Fashion Editorial Retouching - Vogue .it Editorial | Andrea Baioni | Skillshare

Fashion Editorial Retouching - Vogue .it Editorial

Andrea Baioni, Fashion Photographer

Fashion Editorial Retouching - Vogue .it Editorial

Andrea Baioni, Fashion Photographer

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12 Lessons (29m)
    • 1. Fashion Editorial Retouching - Vogue.it Editorial: Intro

      0:26
    • 2. Fashion Editorial Retouching - Vogue.it Editorial: Editorial Overview

      0:46
    • 3. Fashion Editorial Retouching - Vogue.it Editorial: Choosing the picture

      1:40
    • 4. Fashion Editorial Retouching - Vogue.it Editorial: Basic retouching in Lightroom

      2:05
    • 5. Fashion Editorial Retouching - Vogue.it Editorial: Retouching in Photoshop Intro

      0:59
    • 6. Fashion Editorial Retouching - Vogue.it Editorial: Retouching Skin in Photoshop 1

      4:50
    • 7. Fashion Editorial Retouching - Vogue.it Editorial: Retouching Skin in Photoshop 2

      1:11
    • 8. Fashion Editorial Retouching - Vogue.it Editorial: Retouching Hair in Photoshop

      4:14
    • 9. Fashion Editorial Retouching - Vogue.it Editorial: Retrouching Clothing in Photoshop

      4:24
    • 10. Fashion Editorial Retouching - Vogue.it Editorial: Retouching Tones and Colors in Photoshop

      5:08
    • 11. Fashion Editorial Retouching - Vogue.it Editorial: Photoshop wrap-up

      1:10
    • 12. Fashion Editorial Retouching - Vogue.it Editorial: Before / After and final touches in Lightroom

      1:40
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About This Class

What does it mean to edit and retouch a full editorial for Vogue.it?

My name is Andrea Baioni, and I'm a fashion photographer based in Milan, Italy. My main goal here is to show through classes what is required in order to shoot fashion photography for international clients.

This is my first class here, and I will guide you through these steps:

  • a brief introduction on understanding what to look for in a fashion editorial;
  • editing, so choosing a picture while considering poses, movement, imperfections, and coherence;
  • retouching, in both Adobe Lightroom and Photoshop, covering skin, hair, clothing, tones, colors and global adjustments.

This class is perfect for intermediate photographers who want to understand what an industry standard like Vogue Italia looks for in a editorial.

However, the techniques and methods used while retouching in Photoshop are suitable for all levels, so don't be afraid to just jump in and learn as much as possible.

By the end of the class, you will learn how to:

  • choose a picture with a critical eye, as I will guide you through my decision making process when approaching different pictures taken with the same outfit;
  • perfectly retouch skin, hair, and items of clothing, while looking at different tools for different results and necessities;
  • apply global adjustments for tones and colors both in Lightroom and Photoshop.

I'll add a .tiff file of the picture we're going to retouch as a Class Project, so you can follow the class using the same picture I'll be using (please bear with the watermark, sometimes it's a necessity).

I will leave my work email at the end of the class, so feel free to contact me if you need any more infos or have doubts about any of tools we'll be using.

Please enjoy this class, and let me know whether you liked it and what you'd change about it, so I can deliver better videos in the future.

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Meet Your Teacher

Teacher Profile Image

Andrea Baioni

Fashion Photographer

Teacher

My name is Andrea Baioni and I'm a fashion photographer based in Milan, Italy.

I've been working for 8 years in the industry, and my works have been used for international brands and publications such as Vogue Italia, Antonio Marras, Roberto Collina, Leica Camera, and others.

Right now I'm working on African fashion, and I'm splitting my work between Milan and Johannesburg, South Africa.

I believe that a photographer should be first and foremost honest, both to oneself and through his or her images, and I'd love to help more photographers in finding their way with my classes.

If you'd like to see more of my works, you can head over to my instagram (@risunobushi) or to my website (www.andreabaioni.com).

See full profile

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Transcripts

1. Fashion Editorial Retouching - Vogue.it Editorial: Intro: Hello, everybody. My name is INS Rabbi Yoni and I'm a fashion photographer based in Italy. I'll be uploading one video every other Friday covering, editing and retouching photos were shut for actor appliance. This week we'll be looking at one of the editorial sided forward, a tighty showcase and South African fresh. We've got through understanding territorial editing and using the pictures and carefully touching one of them. 2. Fashion Editorial Retouching - Vogue.it Editorial: Editorial Overview: Here's the full editorial. As you can see, the main focuses on collars as working with many different fashion designers. Most of the times proves difficult as far as having a coherent moved goes. We scouted a really colorful location and played in both the colors is backgrounds of colors was clothing. Today we will focus on the second picture from the bottom left, and I will show you how to choose a picture for editorial as well as how ever touched it. So this is my first lesson here and skills check, sir, please let me know whether you liked it or not and what you would want to see more off or explain differently At the end of the lesson, I will live my work email And if you'd like to reach out for more help, I'd love to do so as possible. 3. Fashion Editorial Retouching - Vogue.it Editorial: Choosing the picture: the first thing I will guide you through my thought process when I have to choose a photo to retouch here. Six variants of the same outfit. The 1st 2 are other similar, and while I think that the 1st 1 is the strongest to, they have similar issues to dress his wrinkled on the model's waist and the arm forms a weird angle. The third picture looks to Steve and without any hint of movement, the body creates a rectangular shape, which looks a bit boring and isn't flattering for the dress at all. Also, there are still some crazies as well. The fourth and the 5th 1 looks similar, and while the body creates a shape that reminds sort of movement and that's interest the image I'm not particularly fond of the place position in the 5th 1 and in both of them, this skirt looks too cramped. If it were a bit more flowy or bigger, it would have happed in creating movement. But like this, it just feels like enough to thought also, while I think that the 4th 1 is better than 5th 1 this is some crazies on a waste. In the 4th 1 that are absent in the 5th 1 So all things considered, I think the 5th 1 and the 1st 1 are the best out of this five that were just conceded that however, we're going to choose number six as the face position is perfect. Doesn't crazies on address the body has an interest in shape to it with a hint of movement . And you can see the skirt which this pointless, more like a liability than it has today image. So this is my choice. But feel free to tell me if you were choosing any other image, so now we'll start touching it. 4. Fashion Editorial Retouching - Vogue.it Editorial: Basic retouching in Lightroom: he is the picture as taken better camera and imported in lights room. You can see that a high life are really blown out and the shadows are a bit shallow. So you actually want to have a bit more depth in there in order to have to picture really popat. So the first thing we can do is actually lowered exposure a bit in order to have less blown out highlights. And then we're low. In contrast as well, you can see that shadows are still not as defined as I want them to be. So in order to have more depth to the picture, we're gonna have to lower the shadows a bit and you can see that the dress is actually starting to pop up more. And then we're lowering the black says Well, but not too much in order to still retain some informations from the black. And then we'll up the highlights a bit while bringing down the whites a bit so that we have more highlights, but not completely wide. So now you consider we have a very mild picture as fires tones go, which is perfect for further retouching and photo shop. The last thing I want to do is adjust the temperature and tent a bit because I feel like the skin is a little bit too radish. So I start by tapping the yellow a bit. But also bringing down the red cent towards green and the pictures looks a bit too yellow now. So I'll just go back to blue as far assembled ago. And when I'm satisfied with the result, I think damage is perfect for starting the retouching in photo shop and is now is a little bit off before and after. So let's continue their touching with photo shop now. 5. Fashion Editorial Retouching - Vogue.it Editorial: Retouching in Photoshop Intro: All right, so we're in for the shop now on. I'm gonna show you where we're gonna apply changes and retouch the image. So one of the things we're going to do is fix the shape of the dress on our waste here as it is a bit on fluttering on our body, and it distracts the viewer. Then we're gonna fix us straight hair around her head, and we're going to smooth skin a bit as well as their moved shadows under the highs as well as the shadows around the mouth, as well as some off the skin imperfections that are completely natural but may distract. A viewer Democrat has moved the creases on address where the present, and then we're going to smooth the moray effect that his present owner left arm. But overall, keep in mind that we don't want to image to look fake 6. Fashion Editorial Retouching - Vogue.it Editorial: Retouching Skin in Photoshop 1: So let's start with skin. We're gonna use the frequency separation technique, so duplicate the base layer three times. And the reason why we duplicating it three times because Because I always want original A. It just the hidden in order to compare the end results to the start. So I knew there is gonna act as the background while we're gonna work under two copies that we're gonna rename DeLay, a second from the top is gonna be named Low pass and lay it on top will be named High Pass . Did you know to show you what we're doing? I'm gonna hide the high best layer and then selecting the low past layer I'm gonna go to filter Blur, Goche, Ambler. And then I will select exercise that would conceal the skin. Finest details, while not blurring damage too much. It's a bit of a trial and every process, but I think that eight pixels here works well. Then we're going to make the high pass layer visible again and selecting the heart best layer to filter other high pass and gonna add in the same pixel amount after Goche Ambler Useful low pass layer. Then we're going to diffusion option for layer and select Lini a light, and then we'll dial down the opacity down to 50% What this does. It creates a perfect replica off the base layer, using birthday, high pass and low past layers. But when your act on the low past, Laker your act only on tones and colors and not in finer details, whereas where you act on the high pass later, you only act on the finest details, so we're now act on the high pass. Later, I'm gonna select clone stamp tool on. We set it too low hardness and then under mode will get to lighten and will adjust the flow down to a 20%. So using the clone stamp tool now we're removing all of the blindness years around the face and neck. We lived his area for later as it is harder to retouch. So you see now that we have lightened all the darker them issues. So now we get to mode and set a dark in and will do the same again in order to dark and down delighted piles of the skin blemishes. What this leaves us with is a skin that is clear of affectionate. Consider difference between the head and the area and sunglasses. So now we move on to low pass later in order to accented tones and colors of the skin, and we'll do the same again. So set up to moat. Lighten and act on darker spots that you want to lighten up a bit, and I always try to use a wide enough brush so that you won't see any lines from where you pass with brush. I will be taking care off the areas around sunglasses. What you want to do is always go in the direction off the catch lights in the sunglasses so as not to disturb any geometry that might have formed in the picture. Otherwise, it would just look fake and be easy to spot and always give him lines the bone structure so always work in a way that recreates the bone structure off the face. Sin ended with taking care off the tones and colors around the sunglasses will go on to the high pass layer and will use the same clone stamp to in order to remove and final details that we don't want it. A final picture and is it? You can see a difference from the start and finish on. Then you can just collapse old layers into one except from the background layer, which is the original layer and in can just adjust capacity off the resulting layer. Selected blends a bit to the background. Once you've done that, the skin is ready and we can move on to the next part of the media. 7. Fashion Editorial Retouching - Vogue.it Editorial: Retouching Skin in Photoshop 2: all right, So what we're going to do now is use the spot healing brush in order to remove any other blemishes that might have been too difficult to move with the clone stamp tool. But it's really easy to remove because Photoshopped would attack them. I use a spotted in brushes his last three sort kind of tool because usually for the shop doesn't really understand the texture off the scheme, so it might create some artifacts on the skin that I don't really like. So remember to use it only in small doses, and don't brush it to why it so that there's no out effects coming out of sporting brush and this is it. This was the last tool used for the skin and that will move on to the hair. 8. Fashion Editorial Retouching - Vogue.it Editorial: Retouching Hair in Photoshop: So now let's focus under straight hair so as not to distract viewer from the shape of the face. As ever, we will replicate layer, and we use a comb stamp tool set to normal and 100% of flow. This is rather easy example because the background is really geometrical. So the only thing that you need to focus on is working with strokes to go in the direction off background lines if the brush is too fuzzy, because the hair is not well landed in background and out of fuckers just up the hardness a bit. As a rule of thumb, the more out of fuckers is the hair. The more fuzziness you have to apply to the brush, and the opposite is true as well. If the hair is in fuckers, you have to use a hard brush, and now we work our way around the whole head. Using the same technique. We will leave the stray hair on top of her head for later. It's a harder part to retouch now. You can see before and after, and you see that the hair is much more in order. Now, moving on to the hair on the top of their head will use a smaller brush now, and we clean the area without being too precise as well. Move on later to adding more air to the area in order for debt. Feel natural in covert that spot using the lasso tool. Now we will take a sample off the hair on the left. Once we have done that with duplicate it in a new layer, then we'll move it towards the right to position where we feel like it can cover the spot. Naturally, when you feel like it's in good spot, we just add a mask. And then using the grazie int set to radio and from black to transparent, we will start to blend to duplicate hair in. Now, using the warp tool found in the added transform menu will transform the hair in order for it to have shape that it's more naturally blended in. Finally, for lost touches will use a brush set to medium hardness in order to blend and mask in the last pieces of her hair, and it is a quick before and after we can see that the hair is much more in order right now , Dan lost thing we're going to do is correct. The small strips of stray hair around the face and in the darker spots, using the clone stamp tool set to darken. - And this is it before and after, and then we move on to the dress. 9. Fashion Editorial Retouching - Vogue.it Editorial: Retrouching Clothing in Photoshop: Now we move on to the trust in order to fix small imperfections, creases and I wanted. Transparency is well duplicated, basically a zoo, always and using the spot here in brush, we remove old tiny spots and speckles of dust that can be found around dress. This should be easy for for the shop to be cup, but keep in mind is Dexter may result a bit off after using the sport healing brush. So always keep that in mind. And that's it every quick and is clean up. Now we move on to decrease this and then wanting transparency is in order to remove crazes . There are two methods. The frequency. Inspiration to community care about the texture of fabric or simply duplicate the base layer and use the clone stamp tool. We'll start with the frequency separation technique. Samos with it for the skin. It's a duplicate base layer three times and hide the background layer, then renamed the top two layers. Low pass and high pass, applying Kokoshin book to load best layer and a high best field. So to the high pass layer, apply Alina light fusion motor the high pass layer, and said it's a pass city to 50% now, using to close them. Tool and a small enough rush will work her way around creases the same way we did for the skin, switching between light and dark and mode. And remember to work on the low past layer whenever you want to act in tones and colors and work on the high pass layer. On the other hand, whenever you want to work on finer details and here's the before and after so you can see the crease has been blended a bit and doesn't stand out as much. And as always, we can use the past to setting on the resulting layer in order to blend it with the background base layer. Now, if you'd like to speed up the process of it and you don't care about Dexter of Fabric as much, we could just duplicate the base layer and just use the clone stamp tool switching between light and dark. And if the fabric allows it, the result would be acceptable if the picture won't be inspected at very close range and this is the end result. So keep in mind different limitations off the stewed methods and apply, whichever you think would be best for your specific case. One is more time consuming, while the other is faster but not exercise. The last thing we're going to fix is a wife lying transparency on the model's chest. And to do so, we will use the second method of showed you just now. So we'll just replicate the base layer on with the clone stamp tool. We will blend a light of parts of the fabric into the darker parts, and this is it. As faras fixing perfections goes here, you can see a quick before and after from start to finish. Then we move on to retouching tones and colors before heading back to light room for the finishing touches. So up to now we have fixed the skin, hair and dress. 10. Fashion Editorial Retouching - Vogue.it Editorial: Retouching Tones and Colors in Photoshop: Now we will fix the terms and collars first replicate, Base Layer and Heidi Regional one. Then, as I want to work in a blander image in terms of terms, I'll goto adjustments, brightness and contrast in order to dale both of them down a bit, then likewise, and go to adjustments levels in order to push Dimmitt dance towards left, lighting them up a bit. And that pushed of blacks and whites a bit so that I will gain back some of the depth I lost while up in the mid terms. Now you can just collapse everything into to duplicate layer and use the capacity to blend it with base layer. Now I'd like to get a bit more that damage. So I replicate the base leg again and that to empty layers selected top player and with a brush set the color white I like spec through white. Now we'll get to select color range and a picture whites back. What this does is it selects everything that disclosed to wide within a certain range, and you can adjust the fuzziness in order to select more or less now select the paint bucket to and feel the resulting selection with wide Diz Will Hannan's the natural lighting , not the picture, and then remember to erase the whites back. You did before with the brush. If you feel like the resulting wise a bit too strong, you can just work in the capacity of delayer or just changed fusion mode of the layer down to soft light. I feel like these are just personal preferences, and I'd usually much rather use the normal fusion mode and dialled down capacity a bit. But if you feel like using soft light, good for it. Now we will do the exact same thing for the blacks. So select a paintbrush to Andi. True Black, his collar and painted time Spack of Black, now selected with color range and the justifies Innis accordingly. I'm usually much more conservative with blacks because I don't want to blacks to be too deep. I still want a bit of detail under blacks, whereas the wiser usually a bit more mellow, and I feel like with wide suit, consider it's in a certain level of details. Even if you are, the party has a lot, so now just work on capacity, then collapse everything into the duplicate layer and then readjust capacity. If you feel like it's not working that well, there's something that needs to be changed. This is it for the tones. So now we will go on to work with colors. I'm not that fond of the yellows on the top part of the background, as they are like that, due to the shadow of an arch off screen. So I'll be duplicating the base layer and they get to image adjustments. Replace collar. This tool works in a similar way to the color range toe. Speak the color you want to act on and adjust the fuzziness in order for it to pick up. Old proportion could like to fix, then work your way through lightness, saturation and hue in order to fix it. Remember that happening Lightness results in a bit of a washed out collar. So if you had likeness, remember to add a bit of separation as well. Also, in this case, picking up the yellows will pick up some of the skin as well, so keep that in mind as the color range toe picks up some of the skin as well. We'll add a master deprecate layer and with a great in tool set to radio, I'll mask out some of the skin without being too concerned about being precise, as that's only a slight change to the collar. Now you can see the difference from before and after. As I won't hold background to be even throughout the whole picture. I must have some of the duplicate layer on the left of the picture. Now we can collapse the two layers, and since I feel like the skin is a bit too radish, I'll use the same tools to correct the hue of the skin just a bit. Suggest replicate delayer and go to image adjustments. Replace collar and repeat. The process is needed now. I'd like the model to pop out a bit more from the background, so I replicate the base layer, go to select color range and pick the background. When the selection is active at the Masters, replicate layer and will cut out the models frame living only background visible. Now select adjustments, brightness and contrast and right click on the newly formed adjustment layer. Does that create clipping mask This way? Adjustment layer will work only under duplicate later, and then a lot Brad Nous and lower the contrast so that the light of background in the low contrast of the background will make the model put out more. Now. Do the same with the levels adjustment layer and up the back point a bit, feeling the background and their lower the midterms a bit in order to get back that some of the shadows Now you can collapse the layers into the duplicate layer, and you can see the two adjustment layers have only worked for the duplicate leg. Yeah, this is it for terms and colors, So we will just give a quick look making photo shop and see if there's any other imperfections would like to retouch, and then we move on to light through him. 11. Fashion Editorial Retouching - Vogue.it Editorial: Photoshop wrap-up: This is the last bit wilder in photo shop. So using the spot healing brush or declaimed stamp toe, we will just remove any spot we don't like from the background. Now, since there's some wrinkles on our waste, well flat in the mouth with the liquefy tool in order to give back a flattering shape to her waist and to the dress as well. So we'll go to filters loop if I and using the foreword Warp Tool, work in the direction after background. As the background is very geometric, you should keep the lines perfectly aligned. Here's the before and after you can see that the lines are fine and the waist looks way better this way. There's no wrinkles and a shape. It's way more natural. So this is it us for a supporter, shop goes. There's a before and after from start to finish, and I think it took me about 30 minutes to retouch this image up to this point, using only my mouse. So all in all our other quick retouching, and now we'll move back to light room 12. Fashion Editorial Retouching - Vogue.it Editorial: Before / After and final touches in Lightroom: So here's the before on the left from when we have imported the picture in lights room and gave it a few adjustments and the after on the right, with old off the retouching we didn't for the shop. You can see that the resulting picture is adult idea, and both the model and address end up popping up, more out background. So what we have to do now is just fix them watery effect that has been created on an arm. So in order to fix them worry, we're going to use the adjustment brush and up the ante. Mara setting Keep in line that removing worry in light room usually ends up the saturating the fabric a bit. So began up this part. We're going to up the separation just enough to counter the effect. There it is now will just fix the saturation a bit, and the more effect should be gone while the fabric should retain its collars And this is it. We can work a bit on exposure highlights shadows and collars who feel like it needs to be done. So don't be afraid to play around settings however you like, but this will be the end for today. Please let me know if you like this class. And if you change anything about it as I've said it to start, this is my first class. And I'd love to do it more, possibly on every other week in order to show you some of the work process I usually do when I'm working with high profile clients and you can find me on instagram at Reasonable she or by email at Andrea dot by yemeni dot ph at gmail dot com. So thank you for watching on. Hopefully we're seeing you for the next class.