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In this course, photographer, author, and teacher Chris Orwig details the tools every photographer needs to retouch portraits to make them look their best while remaining authentic. The course includes an overview of the retouching process and how to develop a plan for a retouching project.
After exploring techniques to improve the overall photo, Chris shares his techniques for reducing wrinkles, enhancing eyes and other facial features, improving hair, and retouching makeup. The course concludes with a look at retouching skin and reshaping portions of a portrait using transformations, the Warp tool, and the Liquify filter.
In this movie, I want to take a look at a technique that we can use, which really is a variation of many of the different things that we've been learning. In this technique, we'll look at how we can bring out some of the vibrance, and also contrast, and saturation in the color of the eye makeup. So let's go ahead and zoom in on this picture. The next thing that I want to do is I want to create what's called a quick mask. A quick mask is a great way to build a selection by way of painting in the selection. So rather than using the Lasso tool, or the Rectangular Marquee, we can just paint in an area that we want to select.
To work with quick mask, press the Q key. Then press the B key to select your Brush tool, and if you paint with black -- here we'll paint with black, with a little bit of a lower Opacity -- you'll see that as we paint, we're bringing in this red overlay. I'm going to decrease my Opacity even more. By decreasing the Opacity, it will just help me to kind of slowly build up the selection. You can see it's not quite as red, but then as you go back over it, it becomes more and more red. Now, we're not actually painting in red; rather, what we are doing is we're building up a selection.
The red is just a quick mask visual aid to show us what area we're working with. I'm going to go ahead and make my way around the edges here. All right; that's pretty good. We'll work on the other side as well, and I'm just going to paint back and forth. The reason why I like to use this lower Opacity is it's just kind of nice to be able to build up the selection little by little. If the selection isn't perfect, no big deal, because we'll be turning this quick mask into a more permanent mask in just a moment. If ever you make a mistake as you're painting in your selection, press the X key. That will toggle between black and white, and then you can paint away an area that you don't want to select. All right.
Well now that we have a decent selection on this area of our photograph, let's go ahead and exit quick mask, and turn this into a selection by pressing the Q key. Well, here what we actually have is the exact opposite of what we need. Yet, that's not that big of a deal, because we can invert that in just one moment. Here, we will start off by clicking on our Curves adjustment layer icon. With Curves, if we click and drag this, you can see that we can modify everything but the eyes. So to change that, go to the Masks panel, and then click on the Invert button.
Now, if we go back to the curve, we can see this curve is controlling that makeup. Well, what I want to do is click and drag my white point up, and then my black point down to add a little bit of contrast. This will also increase the overall color saturation. Here you can see that before, and after. Well that's pretty subtle, but it's a nice first step. Before we leave this first step, though, let's also soften the edges of the mask. So in the Masks panel, increase the Feather amount just a little bit as well. Next what I want to do is bring out some more saturation and vibrance.
To do that, we're going to reuse this mask that we built, because it's a really good mask; we might as well reuse it for another adjustment. To do that, you can press Command on a Mac, Control on Windows, and then click on your layer mask to activate it as a selection. So go ahead and hold down Command or Control, then click on the layer mask. Here you can see we've now activated this area as a selection. The next step is to choose the adjustment that we want to create. In this case, the adjustment I'm going for is Vibrance.
By increasing the Vibrance slider, what that will do is it will add more color variety, and here, we can also bring up our Saturation as well. Now that we've done that, if we click on and off these eye icons, you can see that the original color, well, it just seems a little bit lacking or dull. Now here is the after; that color is really vibrant and alive. If I zoom in even further, this might be more helpful, so you can see, now, that before and after. And with this technique, we looked at how we could work with quick mask to be able to build a selection, and then how we could create two different adjustment layers, using that same mask, which allowed us to really bring out the overall vibrance, contrast, and also color saturation of the makeup.
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