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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.
All right, well now that I have done that eye, I need to work on the other eye. Here, I will go ahead and sample an area from this eye here, and then again, I am just going to click through this. And by clicking through this, doing lots of little clicks, what you'll see, we'll be able to start to remove this from this part of the eye as well. It's going to take a lot of little teeny brushstrokes, but when you're working with a small area like this, like little veins in the eye, you'll want to just go about doing this in a little delicate way. Next, I will Option+click or Alt+ click over here in this part of the eye. And you know, cloning is just such a great way to clean up little problems.
In this case, I think it's going to work really well for us in regards to our overall texture, and also in regards to getting out those little problems. All right! Well now that we've done all this, the other thing I need to do is work on this side of the eye, do that a little bit more, and then also up top. Now, if we zoom out a bit, what we will be able to see is our before, and then our after, or if I zoom in, we can do that same thing. The problem of course, right, is that the pattern, what we've created there, is just a little bit flat; it's lacking in a couple of different ways. Well, one of the ways that it's lacking is in brightness, and also color; it's a little bit too yellow.
So in order to correct that, we are going to click on our adjustment layer icon for Hue/Saturation. Here, what we want to do is go into the Yellows, and we are going to desaturate. We are also going to brighten with the Lightness slider. Next, we are going go to the Master channel. Here, we are going to the same thing: desaturate, and then also brighten with the Lightness. And in doing that, we can then mask that into those areas. Here's our before and after everywhere; we need to invert the mask, press Command+I in a Mac, Control+I in Windows, or in the Properties panel, just click on Invert.
Once you've done that, you can then use your same brush. Here we will paint with white, with a relatively low Opacity, and we can just start to paint this in. We'll select the Brush tool, not the Clone Stamp tool, and decrease the Opacity there, and then I'll go ahead and paint in this desaturation, and also this brightening effect here in this part of the eyes. So we'll just go back and forth over these areas, looking to try to correct that in those two parts of the eye. These adjustments are nice, because once we have created a mask, we can go back and modify the settings on it.
So here, we will just make a few more little adjustments; all this detail work, right? So we can kind of see our before and after starting to take shape there a little bit. And I just want to paint a bit more in that area. And then let's double click our property adjustment there, and if we increase the Lightness even more, you can kind of see how I am able to control that area. One of things that you may notice, say, when we do this in exaggerated ways is that there are some edges we might want to clean up with our mask. Go ahead and do that if you notice those as you start to bring up those values.
And with this one, really, we are just looking to try to add that little extra snap to those areas of the eyes, and here you can kind of see how it's starting to bring in a bit more. We will want to make sure this is nice and consistent. So let's feather those brushstrokes out a little bit, and then we'll zoom out, so you can see how we are doing. Right now it's way too strong, but you can see, here is before, and then here's after. All right! Well now that we've done all of that, these two layers here, they've changed these characteristics of the whites of the eyes. The next and last step is to group these together, and then to soften this effect by decreasing our opacity.
So click in the top layer, hold down the Shift key, click in the bottom layer, at least for our eye-whitening, then press Command+G on a Mac, Control+G on Windows, and we will name this eye - whites. Next, we will decrease the Opacity of this effect. And you need to decrease the Opacity, one, to bring back a little bit of the shape of the eye. You also may want to go into specific layers, say, like the Hue/Saturation layer, and then just decrease that as well in order to dial that in. By doing that, it can help us create a look which is more believable and interesting. All right! Well now that we've done all of this, we can click on our eye icons; here is our before, then here is our after.
We can now see this work that we've done in regards to cleaning up the eyes. Last, but not least, you want to zoom out a little bit, and evaluate how this fits into the overall picture. Again, our before, and our after. In doing that, one of the things that I'm seeing is that, while this is fitting in really well in the inner part of the eye, this outer edge here, I felt like I did too much work on. Again, to fix that, just click on your Add layer mask icon, and then with your Brush tool, in this case, paint with black, with a low Opacity.
By doing that, what you can do is just kind of soften up what you did over there; that will bring back a little bit of that on this side, and also a couple other places. Sometimes you need to correct something, then almost bring back a little bit of the imperfection, so that the retouching looks believable, or interesting. If something is too perfect, well, we just don't trust it, so you need to make sure to make little adjustments and kind of corrections as you do that, and here I am just doing this in a couple of places; especially for a portrait like this, because this is a character portrait. It's not about beauty, or perfection; rather, it's about strength, and depth of character.
So after having made those adjustments, I also want to work on the edges of the eyes as well, and here I am just going to decrease that. That will bring back a little bit more of the shape there of the eyes, and also a little bit of the imperfection around those edges. Well, now that we've created this effect, softened it, I think this is looking great. Here it is; there is our before, and after. Let me zoom in a little bit more, so you can see it. Once again, here it is before, and then now after.
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