | The interesting thing about this is, if I make a mistake,
as I did right there, hit the X key, let's paint it back.
| | 03:34 | So nice masking, cloning is a little bit more tricky, because
with cloning you can't just hit the X key and undo it.
| | 03:42 | You can undo it in different ways, but this is a
really quick way to get rid of a lot of these flyaways.
| | 03:48 | Now, there's going to be a limit to how far I can go
with this, right, because the background that I painted
| | 03:52 | in doesnt go all the way over, like it
doesnt go over these hairs down here.
| | 03:56 | So I paint and here I'm going to lose, it stops right there.
| | 04:00 | So it is not going to work completely, fair
enough to decide how I wanted to deal with this.
| | 04:06 | So I'm going to bring this back in just a little bit to see
what I've, zoom out, and what I'm actually going to do here is,
| | 04:12 | kind of connect with that line there, so
I'm painting this back in just a tad bit.
| | 04:19 | Bring the X key to paint with black
or white, alright, so far so good.
| | 04:25 | let's zoom out, so how we are doing, here is our
before and after that looks really, really nice.
| | 04:32 | So far so good, we are getting rid of lot of
those flyaway hairs, cleaning this up quite a bit.
| | 04:39 | In order to clean up this area here, what I need to do?
| | 04:41 | Well, click in the merged layer, grab the Marquee Tool,
| | 04:44 | make a nice selection of the background,
Command+J on a Mac, Ctrl+J on a PC.
| | 04:48 | let's reposition this, I'm going to align it up with one of
these, it is nice and the pattern has a built-in function
| | 04:55 | to align it and hold down the Option key on a Mac,
Alt key on a PC; that fills up mask with black.
| | 05:03 | Now I'm going to paint with white, pull out
those flyaways, bringing in more background,
| | 05:19 | reshaping how the hair works there a little
bit and let's look at how we are doing so far.
| | 05:28 | Here is our before and after, little by little, we we are
pointing away those flyaways and one of thing that's helpful
| | 05:34 | for do is, when you have an area that you are restructuring,
as I'm here, try different brush and hardness level.
| | 05:40 | So try the hardness level that's a little bit
higher and make your brush size much softer.
| | 05:49 | Smaller, it can actually create little bit of
seam there, and let's see how we are doing here,
| | 06:01 | before and after, looks nice, OK, so far so good.
| | 06:05 | Final, before and after, we are successfully
moving those flyaways.
| | 06:09 | Now to remove the rest of the flyways, we
just would repeat that up top over here
| | 06:15 | and on this other side of the image down over here as well.
| | 06:18 | With this technique you can clean up backgrounds
in ways that you couldnt have imagined,
| | 06:23 | especially backgrounds that are really complicated like this one.
| | 06:26 | Alright, well that wraps up this movie.
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|
|
10. Improving Faces and BodiesCreative Tip: See life as it should be| 00:00 | Welcome. You know one of things that I know that you and I have
in common is this. We both want to create better photographs.
| | 00:06 | If we want to create better photographs we have to have vision,
| | 00:09 | because sometimes our gear isn't good enough, our models aren't good
enough, the light isn't enough. We have to be able to see beyond that.
| | 00:14 | Miguel Cervantes was a man with vision. Consider this.
| | 00:18 | Miguel Cervantes was thrown in prison for a crime he didn't commit.
| | 00:22 | And it was there in prison that he came up with the idea for
Don Quixote, one of the greatest books of all time. In prison.
| | 00:28 | It was there that he began to write that book and you
know he reflected on that experience and he said this.
| | 00:34 | "Too much sanity may be madness and the maddest
of all is to see life as it is, not as it should be."
| | 00:40 | So if you want to create better photographs you need to see
beyond your current circumstances, see life as it should be,
| | 00:46 | because a lot of times your gear isn't good enough, the model isn't good enough, the light isn't good enough, the situation isn't good enough.
| | 00:52 | Yet to see beyond that because the photographers
who create the best images have vision.
| | Collapse this transcript |
| Enhancing muscles with Liquify| 00:00 | In this movie we are going to be working on the file ironman.psd.
| | 00:05 | Go and open up these file, inside a Photoshop,
we have to go to Full Screen View mode.
| | 00:09 | it is one file with two images, the
photograph of arm and then photograph of legs.
| | 00:14 | These are some photographs of a good friend of mine
Chris Lietoand this guy is an Ironman World Champion.
| | 00:20 | He is an absolute maniac, it is just amazing.
| | 00:23 | So here we have this photograph of his arm
and then we have a photograph of his legs,
| | 00:27 | and let's just say the guy is in really good shape.
| | 00:31 | He is an amazing athlete.
| | 00:32 | But what I want to do is I want to
enhance the muscles a little bit.
| | 00:35 | I want to show you a couple of different
techniques for doing this.
| | 00:38 | We are going to use Liquefy we are
going to use some Burning and Dodging.
| | 00:41 | Alright, well let's go ahead and copy the layer ironman_arm,
drag that to the New Layer icon and name this layer New Arm.
| | 00:48 | Next navigate to the Filter dropdown Menu and choose Liquify.
| | 00:53 | Now once we are inside of Liquify we
are going to select the Bloat Tool.
| | 00:57 | Now the Bloat Tool is a pretty amazing tool
although it can get a little bit out of hand.
| | 01:01 | Let me tell you whats going to be
important in regards to the Bloat Tool.
| | 01:04 | Typically your brush size is going to be really important.
| | 01:07 | Keep a small Brush Size and you apply the Bloat
Tool, well it is just going to look weird, right.
| | 01:12 | We have little dots, that doesnt look good at all.
| | 01:15 | Hold down the Option key on the Mac, Alt
key on the PC to change cancel to Reset.
| | 01:19 | On the other if I've a huge Brush Size and I click a little
bit here, grab the Bloat Tool, and I click a little bit.
| | 01:25 | I can increase the size of the muscle,
looks a little bit more realistic.
| | 01:29 | OK, so a brush size is going to be important.
| | 01:31 | let's deconstruct this a little bit further.
| | 01:33 | Brush Density whats that all about?
| | 01:36 | Well if I've a low density watch what happens?
| | 01:38 | I'm going to click on the elbow, you will
notice just the elbow is changing shape.
| | 01:42 | Now, if I increase the Brush Density all
the way up to 100, watch what happens.
| | 01:46 | Well, it is almost as everything
increases, so we want a high density, right.
| | 01:50 | This isnt looking good.
| | 01:52 | It looks weird, unnatural.
| | 01:53 | I'm trying to deconstruct the tool a
little bit, let's Reset everything.
| | 01:57 | So again, density, you want that to be pretty high.
| | 02:00 | You also want a really high Brush Size so that we can then
use this tool, the Bloat Tool, high density, high brush size
| | 02:07 | and we can increase everything in a pretty uniform way.
| | 02:10 | The next thing that's going to have a
lot of importance for us is Brush Rate.
| | 02:14 | A real low Brush Rate, watch what happens.
| | 02:16 | I will click on the muscle or the bicep here and I'm
clicking and holding down small increments, right.
| | 02:22 | And let's go ahead and increase this up to 100.
| | 02:24 | High brush size, high brush density, high brush rate.
| | 02:29 | Now, it just goes really fast, almost too fast.
| | 02:31 | it is out of control, right.
| | 02:33 | OK, so what do we need to do in regards to this particular image?
| | 02:37 | Well, we want a high Brush Size, Brush Density,
we want a high Brush Density as well, about 100.
| | 02:42 | Brush Pressure isnt as important although right
about 80 or 70 I think is going to be good there.
| | 02:47 | Then I'm going to go to my Brush Rate, I want to take this
down, because I want to make small incremental changes.
| | 02:53 | When you are liquifying something, you want to be
really careful to maintain the integrity of the image.
| | 02:58 | You don't want it to look abstract or weird or fake.
| | 03:01 | So in this case I've a really low Brush Rate.
| | 03:02 | And then I'm going to go over here to the
muscle, and I'm just going to single click it.
| | 03:06 | Go to the shoulders, single click that, go
to the forearm over here, single click that.
| | 03:10 | Make my Brush Size a little bit smaller, I
can do that by pressing the Left bracket key,
| | 03:15 | just holding that key down or I can
go ahead and grab the slider down.
| | 03:20 | When I localize the size here, size increase
on the bicep a little bit more, click on that.
| | 03:28 | A little bit smaller brush over there.
| | 03:30 | And let's see how we are doing with this particular
image, so we are going to go down to Show Backdrop.
| | 03:35 | So we are going to click Show Backdrop and we are going to
choose ironman_arm that is the original layer and we are going
| | 03:41 | to say put this In Front at 50% Opacity, so we
can see where it was where we have taken it.
| | 03:46 | There is a little bit of an overlap.
| | 03:48 | Try taking that up to 100% and then
click Show Backdrop on and off.
| | 03:52 | So here is before, here is after.
| | 03:54 | So that's pretty subtle, and Id say
we are going in a good direction.
| | 03:58 | Lets click OK so now we have our before and after.
| | 04:02 | One of the things that's really important when you
are using the Liquify tool is that you don't overdo it
| | 04:07 | because what can happen is the pixels will become smudged
together and you will lose a little bit of the sharpness
| | 04:13 | and a little bit of the clarity of the image.
| | 04:15 | So a lot of times when you use the
Liquify Filter, you need to go back,
| | 04:19 | add a little bit of sharpness, add
a little bit of noise to the image.
| | 04:23 | So I'm going to do that to New Arm.
| | 04:24 | I will navigate to the Filter menu, Noise, I'm going to choose
Add Noise I'm going to choose Monochromatic and a just a real,
| | 04:31 | real small amount about 0.10, I think there it looks good
for me, on my monitor may be a little bit higher than that.
| | 04:37 | let's try 0.40, looking at my before and after and click OK.
| | 04:42 | So just add it a little bit of that back
to it, so I've a little bit of film grain.
| | 04:46 | It fixed the areas that were little bit smudgy for me.
| | 04:49 | Alright, well that wraps up our look at Liquify.
| | 04:52 | In the next movie we will be working on this image
and the other image in this file and we will look
| | 04:56 | at how we can enhance muscle size with Burning and Dodging.
| | 05:00 | I will see you in that movie.
| | Collapse this transcript |
| Enhancing muscles with Burn and Dodge| 00:01 | Welcome back, in the previous movie
we worked on this file ironman.psd,
| | 00:04 | we will be working on that one in this movie as well.
| | 00:08 | Go and open that one up in Photoshop.
| | 00:10 | Now, in the previous movie we looked at how we
could use the Liquify tool to enhance muscles.
| | 00:15 | In this movie, we are going to look at how we can use
our Burn and Dodge tools to enhance the shape of muscles.
| | 00:21 | Now, the techniques that we are going to be
learning here are actually quite important,
| | 00:24 | because they can help us improve the shape
of faces or muscles or all kinds of things.
| | 00:28 | So let's take a look at how this actually works.
| | 00:30 | We need to copy the ironman_arm layer and
we are going to do that by way of shortcut.
| | 00:35 | On a Mac it is Command+J on a PC that's Ctrl+J that will copy
that layer, and let's name this Layer arm bd for Burn and Dodge.
| | 00:44 | Next, navigate over to the toolbox and choose the Burn tool.
| | 00:49 | I've the Burn tool, because that's what I want to do first.
| | 00:51 | I'm going to choose from my drop-down menu Midtones, Exposure
probably about 20%, I want a pretty low exposure here.
| | 00:59 | So I've that nice low exposure.
| | 01:01 | I'm going to hover over my image and begin to burn
down the detail of the shadows that I'm seeing here.
| | 01:07 | What I want to try to do is build this up slowly, so
I'm going over different portions of the image anywhere
| | 01:12 | that I think should become a little bit darker.
| | 01:15 | Now initially, we are not going to see a lot of drastic
changes but we shouldn't; we want to go about this building it
| | 01:22 | up little by little, improving the shape here.
| | 01:25 | I go ahead and make a smaller brush.
| | 01:32 | Then when I'm ready to do my dodging on a Mac what I do
is I hold down the Option key, on a PC that's the Alt key.
| | 01:40 | Now that will help me with my highlights, I
just want to brighten those up here little bit.
| | 01:51 | A little bit of discoloration that's not too bigger
deal, because we will be lowering the Opacity.
| | 01:55 | let's take a look at our before and after.
| | 01:57 | Here is our before and then after.
| | 01:59 | Again before and after, Id say we
are going in a pretty good direction.
| | 02:03 | let's crank this up a little bit.
| | 02:04 | I'm going to take my Exposure up to the high 30s
and I'm just going to delicately hit these areas.
| | 02:12 | Fix up the shape there, looking to
try to add a little bit of contour.
| | 02:23 | And I'm painting with the Wacom tablet here
so I've that nice pressure sensitivity.
| | 02:28 | let's look at our before and after.
| | 02:30 | OK, Id say we are going in a pretty good direction.
| | 02:32 | let's lower the Opacity, so we don't want it that intense,
we want to keep some of those original shadows in there,
| | 02:37 | and then look at our before and after, right.
| | 02:40 | Well, we have increased the shape pretty well.
| | 02:42 | The only thing that I would like to do is brighten up this part.
| | 02:44 | I feel like my highlight went a little bit low, so
this time I'm actually going to select the Dodge tool
| | 02:48 | so I make sure have that Midtones nice and low there.
| | 02:52 | Big brush, click on the right bracket key.
| | 02:55 | I'm going to go ahead and brighten up this area over here.
| | 02:59 | Just want to bring that highlight up a little bit more.
| | 03:05 | Shadows are made up of highlights,
on one side shadows on the other,
| | 03:10 | before and after look at our Opacity,
dial that in, little bit back there.
| | 03:15 | Here is our before and after.
| | 03:16 | Right, well we improved the shape and we improved the shape
in this case with Burning and Dodging isnt that interesting?
| | 03:22 | Alright, well we are almost done with this particular layer.
| | 03:25 | The only problem is the color shift.
| | 03:26 | So what we need to do is click on our Layer Blending Mode
and change this to Luminosity and what that allows us
| | 03:32 | to do is really crank this up and not
have that color shift that we had before.
| | 03:36 | There is Luminosity, let's go to Normal, there we are going
to see there is a little bit more of a color shift especially
| | 03:41 | in the whites and there is a little
bit of a red discoloration there.
| | 03:44 | So Luminosity, we will deal with that
in huge ways that helps out quite a bit.
| | 03:48 | Now, I will lower the Opacity to get to a more realistic range.
| | 03:52 | Look at my before and after, and say hey!
| | 03:53 | that's pretty good.
| | 03:55 | Now I want to show you another Burning and Dodging
technique, and we will do that in the next movie.
| | Collapse this transcript |
| Enhancing muscles with Curves| 00:01 | In the previous movie, we worked on the file ironman.psd,
we will be working on that file in this movie as well.
| | 00:07 | Open it up in Photoshop, go to Full Screen View mode and zoom in.
| | 00:10 | In the previous movie, we looked at the Burning and Dodging
technique that added a little bit of a shape to the muscle.
| | 00:15 | I want to show you two more Burning and Dodge
techniques that can really help you add shape to muscles,
| | 00:21 | and these also give you quite a bit of flexibility.
| | 00:23 | So lets turn on the layer ironman_legs and what
we are going to do here is create a new layer.
| | 00:28 | We are going to do it by way of shortcut,
Shift+Command+N on a Mac, Shift+Ctrl+N on a PC.
| | 00:33 | We will call this layer bd for burn, dodge and we are
going to take this to a Blend Mode of Soft Light, click OK.
| | 00:40 | Now the nice thing about using this is as I mentioned
is that it is going to give us a lot of flexibility.
| | 00:44 | Let me show you why.
| | 00:45 | Alright, I will choose my Brush tool from the toolbox.
| | 00:48 | Choose black in the color picker, I want a low
Opacity, I want low Flow so I can build this up.
| | 00:53 | Next, I'm going to simply begin to paint
over the dark shadow areas and reduce it
| | 00:58 | to pretty high level of Opacity so that I can see my edges.
| | 01:02 | Now, I may be going over the top here
just a tad bit, which I think I'm.
| | 01:05 | So, I'm going to lower my Opacity.
| | 01:07 | Even for demo purposes, that was too strong, wasnt it?
| | 01:10 | But you will see how this will back off and
how these will blend together really nicely.
| | 01:14 | So I'm just going to go ahead and change
my brush size with the bracket key.
| | 01:18 | Look to darken any edges where I want to accentuate muscles.
| | 01:21 | So here is my before and after.
| | 01:23 | OK, I know it is not looking good, but you got
to stick with me on this one, stick with me.
| | 01:26 | We are just doing at this level of intensity
in order to be able to see where we are going.
| | 01:32 | I can also work on my highlights as well,
hit the X key, I'm painting with white.
| | 01:37 | I will take my Opacity down to 20%, and a little bit left on the
highlights there, just want to exaggerate those a little bit.
| | 01:44 | So here is my before and after.
| | 01:46 | Now, I'm going to go to my Filter drop-down menu.
| | 01:48 | Choose Blur, Gaussian Blur, check this out.
| | 01:51 | Now I'm going to blend in these brush strokes, click OK.
| | 01:55 | Here is my before and after, nice and
subtle enhancement of those muscles.
| | 02:00 | Now the actual intensity is the enhancement is really
going to be contingent upon how far you want to go with it.
| | 02:06 | Alright, the next technique.
| | 02:07 | Click on your Adjustment Layer icon and choose and what I'm
going to do here is brighten up my whites, darken my blacks,
| | 02:16 | because that's what Burning and Dodging really is, right.
| | 02:18 | Brighter whites, darker blacks, click OK.
| | 02:21 | Only problem is I've a color shift.
| | 02:23 | we will take this to the Blend Mode
of Luminosity, how cool is that?
| | 02:27 | So now I'm just getting luminous value of that layer.
| | 02:29 | I don't want it everywhere, so I need to invert the Mask.
| | 02:32 | On a Mac that's Command+I, on a PC that's Ctrl+I.
| | 02:37 | Hopefully, you are picking up those
shortcuts as you go along here.
| | 02:40 | Now I want to paint with white, because like
I need even higher opacity there, don't I?
| | 02:45 | Even Higher.
| | 02:46 | Hey! this is a Demo, right.
| | 02:50 | We want to crank it up a little bit so it is nice and visual.
| | 02:53 | Crank up my Flow there a little bit more too.
| | 02:55 | Slowly building this up.
| | 02:57 | Look at my highlight a little bit there as
well, might as well bring that out tad bit.
| | 03:03 | Go along the edge of there.
| | 03:06 | The leg there get the shape in this thing,
smaller brush down here for the calf.
| | 03:17 | let's look at our before and after.
| | 03:18 | Before and after, here is the nice thing about using the
Adjustment Layer technique, I can double click the icon
| | 03:26 | for the Curves adjustment layer; crank up my whites even more.
| | 03:29 | I'm going to exaggerate this.
| | 03:30 | But look there are the bright areas, OK.
| | 03:32 | Couple of problem areas that I Mask too, right I brighten
those areas, I can also darken my blacks, and my Midtones.
| | 03:39 | We focus in, what I want to do, make
it a little bit more intense, click OK.
| | 03:43 | Now here is my before and after, much more intense.
| | 03:45 | Finally I need to Blur that Mask, navigate to Filter Blur
and Gaussian Blur, just want to soften it up a little bit.
| | 03:52 | Here we can see those are my original brush strokes.
| | 03:54 | What I want to do is just back those off a
little bit so that they have some transition.
| | 03:59 | Still we will focus on those areas, click OK and now
let's look at our before and then finally our after.
| | 04:06 | Accentuating shape and contour using a Curves Adjustment Layer.
| | 04:11 | The last thing that I want to do on
this image is add some color and tone.
| | 04:14 | So I'm going to click on the Adjustment
Layer icon, choose Color Balance.
| | 04:18 | I think this image needs to become much more red and yellow.
| | 04:23 | let's see what we have here.
| | 04:26 | Here we go, I dig that.
| | 04:27 | Now let's look at where we have gone with this image.
| | 04:29 | Here is our original ironman_arm.
| | 04:32 | Hey! that needs a little bit more yellow in it, doesnt it?
| | 04:34 | And a little bit more red.
| | 04:37 | Nice and warm, definitely inviting tonality there.
| | 04:39 | There is the arm, there is the arm with
Burning and Dodging our before, our after.
| | 04:44 | Here is an arm with Liquify, our
before and after there with Liquify.
| | 04:48 | The legs been brought in.
| | 04:49 | Here we have some Burning and Dodging done to those legs.
| | 04:52 | Here is another Burning and Dodging
technique with that Curves Adjustment Layer.
| | 04:56 | Alright, well I hope that these movies have been helpful.
| | 04:58 | I will catch you in the next one.
| | Collapse this transcript |
| Enhancing body shape with shadows| 00:00 | In a few of the previous movies, we have looked
at how we can use Burning and Dodging techniques
| | 00:04 | in order to enhance shape or contour on our image.
| | 00:08 | I want to apply some of those techniques
to this particular image.
| | 00:11 | let's go and open this one up in Photoshop, we have to go to
Full Screen View mode and then zoom in a little bit on the file.
| | 00:16 | What I want to do is I want to enhance the shape
or the contour of this portion in the image here.
| | 00:21 | So let's create a new Adjustment Layer.
| | 00:23 | Press Shift+Command+N on a Mac, Shift+Ctrl+N on a PC.
| | 00:26 | We are going to call this layer Contour.
| | 00:28 | We are going to take the Blend Mode
to good old Soft Light, click OK.
| | 00:33 | Now, what we need to do here is a
pretty subtle image enhancement.
| | 00:36 | So I'm going to grab my Brush tool, I'm going to hover over the
image and hold down the Option key on a Mac, the Alt Key on a PC.
| | 00:43 | I'm going to look to try to grab a color
that has skin tone in it, but is pretty dark.
| | 00:47 | I will then click on my color picker,
and I'm going to darken that up more.
| | 00:51 | OK, I've a nice deep dark tone there;
add a little bit more hue to it.
| | 00:55 | That looks good.
| | 00:56 | Click OK. Now that I'm on this Blend Mode of Soft
Light I'm going to choose a pretty low Opacity,
| | 01:00 | and I'm going to try an Opacity probably about 60% there.
| | 01:03 | I'm just going to look to paint in a little
bit of density in this portion of the image.
| | 01:07 | So I'm going to go ahead and go through the image here.
| | 01:10 | And might be I've a little bit too bright of
a tone, but we will see how this turns out.
| | 01:13 | I want my outer edges to be a little bit darker than my inner
edges, or the edges that are close by garment, I should say.
| | 01:20 | Now if I make any mistakes as I've done here, I can grab
my Eraser tool, smaller brush, just want to erase that part
| | 01:27 | of this top portion of the burning that I was doing there.
| | 01:31 | Go back to the Brush tool and go back,
add a nice smooth transition there.
| | 01:36 | Alright, I'm going in a good direction.
| | 01:38 | Lets see our before and after, here is before, here is after.
| | 01:41 | The last thing I need to do is Blur this out a little bit.
| | 01:43 | Filter Blur, Gaussian Blur, I always
like to do this just a little bit.
| | 01:47 | I will just smooth things out, give a little bit of transition;
click OK and again before and after, subtle enhancement,
| | 01:55 | it is natural, lower the Opacity just a tad bit.
| | 01:58 | Now we could of course make this more intense, and in order to
make it more intense we just would add more density to the tone.
| | 02:04 | But in this case, I think that works for
us, just adds a little bit of a shadow there
| | 02:08 | and definitely improves the image in real subtle ways.
| | 02:10 | Alright, well that wraps up this movie.
| | Collapse this transcript |
| Enhancing faces with shadows and highlights| 00:00 | In the previous movies, we have learnt some really valuable
tips that have helped us enhance shape in regards to the body.
| | 00:05 | Well, what about the face?
| | 00:06 | How do we add Contour to the face
in order to add visual interest?
| | 00:11 | Well, that's what we are going to learn
how to do in this particular movie.
| | 00:14 | We are going to be working on the file face_contour.psd.
| | 00:17 | So, go and open that one up inside a Photoshop
and press F to go to Full Screen View mode.
| | 00:21 | Now, here we have this portrait that we have seen before,
there is the original file, this is the image as shot,
| | 00:27 | then I've done some retouching, I've cleaned it up, I've added
some symmetry, worked on color and tone etcetera, etcetera.
| | 00:33 | Now, at this stage of the retouching,
we are ready to add some Contour.
| | 00:37 | Whats that going to look like?
| | 00:38 | I've included a layer with this file,
I'm going to turn on this layer,
| | 00:41 | it is going to look a little funny,
but stick with me for a second.
| | 00:44 | So I will turn on this layer.
| | 00:45 | Wow! That actually looks a little bit scary, doesnt it?
| | 00:48 | Well, how about if we take this to a Blend Mode of
Soft Light and see what it is actually intended to do.
| | 00:54 | OK, here is my before, here is my after.
| | 00:57 | Interesting!
| | 00:58 | Whats happening here is I'm darkening the cheeks.
| | 01:01 | So these cheekbones are becoming a little bit more
defined, little bit more brightness on the nose,
| | 01:05 | darkness on the edges of nose makes it look a little thinner.
| | 01:08 | Brightness on the cheek, a little
bit darkness to the left and right,
| | 01:11 | little bit of darkness on the forehead
and brightness up here on the forehead.
| | 01:15 | Again, look at our before and then after, just a way to
add a little bit of shape, a little bit of visual interest.
| | 01:20 | Now, this is the same thing that a good makeup artist would do.
| | 01:23 | So what we are trying to do here is do
what good makeup artist do or we are trying
| | 01:27 | to take what a good makeup artist has
done and accentuate that even more.
| | 01:31 | OK, well let's go ahead and see how this actually works.
| | 01:34 | We are going to create a new layer, and we are
going to create a new layer by way of shortcut.
| | 01:37 | let's press Shift+Command+N on the Mac, Shift+Ctrl+N
on a PC and let's name this layer contouring_new.
| | 01:45 | We want to choose a Blend Mode of Soft Light.
| | 01:49 | Fill with Soft- Light-neutral-color (50% gray) and click OK.
| | 01:54 | Now, we are ready to begin, let's use our Brush tool from
our toolbox, then make sure we have black in our color picker
| | 02:00 | and finally lower the Opacity to about 50% or less.
| | 02:05 | We want a pretty low Opacity we start doing this.
| | 02:07 | We are going to go ahead and just paint on the
cheek, and see if we are going in a good direction.
| | 02:10 | What I'm looking to do is to begin to build up
a little bit of density on the cheekbone there.
| | 02:15 | Go over to the other cheekbone, I want to slowly
inch my wand to this that was too big, was not it?
| | 02:20 | Command+Z to undo; just going to build this up, little by little.
| | 02:28 | Nice thing about using technique is that
we will be able to smooth out our edges
| | 02:32 | and we will smooth out our edges by blurring this layer.
| | 02:36 | So if it doesnt look perfect as it
doesnt, of course it doesnt, right?
| | 02:39 | Right now, we will be able to smooth this out and
smoothing, that is where it really all comes together.
| | 02:44 | OK, so we have some nice definition there.
| | 02:46 | So, I want to define the edge of the
face to thin out the face down here.
| | 02:50 | If I add a shadow to this portion of the face,
it actual will make it look much more thin.
| | 02:55 | Now, things are going to look a little
scary as we are working on these spots,
| | 02:59 | it is going to look like we are going way over the top.
| | 03:01 | Well, that's because we haven't blurred it yet.
| | 03:04 | So just hang out and enjoy the ride, we will see how we do.
| | 03:07 | Next, let's go inside to the nose, we are
going to add a nice dark line along this side
| | 03:12 | of the nose, a nice dark line along this side.
| | 03:14 | Now, the further in that we can push this
dark line, the thinner the nose will be.
| | 03:19 | So, I'm going to go ahead and make the nose a little bit smaller
here and just go in to make sure also doing equally on each side.
| | 03:27 | Now, if you ever mess up and you add something that you wish
you hadnt have add, you can always create a mask for this layer
| | 03:35 | or you can paint with 50% gray and that
will undo anything that you have done.
| | 03:39 | Alright, so I'm just going in here and thinning the nose
and I want that to blend in with this other area over here.
| | 03:48 | It is a little bit blotchy, but that's OK.
| | 03:50 | Next, we will press the X key and I'm going to paint with
white, down the middle of the nose, brighten that up tad bit.
| | 03:57 | Bigger brush, lower Opacity, press 3
on the keyboard, that takes it to 30%,
| | 04:02 | I'm going to work on brightening
up this portion of the face here.
| | 04:11 | Smaller brush, left bracket key, brighten
up these shadows underneath the nose.
| | 04:28 | Smooth it out with a bigger brush, smooth
out a few of those other areas there as well.
| | 04:35 | Alright, now we want a nice big brush, 60%
Opacity, I will paint a white dot on the chin.
| | 04:41 | Now, you are going to think I'm crazy, little
white dot, kind of a white stripe there.
| | 04:46 | You have to stick with me, think I like that.
| | 04:48 | Lower Opacity you are in the 20%, just
right on this portion of the face here,
| | 04:55 | a little bit of seam on the edge
line there, next to the forehead.
| | 05:00 | Hit the X key, paint with black,
darken in the edge of the forehead,
| | 05:04 | what this will do for us is it will make
the forehead seem a little bit smaller.
| | 05:08 | So, we are just narrowing everything.
| | 05:11 | Treating this as light would fall and paint with some white in
the middle to brighten that up; pick on the bridge of the nose.
| | 05:24 | It is going to my image, kind of following it, right;
I'm following where I'm already seeing light falling.
| | 05:30 | let's take a look at our before and after,
here is our before, here is our after.
| | 05:34 | Alright, we are going in a good direction,
it does look a little strange,
| | 05:37 | but keep in mind that makeup looks a little
strange when you first put it on, right?
| | 05:41 | Couple of more things that I want to
do, I want to fix up this cheekbone.
| | 05:43 | I'm not exactly content with the paint I'm doing here on
the cheekbone, so I want to define that a little bit more.
| | 05:50 | This one is well, bring it in, tad bit more there.
| | 05:53 | Alright, I think that's pretty good.
| | 05:54 | Now, let's go to our Filter drop-down menu and choose Blur,
Gaussian Blur and let's increase our Blur to add some smoothness
| | 06:02 | or transition to our edges, you can see the
brush strokes up there, just become blurred out.
| | 06:07 | We may need to fix them up a little bit, for the most
part though; I think that that will work out pretty well.
| | 06:11 | Click OK, zoom out see how we are
doing and look at our before and after.
| | 06:15 | Here is before, here is after.
| | 06:17 | Alright, before and after, we are going in a good direction,
the Opacity is way too high, so let's lower the Opacity,
| | 06:24 | let's bring this back and then now look at our before and after.
| | 06:27 | Here is before, I should zoom in, shouldn't I?
| | 06:29 | Here is after, nice, nice.
| | 06:31 | Really good definition, thins up the nose a little bit,
| | 06:34 | adds a little bit more prominence to
the cheekbones, also to the chin there.
| | 06:39 | I like that and we have successfully added
some nice contours to this particular image.
| | 06:45 | Now, the intensity of the contouring is really going to depend
on the lighting, it is going to depend on the persons face,
| | 06:50 | it is going to depend on the makeup and each time you
will probably go about it a little bit differently.
| | 06:55 | One of the things you will notice here is my sample layer
| | 06:57 | and the new layer I've just created are pretty
close, although they are a little bit different.
| | 07:01 | I did some more work on the eyebrows and the
eyes; I did some work on the neck down here.
| | 07:06 | Yet my intent in this movie is to get you going and realize
that what you would do is keep looking for the light.
| | 07:12 | If there are shadows, you may want to either
accentuate them to add definition or brighten them.
| | 07:16 | In this case, in my sample layer,
I brighten this up a little bit.
| | 07:19 | So I didnt have quite so many shadows in here.
| | 07:21 | So follow the shadows and look to either
exaggerate them, as we did in the cheeks or to bring
| | 07:26 | out the highlights as we did here or to diminish them.
| | 07:29 | We did that in the nose, right?
| | 07:30 | I brighten up this underneath here on the nose.
| | 07:32 | let's look at our before and after, just took that shadow
right away underneath the nose, which looks really nice.
| | 07:38 | This stuff takes some practice.
| | 07:39 | So I recommend that you stop now, give this some
practice, because it is definitely worth it.
| | 07:44 | This final step of adding contouring can
really take your images to the next level.
| | Collapse this transcript |
| Enhancing lip color and tone| 00:00 | In the next couple of movies, we will be
working on the file jaime_nelson_lips.psd.
| | 00:05 | This one comes to us by way of fashion photographer Jamie
Nelson, check out her work at jamienelson.com, it is phenomenal.
| | 00:12 | Alright press F to go to Full Screen View mode and zoom in.
| | 00:15 | What I want to do with this image is I want to enhance the lips.
| | 00:19 | In this first movie, we are going to look at enhancing the
color of the lips, in the second movie we are going to look
| | 00:24 | at how we can add some glossiness to those lips.
| | 00:26 | Alright, well let's zoom right in on these lips,
press the Q key to enter the Quick Mask View mode
| | 00:31 | and then press the B key to select the Brush tool.
| | 00:34 | We are going to make a selection of these lips, and if we paint
with our Brush tool on black inside of Quick Mask View mode,
| | 00:42 | we can get a nice quick selection of these lips.
| | 00:46 | Now, if our selection isnt perfect, it is not too big of a
deal because we can always clean this up later with the Mask.
| | 00:53 | Although we want it to be pretty good, right?
| | 00:55 | No need to create unnecessary work for us later.
| | 01:00 | So I'm just painting now with black, see that
red rivulet overlay of Quick Mask View mode.
| | 01:07 | Hit the X key and I'm going paint with white to take away
the red rivulet overlay, I'm going to say that's pretty good.
| | 01:14 | Hit the Q key to exit Quick Mask View mode and next
navigate to the Select drop-down menu and choose Inverse.
| | 01:22 | You see when we painted with Quick Mask View
mode what we painted actually wasnt selected.
| | 01:26 | We said select everything, but this area.
| | 01:29 | So we had to invert our selection so that we now have the lips.
| | 01:32 | Next click on the Adjustment Layer icon
and we are going to get on the Curves.
| | 01:36 | We are going to do a couple of things here, we
are going to first in the RGB composite view mode.
| | 01:40 | We will click on the lip to see what the tone is and then
on the Mac hold down the Command key, PC that's the Ctrl key
| | 01:46 | and click on those lips and then with your arrow
keys in your keyboard bring that point down.
| | 01:51 | We want to darken those lips up nice.
| | 01:54 | Now, let's add a little bit of color tone.
| | 01:55 | Go to the Red channel same thing Command
or Ctrl+Click, Command+Click on the Mac.
| | 01:59 | I'm going to click on my arrow and bring that up.
| | 02:03 | Next, I'm going to go the Green magenta channel Command+Click
for the Mac, Ctrl+Click for the PC and this time it is
| | 02:09 | down to add a little bit of magenta color there, and
the final channel Blue Yellow Command or Ctrl+Click,
| | 02:16 | Command+Click on the Mac, and we want to add a little
bit yellow, and let's click OK to see how we are doing.
| | 02:22 | Here is our before and after, very nice we have this nice tone,
| | 02:26 | I'm going to lower the Opacity here just a little bit blend it
back in and zoom out Command- here Ctrl- on a PC and I would say,
| | 02:34 | hey, the colors of those lips look a lot better.
| | 02:37 | Well, now that we have improved the color and density
of the lips, I want to take this even further.
| | 02:41 | So I'm going to go ahead and lower my Opacity here.
| | 02:43 | I'm just going to bring in about half of that so I've it about
60% then on the Mac I'm going to hold down the Command key,
| | 02:50 | on the PC hold down the Ctrl key and click on
the layer mask of this Curves Adjustment Layer.
| | 02:56 | Notice, I now just have these lips selected, I'm
going to then click in this background layer.
| | 03:01 | I'm going to copy this to new layer by
navigating to Layer New Layer via Copy, very cool.
| | 03:07 | So I've the lips on their own layer
here they are just by themselves.
| | 03:11 | I'm going to then take this layer to a Blend Mode of Color Burn.
| | 03:16 | Now quick word of caution, when I do
this it is going to be too intense.
| | 03:21 | So don't worry I know it is too intense, right there we have
it too intense, but we have some nice deep red is going on.
| | 03:26 | I'm going to take my Opacity way down, bring it way down,
so I find the sweet spot, for me it is in the 30s there.
| | 03:33 | Here is my before and after.
| | 03:36 | Alright, that's looks nice, let's look at our overall
before and after here is before, here is after.
| | 03:41 | We have one layer that's adding those nice deep tone that's
burning in the colors there, and then we have another layer,
| | 03:47 | our Curves Adjustment which is brining in some
nice tonality evening out the color a little bit.
| | 03:52 | So it is not quite so pink, it brings
the red all across the lips.
| | 03:55 | So let's zoom out to see if we are going in good direction.
| | 03:57 | Here is our before and after and then again dial in the intensity
of these effects by lowering the opacity of the different layers.
| | 04:04 | You can keep this really subtle couldnt you?
| | 04:06 | Here is our before and after nice subtle improvement, that
kind of fits the color pallet of the image a little bit batter
| | 04:12 | or you could go for it, really bring those up.
| | 04:14 | Watch out with color dodge, if you go high on that even about 50%
it just doesnt look very good, because it gets too dark there.
| | 04:22 | So I'm going to take that down using more, but
still have those nice bright reds on those lips.
| | 04:27 | We learned another technique for improving lips.
| | 04:31 | In the next movie we are going to look at how we can add a
little bit of glossiness, a little bit of shine to these lips.
| | Collapse this transcript |
| Adding glossiness to lips| 00:00 | Welcome back, in the previous movie, we
worked on this file jamie_nelson_lips.
| | 00:05 | We are working again on it again in this movie.
| | 00:08 | In this movie, we are going to look at
how we can a little bit of glossiness,
| | 00:11 | a little bit of wetness, a little bit of shine to lips.
| | 00:14 | Go and open up that file if you don't have it open, I've
it open, so I'm just going to jump over here to Photoshop.
| | 00:19 | Again, heres our before and then after
from what we did in the previous movie.
| | 00:23 | We added a little bit of color, little bit of tone.
| | 00:25 | Now, you don't need to do that in order to
apply what we are going to do in this movie.
| | 00:29 | But I'm going to leave those layers on, simply because
that's all we did in the previous movie, and we minus,
| | 00:34 | we will have a little bit of continuity here.
| | 00:36 | OK, so we are going to zoom in on the image.
| | 00:38 | We need to merge all of our layers to a new layer, and do you
remember that shortcut, it is Shift+Option+Command+E on a Mac;
| | 00:45 | Shift+Alt+Ctrl+E on a PC, we are
going to name this new layer, gloss.
| | 00:51 | Next, we are going to navigate our
Filter drop-down menu Artistic.
| | 00:54 | Believe it or not, we are going to choose an
Artistic filter, and it is going to be, Plastic Wrap.
| | 01:00 | I can't believe that we are actually using actually Plastic Wrap.
| | 01:02 | I can't believe that there is a real application for this filter
that actually make images better, but there is, check this out.
| | 01:08 | OK, what we need to do here is zoom in on the face; we are going
to take the Highlight Strength probably about 10 will work.
| | 01:13 | We need lots of details on the lips.
| | 01:14 | So I'm going to crank up the Detail there.
| | 01:16 | I'm just looking at the lips here, smoothness, if
I take this out it is going to be really choppy.
| | 01:20 | So I'm going to bring this up, so I've some nice
smoothness there, and looking at those highlights.
| | 01:29 | Take that back a little bit there, let's Detail Strength.
| | 01:37 | I'm just watching lips, I know the rest
of the image looks absolutely crazy,
| | 01:41 | but I'm just looking at those lips, let's click OK.
| | 01:44 | Alright, well now that we have done that, we need to apply
a Mask so that this is just working on the lips here.
| | 01:49 | Check this out, we already have a Mask, from our Curves
Adjustment Layer right, and that Mask reveals the lips.
| | 01:56 | So I can hold down the Option key on the Mac, the Alt key
on a PC and click and drag that Mask to the new layer.
| | 02:03 | What it did was it copied and pasted that Mask on to this layer.
| | 02:06 | Now, let's zoom in a little bit.
| | 02:07 | Here is our before and then after.
| | 02:09 | We can see that it added this nice
wet, glossy look to those lips.
| | 02:13 | Now, the intensity of this effect is going to be really
contingent upon your image, upon that amount of lip gloss
| | 02:18 | that was used, how wet you want the lips to look.
| | 02:21 | In this case, they look like they are almost dripping with water.
| | 02:24 | If I wanted to go for that kind of a set, I
could pull it off with that particular filter.
| | 02:28 | I want to turn this on and off to make sure I'm not
detrimentally affecting any other portion of the image,
| | 02:33 | and I would say for the most part, hey that looks good, we
added that nice kind of sensuous wet look to those lips,
| | 02:38 | and it just add a little bit of reflection,
a little bit of gloss to it.
| | 02:42 | A lot of times when you use this technique, pay real close
attention, because you may need to do a little bit more masking.
| | 02:47 | In my case, it works pretty well on this particular image.
| | 02:50 | let's look at our overall before and
after on the Mac Hold down the Option key,
| | 02:54 | on the PC hold down the Alt key,
and click on your background layer.
| | 02:57 | Here is our before and then click on that
again, hold down the Option key on a Mac,
| | 03:02 | "Alt key on a PC heres our after, and then here are layers.
| | 03:05 | Heres the Color Burn, the Curves Adjustment Layer and
then finally adding a little bit of glossiness there,
| | 03:10 | I should zoom in so you can actually see that shouldn't I?
| | 03:13 | Heres my before and after.
| | 03:15 | Alright, well that wraps up our work on this image.
| | Collapse this transcript |
| Enhancing lips| 00:00 | In the next few movies we will be working
on this image kee_photography.psd.
| | 00:04 | Open that one up in Photoshop, Full
Screen View mode and zoom in a little bit.
| | 00:08 | you will notice I've included a reference
folder for you that include some
| | 00:12 | of the retouching that we will be doing in next few movies.
| | 00:14 | What I want to do in this first movie is look at a couple
of techniques that we can use to enhance or improve lips.
| | 00:21 | So let's zoom in on the face here, actually go in a little
bit further, so I can really see whats happening here.
| | 00:26 | and I want to enhance or improve these lips.
| | 00:28 | Now, we need to first make a selection of these lips.
| | 00:31 | So we will go ahead and grab the Brush tool.
| | 00:33 | let's zoom in even further and then
press the Q key to enter Quick Mask mode.
| | 00:39 | Now Quick Mask mode when you paint with black,
you are painting in this red rivulet overlay.
| | 00:45 | This is showing you what isnt selected right now, but
that's pretty good way to go about making a selection,
| | 00:51 | because we can then invert that really easily, and
I'm going to select a little bit more than the lips,
| | 00:56 | because I'm going to sweeten this up with a Mask.
| | 01:00 | So I'm going to go a little bit outside of the
lips, hit the Q key to exit Quick Mask mode,
| | 01:04 | then navigate to the Select drop-down menu and choose Inverse
or press Shift+Command+I on a Mac or Shift+Ctrl+I on a PC.
| | 01:11 | Now I'm going to copy this selection to New Layer
on a Mac that's Command+J, on a PC that's Ctrl+J.
| | 01:18 | Now we have the lips on the layer, so
there they are, there are those lips.
| | 01:22 | Now what can I do to enhance these lips?
| | 01:24 | So there are a couple of different things that we can do.
| | 01:26 | One thing that we can do is take this to two
different Blend Modes, Multiply or Soft Light.
| | 01:32 | Now because these lips have quite a bit of density
Multiply isnt going to look very good, but let's try it.
| | 01:36 | We will go ahead and go to Multiply,
now I know that looks horrible.
| | 01:40 | I will lower my Opacity, let's lower this to about 20% and then
I will click on the Add Layer Mask icon, select the Brush tool
| | 01:48 | and paint with black around the edges, because we don't
want to darken the face, we just want to darken the lips.
| | 01:55 | let's look at our before and after, here is before and here is
after, we are just adding a little bit more density to lips.
| | 02:01 | Now because those lips have quite a bit density
already, I will zoom out that isnt it necessary,
| | 02:05 | I mean it looks nice, it adds a little bit more there.
| | 02:08 | Although the Blend Mode I think it is going to work well on these
lips as Soft Light I will go ahead and increase the Opacity,
| | 02:13 | it is going to add a bit of contrast and color saturation.
| | 02:16 | We have to zoom in, now look at our before and after, here
is before and here is after with that Soft Light Blend Mode.
| | 02:22 | That looks really nice.
| | 02:23 | You know that Soft Light Blend Mode tends to
bring out deeper tones and also deeper reds.
| | 02:28 | So in this case that's really working
well for us and those lips look good.
| | 02:32 | Another thing that we could do is take this back to the Blend
Mode, Normal, Opacity up to 100% and shift the color of the lips,
| | 02:39 | and we are going to do that by way of an Adjustment Layer.
| | 02:42 | Click on the Adjustment Layer icon and choose Hue/Saturation
and I'm going to shift the Hue and it is going to shift the Hue
| | 02:47 | in everything and I know this looks
drastic, but stick with me for a second.
| | 02:51 | It also looks kind of funny, having some
one who is green on a purple background.
| | 02:55 | Anyway, we click OK then on the Mac hold down the Option key,
on the PC hold down the Alt key this gives you the ability
| | 03:01 | to create a Layer Clipping Mask so that this
Adjustment Layer will only the affect the lips.
| | 03:06 | let's go ahead and do that, OK well now we
have that just affecting the lips layer.
| | 03:10 | Whats we are going to do here that
is improve our Mask a little bit.
| | 03:14 | Notice that the Mask is a quite on the lips, so go ahead
and paint with white so that my mask is the lips themselves.
| | 03:21 | let's look at our before and after OK that's too intense of
course, double click the Hue/Saturation adjustment layer icon
| | 03:28 | and now we can go ahead and we can de-saturate
the color or give this a little bit of red boost.
| | 03:33 | We want to shift the color for a different tonality for
lipsticks; we can go through a number of different options.
| | 03:39 | Now, of course when we are making
color changes we need to be careful.
| | 03:41 | So all that I'm going to do here is just up the ante
a little bit with the color saturation, click OK.
| | 03:47 | let's zoom out, see how that adjustment looks here is our
before and after, and the nice thing about this is we have a lot
| | 03:53 | of flexibility, we could add some
color and we could use a Blend Mode
| | 03:56 | of Soft Light there we have the Soft Light Blend Mode
plus some color on top of that just to exaggerate
| | 04:02 | that color or bring out that color even more.
| | 04:04 | Alright, well just to sum up those different techniques,
it is selecting the lips, putting them on their own layer,
| | 04:09 | trying different Blend Modes of Soft Light or Multiply
| | 04:13 | and also adding some adjustment layers as
Layer Clipping Mask to work on the color.
| | 04:17 | Alright, well that wraps up this movie.
| | Collapse this transcript |
| Changing facial expressions| 00:00 | In the previous movie, we have worked
on the image key_photography.psd
| | 00:04 | and we are working on that image in this movie as well.
| | 00:07 | Alright, here we are back in Photoshop, in
the previous movie we worked on the lips.
| | 00:10 | There are the lips, we add a little bit of contrast
and color saturation, I will zoom in even more,
| | 00:15 | and then we applied a Hue/Saturation adjustment, just
to bring out a little bit more of the reds there.
| | 00:19 | Now, what I want to do with this particular
image is I want to open up the face a little bit.
| | 00:23 | I want to brighten up the expression
and make this a little bit more warm.
| | 00:26 | I don't want to make it super smiley, but
I want to just to warm things up a tad bit.
| | 00:30 | So I'm going to click in my top most layer, and then I'm
going to merge all of my underlined layers to a New Layer.
| | 00:36 | I'm going to do this by a way of shortcut
that is Shift+Option+Command+E for the Mac,
| | 00:41 | for the PC Shift+Alt+Ctrl+E then let's name this layer face.
| | 00:46 | Alright, next navigate to the Filter drop-down
menu and choose Liquify, select the Zoom tool,
| | 00:52 | and then zoom in on the face so we can work on the face.
| | 00:55 | Next, we are going to select the Forward Warp
Tool the top tool up there in the toolbox.
| | 00:59 | Right now I've a huge brush; I'm going to take my
brush down to something along the lines of the 20.
| | 01:05 | Alright, that looks good.
| | 01:06 | Next, let's deconstruct Brush Density.
| | 01:10 | We are going to have a little bit of fun
here because you kind of have to have fun
| | 01:13 | when you are using Liquify a high Brush Density well what
is that?, I will make this brush a little bit bigger.
| | 01:18 | For demo purposes the high Brush Density notice
that it shifting everything as I move the eye.
| | 01:23 | So it is a big huge shift, let's lower that
Density and then try it on the other eye.
| | 01:29 | OK, well now it is almost as if I'm like
dragging my finger through wet paint, right?
| | 01:32 | So there is as much more localized area that's been affected.
| | 01:36 | let's reset the image, so now I'm back to normal.
| | 01:38 | So Density we saw that how broad or narrow are edited.
| | 01:43 | So we want a pretty broad edit, so we are
going to keep the Brush Density up high.
| | 01:47 | Now, Brush Pressure whats that all about?
| | 01:49 | Well Brush Pressure is really interesting, let's make this
brush a little bit smaller, I'm pressing the left bracket key.
| | 01:55 | I've a really high Brush Pressure and I'm
bringing down the eyes and I'm going to go ahead
| | 01:59 | and make my brush bigger, click in
the middle and bring up the nose.
| | 02:03 | Yup, that is really fun; you just kind of
have to do that when you are using Liquify.
| | 02:08 | But what it is illustrating is that I've a ton of control.
| | 02:10 | I made really drastic edit.
| | 02:12 | Of course they don't look very good.
| | 02:14 | So if I lower my Brush Pressure down to
somewhere in the teen, now look what happens.
| | 02:18 | It is the same thing I'm just lifting up the nose there, and
the face and bringing down the eyes the same way I did before,
| | 02:26 | but it is much more subtle, and that's what we are going for.
| | 02:29 | We want to go for a positive expression, this is a negative.
| | 02:31 | But we had to do that in order to
deconstruct these tool options, right.
| | 02:35 | OK, on the Mac hold down the Option
key, on the PC hold down the Alt key
| | 02:39 | and then that will change your Cancel
button to Reset and reset the image.
| | 02:43 | OK, well what do we actually want to do here.
| | 02:44 | Well, we want a pretty small Brush Size as
I mentioned before, let's see how small.
| | 02:48 | Actually perhaps in the 30s or 40s that will be
pretty nice there and you can change that Brush Size
| | 02:54 | by using the Tool Option slider or using your
bracket keys, left bracket as smaller brush.
| | 02:59 | Brush Density, I'm going to go ahead
and crank that up a little bit.
| | 03:02 | Brush Pressure I'm going to bring
that a way down, let's go down to 20.
| | 03:07 | First thing I'm going to do is just click on the eye and
the eyebrow, and I want to lift that up just to tad bit.
| | 03:12 | So I'm going to open up the eyes just a little
bit, I'm going to bring up those eyebrows.
| | 03:16 | The trick with doing this is you want to be very subtle.
| | 03:18 | So as you do it, you should be thinking am I even doing anything,
| | 03:22 | and if you are not noticing the big change
you are probably going in the right direction.
| | 03:26 | I will make my brush a little bit bigger for this
eyebrow over here and just bring that one up.
| | 03:30 | OK, next thing I want to do is take my Brush Size down.
| | 03:33 | So I'm going to make it really small.
| | 03:34 | I'm going to work on the corner of the face here and I'm
just going to click and drag up, make it a little bit bigger,
| | 03:40 | click and drag up and then let's click OK to
apply that transformation and look at how we did.
| | 03:49 | Well, zoom out a little bit, here is our
before and zoom in actually so we can see it.
| | 03:53 | Here is our before and after.
| | 03:55 | it is very subtle, it is not over the top, it is not too smiley,
| | 03:58 | but one of the things that we can see is
that we definitely open up the images.
| | 04:02 | I like the corner of the mouse that
pointing up a little bit more,
| | 04:05 | a little bit more of a smile and I
actually want to that a tad bit more.
| | 04:09 | So I'm going to go back to Filter Liquify, I'm going to zoom
in on the face, grab the Zoom tool zoom in on the face there,
| | 04:15 | select the Forward Warp Tool and I'm going to go in to the
corner there with the smaller brush, higher Brush Pressure
| | 04:22 | and add a little bit more of the smile there
just that subtle and a slight smile there,
| | 04:33 | eyebrow up tad bit more, click OK to apply that.
| | 04:38 | Alright, let's take a look, here is our before and then
after it is subtle yet I think it is pretty believable,
| | 04:44 | a nice warm expression on that and so far
we are going in a pretty good direction.
| | 04:49 | Now, one of the determents of using the Liquify
tool is that things become a little bit soft.
| | 04:54 | You notice, I lost some clarity in the eyes and this is a low
res file so that clarity is going to be really important for me.
| | 05:00 | So I'm going to click on the Add Layer Mask icon, select the
Brush tool from my toolbox, choose black in my color picker,
| | 05:07 | and then I'm going to paint black over the
eyes, to bring back that nice sharpness.
| | 05:13 | There are the eyebrows, if those arent quite
sharp, I'm OK with that and I'm going to zoom
| | 05:18 | out to see if I'm going in the good direction.
| | 05:20 | Just open things up, just a tad bit;
warm up the expression, I like it.
| | 05:24 | Alright, that wraps up this move, we are going to keep working on
this file, so keep it open and I will see you in the next movie.
| | Collapse this transcript |
| Thinning arms| 00:00 | Welcome back, we are going to continue to work on this image,
and in this movie we are going to work on thinning the arms.
| | 00:06 | We are going to thin those arms just a little bit.
| | 00:08 | So I'm going to go ahead and select the Brush tool
by clicking on the toolbox or pressing the B key.
| | 00:12 | I'm going to choose black as my color in my color
picker and then press the Q key that allows me
| | 00:18 | to enter Quick Mask then I'm going to
paint along the edge of these arms here.
| | 00:23 | Get my brush a little bit bigger; make
sure you have nice soft edge brush.
| | 00:32 | And then I'm now ready to turn that into a selection,
press the Q key and then press the shortcut,
| | 00:38 | for the Mac Shift+Command+I for the PC Shift+Ctrl+I.
| | 00:41 | Now, I want to copy this to a new layer and
I will do that by pressing Command+J on a Mac
| | 00:46 | or Ctrl+J on a PC or by going to Layer New Layer via Copy.
| | 00:51 | Alright, so now I've this arm on its own layer
or that arm edge I should say, nice arm edge.
| | 00:56 | let's zoom in on that.
| | 00:57 | Now I'm going to grab the Move tool, press the arrow key,
and I'm just going to move this over a couple of pixels.
| | 01:02 | let's look at our before and after, before and then after.
| | 01:06 | The nice thing about using this technique is
that it follows a natural line of the arm.
| | 01:10 | If I want to go further I will keep clicking it over and
I could keep going so far that it doesnt look natural.
| | 01:14 | I don't want to do that, so it just going to be couple
of clicks right just to kind bring that in a tad,
| | 01:18 | this is something you will find that's pretty
helpful to do quite often on your images.
| | 01:22 | I will click on the Add Layer Mask icon choose my Brush tool.
| | 01:26 | In this case paint with black, I need
to make sure my seams are in good shape.
| | 01:29 | So I'm going to have to go and do some
detail work along the seams, go down here,
| | 01:34 | make sure these are all good, and look at my before and after.
| | 01:37 | OK, that one is in good shape, let's do the other arm.
| | 01:39 | Click back to the layer which is titled face press the Q key to
enter Quick Mask mode and again paint along the edge of the arm.
| | 01:46 | Same thing, here I'm going to go quickly on
this one because you know what I doing, right?
| | 01:50 | Same deal, I then press the Q key, invert the selection
which is Shift+ Command+I on a Mac, Shift+Ctrl+I on a PC.
| | 01:58 | Select Layer New Layer via Copy press V on the keyboard to choose
the Move tool, then use your arrow keys just to move that in,
| | 02:06 | I'm going to move it in two clicks
there, so they are both the same.
| | 02:09 | Click on the icon to add a Layer Mask and then finally paint
with black to clean up the Mask, anywhere where you notice
| | 02:15 | that there maybe a little bit of problem regards to the seams.
| | 02:18 | Now, one of things that made this so easy so for
me is I used a real soft brush that is critical.
| | 02:23 | So make sure you have a brush with no
hardness, you also noticed that I painted
| | 02:27 | on the arms just a little bit, so I've some skin transition.
| | 02:30 | So if you look at that I've a little bit of skin there,
then I've a lot of background transition that will help me
| | 02:35 | with that background so it looks just perfect.
| | 02:37 | Now, I can go on and clean that up if there
are any areas where I'm having problems.
| | 02:41 | I think this is looking pretty good.
| | 02:43 | let's look at our before and then after, subtle, yet significant.
| | 02:48 | Click one of the layers, Shift+Click the other layer,
and then press Command+G to group those layers,
| | 02:53 | and we will name these arms, and then we have the ability now to
turn this on and off to see if we are going in good direction.
| | 03:00 | Also to see if the arms both looked
the same, it would be a tragedy if one
| | 03:04 | of the arms was pushed in further than the other one.
| | 03:06 | So as I evaluate this before and after, I say, hey you know
what that looks pretty good and that wraps up this movie.
| | Collapse this transcript |
| Thinning legs| 00:00 | Great to have you back, in this movie, we are going to continue
to work on this particular image, and what we are going to do
| | 00:05 | in this movie is look at how we can thin legs, and we
are going to look at another technique for thinning.
| | 00:10 | This time we are going to be using Liquify.
| | 00:12 | let's go ahead and merge all of our underline layers
to New Layer, and we are going to do that by way
| | 00:17 | of shortcut Shift+Option+Command+E for the Mac,
Shift+Alt+Ctrl+E for the PC, and we will name this layer legs.
| | 00:25 | Next, we will navigate to the Filter
drop-down menu and choose Liquify.
| | 00:30 | Alright, let's zoom in on the legs.
| | 00:32 | So we will go ahead and zoom in on that portion of the image.
| | 00:34 | We are going to choose this particular
tool, which is called the Push Left Tool.
| | 00:38 | Now, this tool is a really good tool
although it can do a ton of damage.
| | 00:42 | The trick with Liquify is to pull your
settings way back and make subtle improvements.
| | 00:47 | So I'm going to take my Brush Density
down a little bit here to about the 40s.
| | 00:52 | My Brush Pressure that's going to go really low
as well probably to 32 and let's give this a try.
| | 00:57 | I'm going to click a long side of the edge of the image.
| | 01:00 | I'm going to try to follow the flow of the leg.
| | 01:03 | One thing is that I noticed as I did that is that it went
pretty well except I didnt quite follow the contour of the leg.
| | 01:09 | So I'm going to undo that Command+Z there is
my before, there is my after, before and after.
| | 01:16 | I want to evaluate that as I look at it, I say,
you know what that actually looks pretty good,
| | 01:19 | I'm going to live with that one that's pretty nice.
| | 01:21 | I'm going to take the Brush Pressure down, because I
feel like the tools are little bit too heavy handed here.
| | 01:26 | Next, I'm going to go ahead and click
and drag up on the inner side of the leg.
| | 01:30 | I'm just going to have my tool get close to the edge of the
leg, and I'm going to try to follow the basic shape of the leg,
| | 01:36 | and then click and drag down over here again
trying to keep the brush overlapping the leg,
| | 01:41 | the same amount as I go down and follow the contour.
| | 01:43 | I want to keep the same shape.
| | 01:45 | Alright, let's take a look at our before and after,
we are going to click on the Show Backdrop icon.
| | 01:50 | Now we can see a specific layer, let's see our background layer.
| | 01:54 | let's see to 50% Opacity so here we can kind of see
our before and after how we are reshaping these legs.
| | 02:00 | I think that looks good, take the Opacity all the
way up and then we can get the true before and after.
| | 02:04 | Here is the after, here is the before that looks
pretty natural so far, so we are doing a good job.
| | 02:10 | Well let's work on this leg over here and in this case what we
are going to do is click and drag down from the top of the leg.
| | 02:17 | Make sure just a little bit of that brush overlaps on the leg.
| | 02:20 | I'm doing one big smooth brush stroke.
| | 02:23 | I'm doing one big smooth brush stroke,
because I can press Command+Z to undo.
| | 02:26 | let's see if I'm going in a good direction
and I think that's looking OK there.
| | 02:31 | Little bit more in that portion of leg and let's click OK to
apply that adjustment, and then take a look at our progress.
| | 02:37 | So here is our before, here is our after, again very subtle,
| | 02:41 | but significant brining in the legs just a tad bit
thinning them out, and we want to make this look realistic.
| | 02:46 | We don't want to go over the top.
| | 02:48 | Now, of course we can do this to greater or lesser degrees, it is
going to depend on the image, it is going to depend on the light,
| | 02:53 | it is going to depend on the model, it is
going to depend on the genres of photography.
| | 02:57 | As you know a certain genres of photography
were asked for more thinning,
| | 03:01 | well other genres of photography
were asked for no thinning at all.
| | 03:04 | So the decision really needs to be made upon the particular
image, the model, the light and the genre of photography.
| | 03:10 | Alright, well that wraps up this quick
movie; I will see you in the next one.
| | Collapse this transcript |
| Increasing height| 00:00 | Hey, it is great to have you back.
| | 00:01 | In this movie, we are going to be working on the same image
and we will be looking at how we can add height to our images.
| | 00:07 | I was reading an article recently on a famous
retoucher and this guy retouches a lot of rock stars.
| | 00:12 | One of the things that he said it was kind of interesting;
he said, he is always adding height to his images in order
| | 00:17 | to add a little bit of presence, a little bit of stature,
| | 00:19 | because a lot of times you see rock stars
up on stages, and they look so tall.
| | 00:23 | So what we are going to do here is look at how
we can increase the height in our own images.
| | 00:28 | Now, I'm going to go through the application of these
techniques in order to illustrate how you would use these.
| | 00:33 | OK, well first let's say, we want to lengthen the arms, we will
grab the Marquee tool, make a nice broad selection of the arms,
| | 00:39 | copy that selection to a new layer, Layer New Layer via Copy.
| | 00:44 | Next, Free Transform that by going to edit Free Transform,
we are just going to stretch this out, reposition this.
| | 00:49 | So the hands are a little bit lower there, that looks good.
| | 00:52 | Next, we need to add a Layer Mask.
| | 00:54 | On a Mac, hold down the Option key, on the PC hold
down the Alt key and click on the Add Layer Mask icon,
| | 01:00 | then press B on your keyboard to select
the Brush tool and paint in these new arms.
| | 01:05 | Now, even with this complex of a dress, it
is actually going to work incredibly well.
| | 01:09 | So, we are just going to bring in the arms here.
| | 01:11 | One arm is in, let's bring in the other arm, just
painting with white, I'm just bringing the arms
| | 01:18 | to make sure my seams are lined up pretty well.
| | 01:20 | Smaller brush up here to work on my seams a little
bit, sweeten those up, sweeten up the edges.
| | 01:27 | Alright, we need to zoom in, do a little bit of detail work
there, the most part we are going in a pretty good direction.
| | 01:34 | let's look at our before and after, before and after.
| | 01:37 | Now, does this image actually need this adjustment?
| | 01:40 | No, not at all, yes some images do and my
hope is, by showing you this technique,
| | 01:44 | it will begin to expand what you think is possible,
and how you can begin to create those things.
| | 01:49 | Now, I went pretty quickly on this one, so I may have a few
edges like right in here, I would love to fix up that edge there.
| | 01:54 | But it is looking pretty good.
| | 01:56 | Alright, well let's trash that layer
because that's not what we want to do.
| | 01:58 | Zoom out a little bit, let's work on the legs.
| | 02:01 | We are going to do that in the same exact
way, make a nice selection of the legs there,
| | 02:04 | copy that to a new layer, Layer New Layer via Copy.
| | 02:08 | Free Transform that, Edit, Free Transform and then
we will make those legs just a little bit longer.
| | 02:14 | Press Return, let's look at our before and
after, here is our before, here is our after.
| | 02:19 | We will zoom in on the legs and to seam this,
if we can notice it anywhere before and after.
| | 02:25 | It looks absolutely wonderful, and it just
adds a little bit more length to those legs.
| | 02:30 | Now, this technique can help out a wide range of your images.
| | 02:33 | Alright, well let's take a look at the last application of this
technique and that is heightening the overall image, very simple.
| | 02:39 | Select your topmost layer; copy that to a new layer.
| | 02:42 | Layer New Layer via Copy, this time we
are doing it without making a selection.
| | 02:47 | We are going to name this layer height, we will zoom out,
navigate your Edit drop-down menu and choose Free Transform.
| | 02:54 | What I'm going to do is just free transform this to about 102%.
| | 02:58 | That looks pretty good there, press Enter
or Return and then zoom in on the image.
| | 03:02 | let's look at our before and after,
here is before, here is after.
| | 03:06 | Now that maybe a little bit too much.
| | 03:08 | Let me zoom out so I can see if I'm going in a good direction.
| | 03:10 | No, I think that will work for us, lower
this down on the document window there.
| | 03:14 | Here is my before and after, just adding a little bit of length.
| | 03:17 | Now, the actual amount of heightening is really going
| | 03:19 | to be contingent upon the way the image
was captured, the lighting, the model.
| | 03:24 | Yet this technique can really add a lot to your images.
| | 03:27 | Alright, well that wraps up this movie, I will
see you in the next movie where we are going
| | 03:31 | to continue to work on this image, see you then.
| | Collapse this transcript |
| Enhancing body shape | 00:00 | Welcome back, we are going to continue
to work on this image and in this movie,
| | 00:03 | we are going to work on adding some contour and shape.
| | 00:06 | We are going to create a new layer, we
are going to do that by way of shortcut
| | 00:09 | on a Mac it is Shift+Command+N, on the PC, Shift+Ctrl+N.
| | 00:12 | We will call this contour, choose a Blend Mode of Soft
Light and so a Soft-Light-neutral gray, 50% click OK.
| | 00:21 | Alright, we are going to do some Burning and Dodging here.
| | 00:23 | let's select the Brush tool, press B on the keyboard.
| | 00:25 | We are going to take our Opacity down to about 50% there;
we are also going to take our layer Opacity down as well.
| | 00:31 | I'm going to take this to about 50% here and I make a pretty
small brush and what I want to do is just bring out the shadows
| | 00:37 | to add a little bit of shape to this portion of the image here.
| | 00:39 | So I'm going to go ahead and darken these
shadows, and I'm going to slowly build these up.
| | 00:43 | I'm also going to be able to blur this out.
| | 00:45 | So if we go too far with this, that's OK.
| | 00:47 | We will be able to blur this and bring it back a little bit.
| | 00:51 | So we are going to go ahead and darken that, hit the X key,
little bit bigger brush there and add a little bit of brightness
| | 00:57 | and then hit the X key, a little bit darkness underneath
there and X key again, little bit of brightness.
| | 01:04 | Just trying to create the sense of shape
there, so here is our before and then after.
| | 01:09 | We are going in a decent direction, click on
that layer, choose Filter Blur, Gaussian Blur.
| | 01:14 | We want to blur that out, we can just kind of
see the shape there, that's much more natural,
| | 01:18 | click OK and then we have our before and our after.
| | 01:22 | Just add in a little bit more definition
to add a little bit of visual interest.
| | 01:26 | Now, if we want to add a little bit of size to that portion
of our image, what we need to do is be very careful at this,
| | 01:31 | because this is delicate, we want
this to look very natural what not.
| | 01:34 | So we are going to merge all of our layers to the topmost layer,
Shift+Option+Command+E on the Mac, Shift+Alt+Ctrl+E on the PC.
| | 01:42 | let's name this layer Shape, we are going to navigate
to our Filter drop-down menu and choose Liquify.
| | 01:47 | Then we are going to zoom into this portion of the image here.
| | 01:49 | So we are going to go ahead and zoom into
this portion of the image and what I want
| | 01:53 | to do here is actually use the Forward Warp Tool.
| | 01:56 | We are going to look at what happened if there
was more shape in this portion of the image.
| | 02:01 | If there was more shape, what would happen
is this line wouldn't be quite as straight.
| | 02:04 | So I'm going to go ahead and just push that
over, my brush settings are pretty good.
| | 02:08 | I will increase my Brush Pressure just to tad bit.
| | 02:10 | I'm going to increase my Brush Density quite a bit.
| | 02:13 | Little bit larger brush here; I'm just going to try
to create a little bit of bend in the garment here.
| | 02:17 | So I'm going to create a little bit of a
bend that way, little bit of bend this way
| | 02:24 | and just look to try to reshape the lines of the garment.
| | 02:30 | Zoom out a little bit, larger brush and I'm
just working to make sure my lines are good.
| | 02:39 | let's click OK and see how we are doing, so
here is our before and after, pretty subtle.
| | 02:45 | that's how we want to keep it.
| | 02:46 | We want to just add a little bit of shape, let's look at our
contour before and after, here is before and there is after.
| | 02:52 | When we are making adjustments like this, we
want to make sure these adjustments are going
| | 02:56 | in a good direction and in this case I would say it is.
| | 02:58 | it is not over the top, it is subtle, it is not detracting
away from the image quality, it is enhancing the overall image.
| | 03:04 | But, it is really subtle and natural, that is incredibly
important, when you are making adjustments like this.
| | 03:10 | Alright, well that wraps up our work on
this image in this particular chapter.
| | 03:13 | let's take a look at how we have
done, here is the original layer.
| | 03:16 | I'm going to zoom out, here is the original, we did a little
bit of work on the lips, zoom in so we can see the lips there,
| | 03:21 | add a little bit of color, zoom in even further there.
| | 03:23 | let's look at our before and after, we have some lips going on
there, we did a little bit of face to work on the expression
| | 03:29 | and we worked on those arms a little bit and we have
our leg work down there, subtle and significant.
| | 03:34 | Finally we added a little bit of height, and
then wrapped it up by adding some contouring.
| | 03:39 | Our before and after, here is before and after,
subtle, yet significant image enhancements.
| | 03:46 | Alright that wraps up this one.
| | 03:47 | See you in the next one.
| | Collapse this transcript |
| Body sculpting| 00:00 | In this movie, we will be working on
the file tremaine_photography_yoga.psd.
| | 00:05 | This image comes to us by way of one of my students Alexandria
Tremaine; check out her work at tremainephotography.com.
| | 00:11 | Thanks for the use of this file, let's open it up, I've to
go to Full Screen View mode and then zoom in a little bit.
| | 00:17 | Here we have this nice yoga shot.
| | 00:19 | But what I want to do with this image is I
want to enhance it, I want to sculpt the body,
| | 00:22 | and then make some improvements to the shape of the body.
| | 00:24 | So first things first, let's copy our
background layer by pressing Command+J on a Mac,
| | 00:29 | Ctrl+J on a PC and name the new layer Retouching.
| | 00:32 | Next, we are going to navigate to our Filter
drop-down menu and choose good old Liquify.
| | 00:38 | Now, I'm going to Zoom In a little bit.
| | 00:39 | On the Mac I can press Command+, on a PC, that
is Ctrl+, now Spacebar to reposition the image.
| | 00:46 | Works the same way as it does inside a Photoshop.
| | 00:48 | What I want to do is I want to work on the shape of the arms;
| | 00:51 | I want to work on the shape of the
waist a little bit and then the legs.
| | 00:54 | So I'm going to take my brush size down to -- about 100 will
work probably pretty well, maybe a little bit smaller than that.
| | 01:01 | Yup, it needs to be smaller, what I'm looking
to do is have a Brush Size where I can work
| | 01:05 | on the ways that not affect other parts of the image.
| | 01:08 | So if I click on the waist area, it
won't affect the arm up top, great.
| | 01:12 | Next, my Brush Density, I take up to the 80s and then the Brush
Pressure, I'm going to drop down to somewhere in the 30s there.
| | 01:19 | Then I'm going to zoom in a little bit more and it is a pretty
big brush, so we will see how this works and to work on the arm,
| | 01:26 | I'm just going to go ahead and click
and bring that up a little bit.
| | 01:30 | Go to the other side, and as I'm doing this, I'm trying to
do this with small increments; I don't want to go too far.
| | 01:36 | Put my brush a little bit bigger here.
| | 01:38 | The nice thing about having a big brush is
that it evens out the lines really nicely,
| | 01:43 | so there is a kind of continuity with the line.
| | 01:46 | let's see how we are doing, we are going
to click on the checkbox for Show Backdrop,
| | 01:49 | change your Opacity 100%, now we can see our before and after.
| | 01:53 | Here is the after, here is the before.
| | 01:55 | OK, that's nice; we are definitely
improving the shape of the arms there.
| | 01:58 | We will go ahead and do that a little bit
more over here, so I'm going to just push this
| | 02:01 | up a little bit more; I'm just bringing these down.
| | 02:06 | The trick with using Liquify in my opinion
is really dialing in your brush settings
| | 02:10 | and being pretty delicate as you go about doing this.
| | 02:12 | Look at your before and after quite frequently.
| | 02:14 | let's see how we are doing before
and then after, we are doing good.
| | 02:17 | let's change the Brush Size press the Left Bracket key.
| | 02:19 | Now we want a nice small brush, because we are
going to be working on the waist over here,
| | 02:23 | and it is about the size of that area, that I need to fix.
| | 02:26 | So I'm going to go ahead and bring
that down by clicking and dragging.
| | 02:32 | Go ahead and increase my Brush Size for this
part of leg, larger area that I'm working on.
| | 02:39 | I'm looking to try to create a continuous line there, that's
something you have to be really careful of and a small brush.
| | 02:49 | Now, I'm going to bring the inside out a little bit, zoom in.
| | 02:53 | So I'm just clicking and pushing here, and then
click and drag to push that in a little bit.
| | 03:10 | Even now I'm going to use a big brush
and go through here and work on the leg.
| | 03:16 | Ooh, that was a little bit too much.
| | 03:18 | I'm going to zoom out, nice big brush here.
| | 03:23 | Again, that big brush helps me keep this line really consistent.
| | 03:29 | Now, big brush on the other side, click
and push that side in a little bit and up.
| | 03:36 | Small brush, Left Bracket key, fix the leg there and
larger brush, I'm just going to go ahead and work on shape
| | 03:52 | of the leg here, trying to get it
to follow the shape that's there.
| | 03:56 | I want to make it look too unnatural.
| | 04:00 | Lots of detail work here, isnt there?
| | 04:07 | I'm just changing my Brush Size by pressing the
Bracket key and zoom out to see how we are doing.
| | 04:13 | Alright, well so far, so good, I think
we are going in the good direction,
| | 04:16 | I'm going to make a larger brush here, bit stronger adjustments.
| | 04:20 | Now, that I've the shape they are going in good direction.
| | 04:22 | let's look at our before and after,
here is our before, here is our after.
| | 04:26 | Again, our before and after, I need to
click that on and off multiple times to see
| | 04:32 | if I'm making some good improvements, I see that I'm.
| | 04:36 | I'm going to take this a little bit further.
| | 04:39 | As you are doing this, the risk is always to go too far.
| | 04:42 | So you have to hold these adjustments lightly, hold them loosely,
| | 04:45 | meaning if they are no good, get
rid of them, start it over again.
| | 04:49 | In my case, I say we are going in a pretty
good direction, looking at my before and after.
| | 04:53 | I'm going to click the OK button to commit
to these changes and evaluate them here.
| | 04:57 | Here is my before and then after, again before and after.
| | 05:02 | That still looks realistic; the shape of the
body still has a certain sense of integrity.
| | 05:07 | Well I think I need to do is I look at this as
probably look away from the image, look back.
| | 05:12 | So does it look natural?
| | 05:13 | Any areas, where I notice I've little bit of problem
and again, I just want to do my before and after.
| | 05:18 | The one thing that I'm noticing here, I
think it will be nice to thin this area,
| | 05:22 | just a little bit in order to stay in line with this area.
| | 05:26 | let's look at our before and after.
| | 05:27 | So let's go ahead and do that, click on that layer, Filter and
Liquify, lot of evaluation here and then zoom in on the leg
| | 05:33 | over here, and I'm just going to push this up a little bit.
| | 05:36 | What you do not want to do is to Liquify one
portion of the body and then have another portion.
| | 05:40 | It doesnt really work relative to it.
| | 05:43 | I'm going to go ahead and just bring this down, tad bit
more and bring this part of the leg in a little bit as well.
| | 05:56 | Left Bracket key and make it smaller.
| | 05:58 | let's look at our before and after,
now here is our before and then after.
| | 06:05 | Pretty simple, but bring in those in nicely, click OK,
let's see how we are doing, here is our before and after,
| | 06:11 | before body sculpting, after body sculpting, and I think that
image looks much better and that wraps up our work on this image.
| | 06:19 | See you in the next movie.
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11. Fixing TeethWhitening teeth with Dodge| 00:00 | My grandfather was an amazing man.
| | 00:02 | One of the things that he used to say to me that I remember
was, "Christopher, always keep a smile in your heart."
| | 00:08 | You know that stuck with me.
| | 00:10 | There is something that's powerful about a smile and when we
are retouching teeth in Photoshop, we are not actually working
| | 00:15 | on teeth; we are working on expression, we are trying to figure
| | 00:19 | out how our images can have more emotion,
more expression, the mouth is so expressive.
| | 00:25 | Well, in this movie, we are going to be
learning the teeth whitening technique
| | 00:28 | that will help our images have more expression.
| | 00:30 | We are going to work on the file amanda_aunt_carol.psd.
| | 00:33 | After go to full-screen view mode, double click the zoom
tool; here we have this nice photograph of my sister
| | 00:39 | and my aunt Carol, two people that I absolutely cherish.
| | 00:42 | One of the things I love about my aunt Carol, she
is an artist and you can tell she smiles a lot,
| | 00:47 | she has such vision, such a warm and wonderful person.
| | 00:50 | So what we want to do here is clean
up her teeth just a little bit.
| | 00:53 | let's zoom in a tad bit so we can see those teeth
and we are going to copy the background layer.
| | 00:58 | We are going to do that by way of shortcut; press Command+J
on a Mac, Ctrl+J on a PC and name this new layer teeth.
| | 01:05 | Next, navigate in the tool box and select the Dodge tool.
| | 01:08 | Now we are going to choose Midtones and we are going
| | 01:10 | to choose a real low exposure here somewhere
in the teeth and I go for about 18%.
| | 01:14 | Then with this Dodge tool on midtones, I'm going to go
through these teeth and I'm going to dodge away, slowly,
| | 01:21 | slowly build this up, it brightens these teeth up.
| | 01:24 | Now teeth arent actually white, so you don't
necessarily want to paint white on top of these teeth.
| | 01:29 | We do want to brighten them up a little bit.
| | 01:31 | we will look at a couple of different techniques.
| | 01:33 | This Dodge technique, it is actually pretty good.
| | 01:35 | I think I'm going in a good direction.
| | 01:38 | I'm now going to increase my exposure even more, go up to
30% at this a little bit more delicately and make my way
| | 01:46 | around these teeth, we are going in a good direction.
| | 01:49 | let's zoom out, double click your zoom tool, takes it to 100%.
| | 01:52 | Here is our before and then after.
| | 01:55 | Subtle, clean looks so much better.
| | 01:57 | it is not over exaggerated, it is not the first
thing you noticed but it definitely helps the image.
| | 02:02 | Zoom back in and a couple of other things
that I want to do with this particular image.
| | 02:05 | I want to clean up some of the dark spots there.
| | 02:07 | So I'm going to click on the New Layer icon and I will name this
layer clean up, and grab the Brush tool by pressing the B key,
| | 02:14 | hold down the Option key on the Mac, Alt key on the PC.
| | 02:16 | I'm going to sample, grab a color and zoom even
further in, I'm just going to paint over this portion.
| | 02:24 | The image has dark tones there.
| | 02:27 | Nice thing about sampling a color from
that area is it is going to match up.
| | 02:32 | I'm also going to clean up the teeth a little bit
more this way, sample some of those brighter tones.
| | 02:36 | let's take a look at our before and after.
| | 02:37 | Before and after, very nice.
| | 02:40 | Final thing that we are going to do
here is click the New Layer icon,
| | 02:43 | we will call this new layer white,
this will be our final whitening.
| | 02:47 | We are going to choose our eye dropper, go to Point Sample,
we want to grab one color there, one of those bright colors.
| | 02:54 | Now that we have that bright color, grab our Brush tool
and then lower the Opacity, just going to paint away.
| | 03:03 | Brighten these up a little bit more,
painting with color from the teeth.
| | 03:09 | let's zoom out to see how we've done.
| | 03:11 | Here we are and let's look at our before and after.
| | 03:13 | Before and after, let's look at her next to Amanda.
| | 03:18 | Before and after, Hey!
| | 03:19 | that looks pretty good.
| | 03:20 | Here is our Before, here is our after.
| | 03:22 | Well done that wraps up our first teeth whitening technique.
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| Whitening teeth with Hue and Saturation| 00:00 | In this movie, we will be working on this beautiful photograph
that was captured by a friend of mine, Michael Costa.
| | 00:05 | He is a very talented photographer, check out his work,
google his name and you can see some of his stuff.
| | 00:10 | let's open this one up in Photoshop.
| | 00:12 | After go to full-screen view mode, and then zoom in
on the image, here we have this beautiful portrait.
| | 00:17 | One of the things I'm noticing is
the teeth are a little bit yellow.
| | 00:19 | I want to whiten those.
| | 00:20 | What I'm going to do in this movie is teach
you another teeth whitening technique.
| | 00:24 | This one is even better than the previous one.
| | 00:26 | Before we can whiten the teeth, we
need to make a selection of the teeth.
| | 00:30 | let's do that by way of Quick Mask.
| | 00:31 | Press Q on your keyboard to enter Quick Mask
then select the Brush tool by pressing the B key.
| | 00:36 | What I want you to do is to select a Brush tool that's
about half of the size of one of the teeth here.
| | 00:41 | Now we are going to go ahead and paint over the top of
these teeth and we will go through and make this selection.
| | 00:47 | Now this selection doesnt need to be
perfect but it needs to be pretty good
| | 00:51 | because we want to whiten just the teeth not anything else.
| | 00:54 | We can fix up this selection later
after we have made our adjustments.
| | 01:00 | So a lot of times, I will actually make a pretty quick selection,
I like to do that so I can evaluate if the adjustments are going
| | 01:06 | to be worth it, because there is nothing worse than taking
15 minutes to make a selection then making an adjustment
| | 01:13 | and realizing, you know what, it wasnt worth it at all.
| | 01:16 | So I'm going to make a pretty quick selection here.
| | 01:18 | In this case, I'm just painting quickly and I think
we have a pretty descent selection of the teeth there.
| | 01:24 | For the most part, I will say that's good.
| | 01:26 | Now, we are going to zoom out so we can focus in on the image,
then we are going to press the Q key to exit Quick Mask mode.
| | 01:33 | Now we have a selection, we need to invert that selection
on a Mac, Shift+Command+I; on a PC, Shift+Ctrl+I.
| | 01:40 | we will navigate to the Select drop-down menu and choose Inverse.
| | 01:44 | Next, click on the Adjustment Layer
icon and choose Hue/Saturation.
| | 01:49 | Now if we simply pull out the saturation, the teeth arent going
to look good; they look lifeless that's not going to work for us.
| | 01:55 | Yet, we can see that we actually have
the teeth, when I change their color,
| | 01:58 | my selection was pretty good; I've a good portion of the teeth.
| | 02:01 | What I need to do is go into the Yellows, sample a tooth so
I get that |
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