Frequency separation makes it easy to work on the two aspects of the image independently, in order to remove blemishes. This lesson shows how to use this process to cure a large number of ills.
- There's a number of tools that we could use to get rid of these blemishes. Let's first go onto the Low-Frequency layer. Now, let's choose the Healing Blush Tool. To use this, we first hold Option or Alt, and click in an area we want to sample from. Now we can blush this over the offending layer. It's quite clear here. The blemish is gone, but the high-frequency texture has not been changed.
Let's do the same with all of the little spots down here. Sample a bit of texture, paint over it, and you can see how it's quite easy to take out all of these minor blemishes we might want to get rid of. Let's have a look at the neck. We have these moles on the neck.
Try the same thing again. We'll sample an area, and paint over them. And once again, they get hidden in a very effective way. They're not entirely obscured, and that's because they still appear on the High-Frequency component, and that gives it some added realism that would be lost if we painted them out entirely. We'll look later on at how to get rid of blemishes completely using a rather different method.
For now, though, that has made a good change, and we are able to get rid of most of these blemishes that are color-related. In other words, the blemish is where it's not an object on the skin, but the pigmentation in the skin itself. And we can just go through the whole face, taking out as many of these as we want to get rid of.
Let's now turn our attention to these fine pores. If we hide the Low-Frequency layer, we can see that detail is showing up on the High-Frequency layer. So, let's switch to that. We can try doing the same thing. Let's sample an area by holding down the Option or Alt key, and we can paint over those pores. And they're very neatly being removed and replaced with sample texture from around here.
But you can see the color hasn't changed at all because the color is on the Low-Frequency component. Let's carry on doing this throughout the image. It's worth taking a bit of time to keep on sampling from a nearby area so that you're replacing it with appropriate texture. I've worked my way around the face now. I've dealt with most of those fine blemishes, both in the Color component, and in the Detail component.
When we have a look at this line on the neck, we can take that out as well. Let's sample an area just above it, and on the High-Frequency layer, we can paint over it. We can do the same thing for this line below it. This softens that very hard line that we've got. There's still a slight trace of it, and that just makes our model look human. All this has been brought about by the ability to separate the High and Low Frequencies in this image.
Next, we'll go on to see how we can apply a Filter in order to further reduce the appearance of these pores.
- Smoothing skin and blemishes with frequent separation
- Fixing yes
- Painting makeup
- Adding clarity to hair
- Strengthening the image with lighting