Basic Retouching in Photoshop | Khara Plicanic | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (46m)
    • 1. Let's Do This!

      0:51
    • 2. How to Swap Expressions

      9:27
    • 3. How to Fix Blink Shots + Reflections

      3:30
    • 4. How to Whiten Teeth

      4:28
    • 5. How to Brighten Eyes

      5:57
    • 6. How to Retouch Skin

      6:58
    • 7. Removing Common Eye Sores

      9:05
    • 8. How to Nip + Tuck with Liquify

      5:13
    • 9. You Did It + Free Download

      0:27
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About This Class

Photographic retouching runs the gamut from high-end fashion retouching (think, Victoria's Secret) to everyday solutions for everyday people (fixing flyaway hairs and removing eye sores like wall outlets). 

Whether you're trying to whiten your subject's smile or zap a few stubborn zits, there's a million-and-one reasons why it's useful to know the basics of retouching photos with Photoshop.

This short, beginner-friendly course will give you the know-how you need to wield power tools like the clone stamp and healing brush while taking advantage of adjustment layers and layer masks.

You'll learn simple techniques to:

  • Whiten teeth
  • Brighten eyes (and add some sparkle)
  • Fix blink shots
  • Remove blemishes of all sorts (skin and otherwise)
  • Nip and tuck with the liquify tool

Whether you're a portrait photographer or you routinely shoot real estate or landscapes—these basic techniques can solve a multitude of dilemmas.

Meet Your Teacher

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Khara Plicanic

Instructor/Edutainer: Photoshop + More

Teacher

With a passion for simplicity, my courses are geared towards beginners. I take great pride in demystifying topics and concepts in a way that not only empowers new learners, but is also a whole lot of fun. Join me on a new learning adventure!

See full profile

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Transcripts

1. Let's Do This!: my name's care pledge in it. And in this course I'm going to teach you the basics of everyday retouching with Photoshopped fixing blink shots or swapping expression whitening teeth and helping your subjects eyes really pop, giving them that extra sparkle. We'll also talk about banishing blemishes, so whether that means helping someone out by tapping a bit or two, or maybe removing some of the common pet peeve that end up in photos like ceiling vents, wall outlets and power lines. And if you've ever had a client ask you to shave off a few pounds in their photo and you didn't know what to do, I'm initially you Some of my favorite technique for helping them look. Their best files that I use in this course are included. Fire up your photo shop and let's dig it 2. How to Swap Expressions: as a portrait photographer. One of the things that you run into a lot is a great pose and not a great expression in the same picture. So I'm gonna show you in this video how you can fix that very easily. For example, here is a photo of my son that I shot when I was really just using him as a model to capture some Cochet pieces that I did. And he lives adorable here. He's got a smile on his chubby little face, but the scarf is slipping off his shoulder and I don't like how that looks. So thankfully, I do have a shot here where the scarf looks good and hat looks good, but he is very stoic. This is his poker face. So how can we fix this? It's very simple. First thing is that we're going to select the good piece that we want to bring over into the other picture. So I'll go back to this picture with a smile, and I'm gonna just use the old school of marquee tool. So it's up here on the toolbar. It's the letter M on your keyboard, and then I'm going to imagine a box around his face. I'm gonna position my cursor in the top left corner and click and drag to the bottom right corner and let go So you can see that the selection is quite a bit larger than his face. And that is on purpose because we're basically kind of performing a digital transplant hair , little facial transplant swap. And to make it easy on ourselves, we wanna have a buffer to buff away around the area that we're trying to transform or to transplant. So we want his base, but I need to give myself room toe work around it. So I've made my selection really big, and that's okay. Once we've got a selection, we need to copy it. So I'm gonna press Commander Control, see on my keyboard. And then I'm gonna come over into this image where he's got his poker face. I'm gonna paste it in by President, command or control the Now we see that Photoshopped puts it on a separate layer or here in the layers panel, and I'm gonna use my move tool. So press the for my move of of the tool on. Now I can drag this in two relative position to find Tune that, really? I'm going to temporarily lower the a pass ity of this layer by pressing the number five on my keyboard. So because I have the move tool active. When I press a number like five, I get the A pass ity in the layers panel set to 50%. Of course, you can always also just come over here to the layers panel and click to get this scrubber here. And you can drag this wherever you want it, so just temporarily lowering it to 50% so that I can position it properly. I'm also gonna zoom in by pressing command or control Plus on my keyboard. And now with my move tool still and basically just gonna drag this and tell his eyes lineup . And you can also use your keyboard to nudge this so, you know, get it close to where you want it. And when you're happy with it, we can restore that opacity back to 100% by either clicking in the layers panel and dragging the slider, or I'll just press zero on my keyboard and that will pop it back to 100%. Okay, So this is looking good, but of course we can't stop here. We have all kinds of stuff going on that we need to clean up. So there's a box around his head right now. So instead of erasing that away or trying to select it away, we're just gonna buff it away. And we're gonna do that with a layer mask. So if you've never used layer masks before, they are magical. And if you have fumbled around with them before and kind of freaked out and felt like they were confusing, I've got you. OK, so here we go. A layer mask is just like, ah, Halloween mask. It covers your face. It hides your face on a layer mask, hides part of a layer. So we want to hide these boxy corners that are around his face. So to do that at the bottom of the layers panel, I'm going to click right here to add a layer mask, and we can see that the layer mask appears of this thumbnail here on top of on the same layer connected with his face layer, his smile layer. Maybe I should rename this smile so I'll double click to do that. So I want to make sure you can see that whenever you have a layer mask, you can actually target the layer itself, like the image itself. Or you can click to target the mask, so that's really important. When you add the mask, it's selected by default. But just be careful, because if you click away, you're gonna have some different results. So I want to make sure that the mask thumbnail is selected, but right now the mask is blank. So it's just what just like ah, blank canvas is often white, so a blank mask is white, so it's not hiding anything. So the way that we tell photo shop what parts of the layer we want to hide is by grabbing our brush tool. So coming over here on my toolbar and then pick up my brush, and I'm going to make sure that black is my foreground color. So whenever you add a layer mask, Photoshopped generally defaults your colors to black and white, and I want to paint right now with black to block that layer and hide it. So I'm going to swap my colors so that black is on top by pressing the X key on my keyboard that will exchange the foreground and background colors. You can also press this little switcheroo button right here, this double headed arrow and that will do the same thing. So I want black on top. I've got my brush. I want to make sure that my brush is big and soft so I can come up here in the control panel for my brush, and I could see right now I've got a 90 pixel soft edged brush. If I want to change that, I can click right here. I can make the supplies bigger. I can make the brush harder or softer. We want a soft brush right now, So I'm gonna drive this all the way to the left and the size. I'm gonna make bigger using the keyboard by pressing the right bracket key. The bracket keys are the keys next to the letter P. So the right bracket key is going to make the brush bigger. The left bracket key will make it smaller. And while we're here talking about it, if you want to change the softness or the hardness, you use the same bracket keys with the shift key. So shift left bracket key will make your brush softer and shift right Bracket key makes it harder. And you can always get a little preview by looking up here in your control panel. So right now I've got a 600 pixel brush and is very fuzzy and soft and I've got black paint . So now I'm just gonna paint right in my image and pain away those boxy corners And I'm also gonna paint away be the hat that came with the smile and the scarf to We don't want that scarf because that scarf was slipping. Ah, And now that I want to get closer to his face, I think going to make my brush smaller. I'm going to do that again with left bracket key. So I'll just press that a few times and I'm going to go in here and I am masking everything that came along with his smile except his eyes, nose and mouth. So we're seeing his original jawline here his original hat line. But I want to keep his eyes, nose and mouth showing. So if I make a mistake, if I somehow accidentally mask away one of his smiling eyes. Look at that. You can see the difference, right between a poker face, I on a smiling I. So if I make a mistake and I hide or mask too much of a layer to fix it, all I have to do is exchange my colors again x for exchange so that white is on top and then I just paint it back and that's it. When I'm ready to check my work, I'm gonna come over to the layers panel and I'm gonna topple this eyeball icon on and off so that I can flash the layers. And what I'm looking for is anything weird that's flashing around out here. Like maybe I missed on edge of the box somewhere. I would definitely want to get that. So I'm looking for those kinds of things. The other thing that you could do is you can view the mask itself by pressing all tor option and clicking on the mask. And here I can see, like, you know, maybe I have, like, a white spot over here or something that I could fix. I have this black line in here. I'm not sure why, but let's take it out and see if we mess anything up. So to restore the preview here to the image itself, you're just gonna alter option click again. Right on that mask. Thumbnail on that looks really good. So it's a super simple fix to a very common problem. 3. How to Fix Blink Shots + Reflections: Let's take a look at one more example. Here is an image where the subject has both eyes open. And here's the same subject in a slightly different pose with his eyes closed. So what if we want to keep this image, but we want his eyes open in it so we'll come back over here. Same thing. Make a selection. Select this. I copy paste position. So grab my move, tool. Move it in place. Zoom in so I can see what I'm doing. That's command or control. Plus plus plus. And then I'm gonna temporarily reduced capacities all press five on my keyboard again. Now here we see that if I just position like the inside corner of his eye, then the is going to be at the wrong angle for the tilt of his head. So we need to transform it. So I'll press command or control tea on my keyboard. That brings up free transform t. And now if I hover my cursor out here in the corner, I can click and drag to rotate that whole layer. So I'm just trying to line up his lower lash line. So maybe about like there, so keep this in mind for other situations where maybe, for example, you've got a photo of someone wearing glasses, and maybe they have a reflection in one eye, but the other eye is clear. You can select the clear I copy it, peace it and then enter free transform. And while you're here with the box, you can also right click or control. Click in there and then you can choose flip horizontal, and that will flip the layer over. So then you could use the right eye to replace the left eye. So but that doesn't apply to this image. So I will just keep this not flipped on. When I'm happy with the rotated adjustment, I will set the transformation by pressing either enter or coming up here to hit the check mark. Well, we're store the opacity back to 100%. Go to the bottom of the layers panel at a mask, press X to exchange the colors on and grab my paintbrush and paint away the books. And I think I'm gonna keep his original eyebrow from the closed I layer. So I'll make my brush smaller again, left bracket key, and then I can pink the eyebrow without affecting the five. And when we're happy with it, toggle, that looks pretty good. I noticed that this inner edge of the eye is flickering when I do that, so I like to keep as much of the original layer as possible. So that was maybe a little too much. So I'm just going to go in, and there we go some. Now if I toggle that, that's looking pretty good. And there you go. So keep in mind that this very simple technique can be used to fix a variety of common problems. 4. How to Whiten Teeth: Okay, So what do we dio about yellow teeth? It's so simple. You won't believe it. There's a 1,000,000 ways you could do this, but my preferred method is to use an adjustment layer. The first thing we're gonna do is make a super rough selection of the teeth so you can use whatever tool you want to do this. But, I mean, really, it does not have to be perfect. So I'm just going to grab the quick selection brush. So this tool works kind of like a magic wand that's also a paintbrush, and you just basically click with it and it's sort of snaps to a selection, and you can see it's going a little bit overboard and selecting his gums. So to clean that up, I'm just gonna hold down Ault or option, and you can see your cursor changes to a circle with a minus instead of a plus. And then you just click away and kind of click drag over the parts you don't want to get, so I'm just going to make a rough selection. I'm not even gonna bother bother with the bottom teeth right now, so let's just go from here for right now, and the next thing we're gonna do is add an adjustment layer. So from the bottom of the Layers panel, we're going to click the little adjustment layer icon and choose hue saturation. And what people often don't realize is that within the hue saturation panel, you can target different colors. So in this case, we're going to target the yellows because his teeth or yellow Andi, I'm just going to take the saturation slider and drag it all the way to the left. Now that kind of makes his teeth with gray and dingy and gross. There's a number of ways you can do this, but honestly, this, I think, tends to work the best, and it's quick and easy. So one thing we can do is adjust the lightness a little bit. Don't go crazy because I really doubt his teeth are that perfect. But im, I'll just do like something. Maybe like this. Now, of course, we can see the difference between his top teeth and his bottom teeth. So let's go ahead and do the bottom teeth to. So now that we've already made this adjustment on, the adjustment is happening in the layers panel not on the image itself because we had a rough selection of the teeth when we created it, it came with a mask. So that mask that selection, it was transformed into a mask. So to apply the adjustment to his bottom teeth, all we have to do is unmask his bottom teeth. And of course, we clear the masked by painting with white. So in the layers panel, I concede that I've got the hue saturation layer selected, and the mask itself is selected. So I'm gonna grab my paintbrush. You can't use the quick selection brush here. You gotta have your paintbrush and I want white paint and then I'm just gonna paint his teeth, and I could be pretty sloppy about it. And again, you think about whether you want hard brush or probably a soft brush is going to be a good choice. And if you wanna clean up some edges here, you just brush over those as well. So you can see this process is very forgiving. You don't have to make a perfect selection is very simple. Now, what's cool about doing this as an adjustment layer is that it's creditable. So this looks over there. Nobody's teeth are quite this perfect. So here's what we can do. We have a couple of choices. We can lower the opacity of the adjustment layer. So in the Layers panel, we can just take the opacity from 100% and just kind of fade it down. So maybe 60% we can compare a little before and after action by toggle ing the eyeball on enough. And we can see that even if we lower the adjustment capacity down to 60% it's still a big improvement. So that's one option. Another choice is you can always just adjust the adjustment by clicking or double clicking on the adjustment icon itself. If you don't have your properties panel open, if you double click, it will pop open. And then maybe we just go back to the Yellow Channel, and maybe we bring the saturation back up a little bit or we bumped the lightness or we drag it down or whatever, so you can infinitely adjust this. So now that all of your subjects will have brilliantly white teeth, join me in the next video, and I'm going to show you how to make their eyes pop too 5. How to Brighten Eyes: one of the things that can really make a portrait. Pop is brightening the eyes just a little bit to really bring attention to them and make them pup on. The technique for doing so is very similar to what we did with whitening teeth. So we're gonna be using adjustment layers. We're gonna head back to the layers panel and click the adjustment layer icon. This time, we're going to select levels. So basically, we're going to just adjust the exposure of the image to really brighten it up, and then we're gonna apply that adjustment just to the eyes. So once we click that, you'll see we've got our adjustment layer here and it's called Levels one. It comes again with a blank mask and what we're gonna dio is just brighten up the image a little bit, not something ridiculous, but just brighten it. And I'm going to do that by just grabbing this mid tone slider here in our history ram and dragging it to the left. So maybe something about here now we don't want this adjustment to happen to the whole image. We just want it to happen to the eyes. So what we want to do before targeting the eyes is we just want toe hide the whole adjustment and then we'll target the ice specifically. So one easy way to do that is here from within this property panel, where are hissed a gram is showing up. We can click over here to target the mask itself and you'll notice right down at the bottom . Here there's a button to invert the mask. So right now the masses clear it's applying that bright ning to the whole image. And we're going to basically turn the whole math black and hide the whole adjustment by pressing invert. So now we can see that the thumbnail here is black and the image returns to normal because this black mask is hiding the bright ning adjustment that this layer is producing. So if it helps you to just kind of keep all this straight, I'm gonna rename this layer and call it Brighton just to help. You kind of make sense of all this. So the Brighton layer is now being completely blocked. It's being masked. We don't see the effect that it's having, so we can now apply that bright ning specifically just to the eyes. So I'm going to make sure that the mask is selected here in the adjustment layer. And just like we did before, we're gonna use our brush tool, and I'm gonna make my brush bigger. Right bracket, keep. I want to keep it again soft, and and you'll notice if we just paint, it's gonna brighten up those eyes just that quickly and easily. So depending on how intense of an adjustment you've got happening over here, you can always lower the effect down here in the layers panel. Or, if you want to temper the adjustment even more, you can start by painting with a lower capacity. So maybe that's 10 or 20% and then you can kind of just build it up. Or you can come straight out of the gate and do 100%. And if it ends up being too much, you can tone it down over here so you can see here was no adjustment. And here is the full adjustment and, as always, because we're working in an adjustment layer, it's super easy to adjust the adjustment at any time by just double clicking the little icon right here in layers panel and then that will bring you back to the adjustment. In this case, with the levels adjustment in the previous video, we did a hue, saturation adjustments. So whatever adjustment is happening, if you double click, you'll get back to it. And then maybe you want to tone it down, or maybe you want to boost it up. So that is up to you. So now that you know how easy it is to brighten your subjects eyes, I'm gonna show you one little trick that I really only reserve for like a super awesome, close up powerful image where I just want those eyes to flat out slay you with me. So here's what we're gonna dio I'm gonna click at the bottom of the layers panel to add a new blank layer. I'm gonna grab my paintbrush and I want white paint. The easiest way to do that is to press D for default colors. So maybe you have, like crazy colors going on here, press d for default that will give you black with white in the background and then, of course, press x Teoh, exchange your colors and now I'm gonna make my brush smaller left bracket key. And I'm This is gonna look weird at first, but I'm just gonna Pete sort of Ah, highlight. Just in the irises. Does that look freaky or what? What is the vampire zombies? Okay, once I've got that, I'm gonna change the blend mode to overlay you see where I'm going with this, and then let's not be so creepy. Weaken, Drop the opacity down toe. Whatever looks good to you, but you can see that just adding this one little layer. So I'm gonna call it like sparkle. So I've added the sparkle layer that is literally white paint with a soft brush. And then we change the blend mode overlay and just drop down the opacity. And it just adds this amazing glass marble e death to your subjects. Pupils are not your people's there, iris irises I received, and it's just kind of striking. So take it or leave it. That's a little bonus tip for you in the next video. We're gonna take a look at how easy it is to zap some six 6. How to Retouch Skin: so every human on the planet has blemishes. Fixing them is super simple, and there's a lot of different ways to do it and a lot of different extremes that you can go to. But in this video, we're gonna just keep it super simple for, like, your everyday kind of stuff. And I'm gonna show you two different tools the spot healing brush and the healing brush. So any time that you start doing some retouching with skin or whatever, you want to be working on a separate layer, and the reason for that is it just makes your life easier to keep things separate. And all of the retouching that you're doing will take place on a separate layers. So to do that, we're gonna make a new blank layer at the bottom of the layers panel, and I'm gonna grab my spot healing brush first. So the healing brush re touchy type tools are part of the J family. So let's press J on the keyboard and let's take a look at the family. There's a lot of different tools here, but in this video, I'm just gonna focus on these to the spot healing brush tool and healing rush. So the spot healing brush They both have Band Aid, little icons, but the spot healing brush has a Band Aid and then, like a little circle coming out of it. So that's what we're going to start with because it's the most simple. When you're using either of the healing brush tools, you want to make certain that not only you're working in a blank layer, but also that up in the control panel. You want to make sure that you turn on this option right here to sample all layers. You'll see what that means in a minute. So now that we're set, I can just click on any little blemish, just kind of click dab and it goes away. It's like magic. So little clique when ah, scribble gone. So I'm just going through and looking for any like, I don't know, a little skin bumps or whatever, and he actually has a really great skin. Let's come over here and maybe just kind of brushed these away. So the way that the spot healing brush works is that wherever it is that you click with it , photo shop is reading the surrounding area and it's intelligently deciding what to fill it in with. And usually it's pretty good. So this tool is really more for small areas and literally like spots. That's why it's called the spot healing brush, so you don't have to designate the sample area. You just click and dab with your mouse or your stylist or whatever, and photo shop will just kind of figured out. So sometimes it does less than great job, and in those cases you can just press. Commander controls the to undo it and then try it again. The other thing that's great about working on this blank layer is because we turned on the sample all layers option. If I hide the background layer, you can see that all of the makeup is happening on the new layer. So maybe I'll just even call this makeup. So we are sampling the background image, but we're putting the makeup on the makeup layer on the new layer, so that is what the sample all layers does. So just keep that in mind, because if you forget to turn that on photo shops going to be sampling blank layer and painting blank makeup if you're ever using this tool, and it's not doing anything. Make sure you have this turned on. Another great thing about doing all of the makeup on a separate layer is you cantata lit on and off so you can see like, Did I forget anything? Did I go overboard? It just makes it really simple to check your work. If you make a mistake somewhere and you overdo it in the section, just erase it from this layer and he'll right back over it again. So it's really flexible and easy to work with. So what's the difference then? Between the spot healing brush and healing brush? I'm so glad you asked. Let's go back over here and let's grab the healing brush tool so it operates the same way. So again, we need to come up to the control panel, and we need to make sure that sample all layers of on. And so this option looks a little bit different with the healing brush. It's not a check mark, it's ah, drop down. But we want to make sure that we're sampling all layers. This tool is more precise because, unlike the spot healing brush that just guesses what to fill the area with this tool allows you to actually target your desired sample source. So let me zoom in. For example. Let's say that we want to remove this little scar right here. So we're gonna be clicking and dragging instead of just clicking, like with the spot tool, the spot healing brush. So if I just try to do this, it's gonna say, Hey, you need to define a source point and the way that you do that, if by all tort option clicking So if you get that message, that's what it means and I'm gonna hold down Alder option. And then when I'm holding the key, you see my cursor changes from my brush to this little target. And then I can use this target to click and tell photo shop where I want a sample from. So nothing happened like that. We can see. All I did was Ault or option click in the area I want to use, and I'm not even brushing right now, But you can see that I've got this like funny preview happening within my cursor. So it's showing me a little preview of what this sampled area is gonna look like if I painted over here, so I'm just going to click and drag to paint it. And when I let go, it's applied on. I'm not sure whether that was the best sample area, so I'm gonna undo that, and I'm gonna try to make my brush a little smaller. I'm gonna alter or option click right here, and I will do this. Oh, yeah, that was a way better area. So you can see that it's a lot of trial and error. So you sample something you think is gonna work, and then maybe it doesn't. So redo it. Very simple. Let's do this little scar right down here. Same thing. So hold all or option, and I'm gonna click in a nearby area. That is a good donor match for replacing this tissue. And I'm going to click and drag and I'll pick up and click and drag. Now, the thing you have to notice when you're doing this is as I'm moving my mouse. You see the little plus that is my source. As long as you're holding your mouth down, the source is following you. So you do have to kind of plan ahead and be a little bit strategic that you don't like. Drag your source somewhere else because whatever is underneath that little tale, I think of it like a tale because it follows you. So whatever is under your tail is going to come out of your brush. So keep an eye on your tail. Teoh, make sure it's not going somewhere where it shouldn't be. 7. Removing Common Eye Sores: So in the last video, we looked at the spot healing brush and healing brush. And in this video, we're gonna look at some of the other members of the J family, starting with the clone stamp. So what is the difference between the clone stamp and healing brush? Because they operate the same way you said a source point, and then you paint. The difference is that the healing brush? Apply some blending to the calculation that's happening, and that's great. Oftentimes when you're working with skin and such, but in other situations, you might not want blending to happen. So here's an example where there's this architectural image, and then there's these power lines up here, and sometimes it's nice to just not have power lines in our photos. So if somehow you can't avoid that, here's one way to fix it. I'm gonna add a new blank layer, just like before. I'm gonna come grab the clone stamp, which is not a member of the J family. It's a member of the S family, and there is a close, damp and a pattern stamp, but we're going to just keep it simple and stick with the clone stamp and just like the healing brush, we need to come up here and tell Photoshopped toe work and sample all layers and we're working on a blank layer again. So the reason that I would do something like this with the clone stamp instead of the healing brush is that the healing brush blends things together. And in this case, I'm not just trying to blend one area of skin with another area skin. I'm trying to re create or maintain this exact line of the edge of the building and then just, like, not have the power lines here anymore. So I don't want blending to happen. I want straight up cloning to happen, so thus the difference. But it operates the same way. So we're still gonna hold all toward option to set our source point, and then we just paint with it. So I'm looking at this, and I'm like, this power line is running smack into this little cut out in the stucco work here, So I want to source this cut out to put it up here. If I just source right here and start painting than I would be effectively removing that little cut out. So I'm gonna hold down alter option, and I'll put my cursor right there and just click with my mouth. Nothing happens. But I told Photo Shop where to sample from. And now you'll see that I get this little preview so I'm not pressing my mouse right now. It's just showing me, like if I did start painting right here, this is what would come out of my brush. So that's really great, because now I can line it up just right, and then I can clicked. Apply it and you see that it put that little cut out there. And now if I drag to the right, I can just paint the power cord away and you'll notice I can't get the little edge like I'm painting over it and nothing's happening. And that's because I ran my tail off the edge of the picture so it didn't have any source material, so I basically, like ran out of material, so that's no problem. I'll just hold down alter option again. Click over here and then I can paint over. So let's do the same thing up here This time. Let's set a source point. That's not where the cutout is. Maybe I'll make my brush a little smaller too. So I'm gonna alter option click on this edge that is in the middle between those little cut outs. And then I'll put my cursor right here on I can paint out this way and I kind of miss Let's Yeah, let's do that over. Maybe we'll even source right here. So alter option. Click on, then. There. That was good. Yeah. And now, again, I'm kind of run out of view, so I'm gonna let go of that and alter or option and click and keep painting so I can kind of move around and just set my source points. Al, I need to. Here's another one. We're getting close to the top. I'm gonna make my brush even smaller causes a really small space up here. And let's source right up here, close to it about like that. There we go. So that is how easy it is to remove power lines. And again, we chose the club stamp instead of any of the healing brush is because we didn't want to blend like the white sky with the black wire or, um, and We didn't want to blend like the texture of the sky with the building or whatever. We just want to destroy it up, copy this part of the building and painted up here. So that's the clone stamp as a portrait photographer who spent many years photographing weddings, one of my biggest Pepys, when I'm shooting like a beautiful location and a beautiful bride and whatever is wall vents or ceiling vents or power outlets or any of those things. And I would try, of course, to compose the scene where not seeing those things. But sometimes you just can't so there's a lot of different ways we can fix them in photo shots. So here I have a picture of the bride and she's writing a letter to her soon to be husband , and I have this wall vent up here, and then there's like, this creepy ceiling camera. Let's zoom in on this ceiling vent up here, and we could we could clone this out. You could try healing it out. Ah, lot of times any one of those tools is a fine choice. But just to show you another option, let's go back to R J. Family and I'm gonna grab the patch tool. I feel like the patch tool is underrated. It's been around for, like, ever, and it's just so convenient and kind of fun to you. So the way that you use it is you drag around the area. That is the problem. So I've encircled the problem, and then you just click and you dragged to a solution, maybe appear. And when you let go, photo shop blends, it calculates that figures it all out. And like magic, it fixes the problem so you can see the patch tool is, like kind of awesome, and I don't know why it doesn't get more love. Let's go over here and take a look at this creepy spy camera sets up in the corner here and let's see what happens if we do the patch tool so I'll select it. And now we have to deal with this line of where the wall hits the ceiling. So I'm gonna select it. Careful not to include the corner on. Let's see if we can get away with just a patch tool. So now I'm moving it over here and I'm I'm aligning it so that line is in position and let's let go. Oh, I think that did a fine job they thought would not have worked. I would have maybe gone at it with the clone stamp of healing brush. But to be honest, sometimes you can sort of make a bigger mess with the healing brush or the clone stamp. So whenever possible, I just love to use the patch tool. Here's another example. So a lot of times I just have a saying about, like, logos and distracting little things. So here I could do the same thing. Just grab it and drag it away. So I don't even have to bother with making a new layer and like setting the source point or any of that stuff. Just Paschall. Here's another example with another ceiling vent, so I'm just gonna go at it and drag it over here gone. Sometimes you might have a really cool shot, but you just wish you had composed it slightly differently. And it turns out that there is a really cool sort of reverse patch tool for that, and it's called the content Aware Move tool, also part of the J family. So to you that you kind of do the same thing. You select the thing that you want to move, so it's sort of like the reverse of the pastoral. Instead of selecting the problem, you select the subject or the thing on. Then you just move it and watch her magical. This is so maybe a we decide. Like I really wish that I had composed the scene with more empty space to the right. And when I drop it, I get the option of transforming it. But we'll just leave us. Leave it as is. And then I'm gonna click the confirmed check mark up here. And Photoshopped does its magic on it. Filled in the place where are subject waas And then they, like, blended her in and moved her over here. So those are a few more tools that you could use to fix some of these pet peas that you might end up with in your photos 8. How to Nip + Tuck with Liquify: but the portrait photographer, especially if you work with wedding clients. Sometimes you might be asked by client to help them out and help them shave off a few pounds. So here is my favorite tool for doing that. It's actually not a tool is a filter. So here is how I like to use it In this image, I have a bride who is maybe not happy about choosing strapless gown. And let's say she asks you to just kind of help her out with this. So what I like to dio is use any selection tool and just make a selection a big, comfortable, oversized selection. And the reason I do that is because we're gonna load this into the liquefy filter workspace . And rather than loading in the whole dine or mus image, I just like to be able to tell Photoshopped. Hey, I just want to work on this section. You don't have to do it this way, but it just kind of speeds things up. So I've made a rough selections anyone to come up here to filter and I'm gonna choose liquefy, and actually, before we do this, let's duplicate the layer. So we can compare before and after. So I'm gonna press commander Control J to make a copy of the layer. And then I'll go back and make the selection and now will come up to filter and we'll choose liquefy. So in the liquefy were explained that workspace there are tons of different tools over here , and you can control all kinds of settings and power and, um, density, all kinds or pressure, I guess over here. And so I'm not going to get into all of that. I just want to show you one of my favorite tools here. I'll show you a couple. Um, this one right here is it's called the push left tool. But you could do a whole lot more than push left. So what I'm gonna do is make my brush a little smaller. Same as every other time. That's the left bracket key. And the way that this tool works is if you click and drag upwards it it indeed pushes left . So if you click and drag downwards, it pulls right. And if you click and drag to the right, it pulls up. And if you click and drag to the left, it pulls down, so it's basically just the push tool. So it takes a little practice to get the hang of like, which way does what? So if I just want to take this area and just kind of tuck it in, I'm just gonna put my brush on it and gently click and drag up and I say gently because is it's so easy to overdo this. So I'm just kind of I'm not going to do a lot like I don't want the bride to look at this and be like, What have you done to me? I don't want her to even notice that this is really happening. Of course, if she asked for you, she's gonna expect that. But you still want to keep it. Really? You don't want people to look at that and be like, What did your photographer Dutilleux or what is happening? So keeping it simple. I'm just gonna tap gently and drag up in little tiny strokes and you'll notice I'm using like, a pretty big brush to kind of just do that. Um, so you're gonna have to experiment and really this tool or filter it takes practice, but this is one of the ways that I use it. How, when clients ask another thing that I think it's helpful sometimes for these digital liposuction techniques is this tool right here. This is the pucker tool. It is the opposite of the blow tool on the pucker tool just kind of shrinks things. So it's nice. Like I don't know if a client's like my nose looks big or whatever. You can kind of just pucker them up a little bit. You can control the pressure and size over here. Or, of course, if you're using a stylist. But just ever so gently just kind of tucking puckering things in. And if you make a mistake or like, for example, if I over pucker this, you see how it's sucking up the bottom. I don't want to do that, so I'm gonna undo it. But you can see that I still have a little bit of Ah, gap right here. You can always come over to your toolbar and use the reconstruct tool over here to just paint that back on the reconstruct tool. Just literally, like, melts away and he changes that you've made, so it's kind of handy. Let's go ahead and click, OK, and I'll de select it. And now we can make sure we didn't go overboard by toggle ing this layer on it. So we didn't take the bride and turn her into a size to We just kind of helped her out a little bit. And you know what? I can appreciate that sometimes, Um, so, you know, use at your discretion. Obviously, there are some ethical moral choices to be made here, but when your clients asking for it. Or maybe you're working on an image of yourself and you just, like, want to tuck something up, tightening up a little bit, This is one of the ways to do it. 9. You Did It + Free Download: thanks so much for watching. I really hope you enjoyed the basics, every touching and that you feel comfortable now that you know how to help your images and your clients look their best. Don't forget to check out all my other classes. And if you have suggestions or questions or anything else that you'd like to see me do a course on, please reach out and let me know. Thank you so much. And I will see you next time.