Natural Light Portrait Retouching in Photoshop - Start to Finish | Marcin Mikus | Skillshare

Natural Light Portrait Retouching in Photoshop - Start to Finish

Marcin Mikus, Retoucher and Photoshop Instructor

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8 Lessons (1h 1m)
    • 1. Introduction

      2:16
    • 2. Camera RAW Processing

      7:39
    • 3. Non-destructive Cleaning Process

      10:38
    • 4. Additional Cleaning up Technique

      6:17
    • 5. Dodge & Burn Retouching

      12:11
    • 6. Mastering Lights

      9:01
    • 7. Mastering Tones

      7:55
    • 8. Final Touch Ups

      5:14

About This Class

Wellcome to the retouching class - in which the main subject is natural light outdoor portrait retouching. In fact this class is going to give you much more, and after finishing it you will have a good knowledge on every kind of retouching.

In this class you will learn how to procces RAW files to create great colors and prepare image for retouching in photoshop. You will know how to retouch non destructively as well as how to use frequency separation in the right way! And one things that we cannot forget - you will master dodge & burn retouching.

From the general things you will learn everything you need to know about working with lights and shadows. I will also present you how to tone images by working with masks to have full control over shadows and highlights.

At the end you will do some final touch ups just to make sure the image looks perfect.

Transcripts

1. Introduction: Hi there. Are you looking for a class that will help you to prove your retouching skills? Or maybe our photographer who just wants to create absolutely amazing images? If the answer on any of this question is yes, you are in the right place. My name is marching. I'm professional fashion and beauty to retouch er as well as Photoshopped educator with over seven years of experience, So possibly I might be the right person to teach you father shop and portrait retouching in this class. We're going toe work on the absolutely great example and we're going to start from the very beginning to the final touch ups. We're going to start from the row conversions going to show you how to prepare your image for retouching it for the shop. Then, of course, I'm going to show you how to get already great colors on the level off raw processing. We are going to jump in the photo shop later and I'm going to show you how to clean up your image. How toe use some additional techniques as well off course how to use this amazing Dajun burn retouching technique. After that, I'm going to show you the best techniques that I use for working with contrast for master in shadows and highlights and, of course, how to use the selective techniques how to use the masks to create great tones on your image. After we make sure our image looked absolutely perfect, we will make some final touch ups just to make sure that the image is ready for others to view. Except that you'll get some great resource is like my custom doctrine bird brush, Dutch and burn actions, as well as other retouching actions that will help you to speed up your workflow. Except that I'm giving you the image I'm working on in this cross so you can follow all the steps were doing in this craps. So let's not waste animal time. Let's jump into the first less on and create some art 2. Camera RAW Processing: at the very first step off retouching. Of course, we need to find our image on our computer, and the best way to search the image once you choose them is to search through Adobe Bridge . If you have an end, Arabs don't worry, because every photo shop has Adobe bridge. So you just need to hit file browsing bridge and then you searching on your computer across the folders to select the image that you goingto work. So I already chose the image for this video. Beautiful Misha, and let's open this. First of all, that's really amazing quality, the image taken from a Nikon D 810 by area Grabowski. So that's why we can work now with this amazing quality image. And the first time is slightly different than something I used to do and something that actually, most of the people, though I usually jump into the camera calibration first in 40. Why I'm doing this. You see many people switch toe another software for row processing, for example, capture one which I also like, and mainly because of the calibration off adobe products. So first thing that we are interested about his camera profile adobe standard and the image you can see how it looks. It looks a little bit the saturated. It looks a little bit flat and of course, you can set it manually over here by playing with each channel hue and saturation, setting up the tent of the shadows. But also you can switch and check in between on camera profiles. From what can I see? Actually come Nikkan have quite many profits over here. Um, cover monochrome ink provides that I would never recommend to you. If you want to work with the black and white, don't check and a profile over here. But what provides you should be interested. It's of course, at the standard. It could be camera natural, which sort of flattened said it gives nice color and actually could gives nice base for the retouching because we need toe flat enough. The image just a little bit before retouching. But we also have camera portrait with in this case, looks absolutely superior. As you can see, it has rained nice and deep colors, and what I like to do is to comfort, to other be standard as you can see how the Istanbul more contrast less color camera portrait. From what we can see, less contrasts, more colors. So something that we could be interested because we want to line down the contrast in the raw process. He not first, but we want toe get more colors because the camera raw images looks a little bit flat. When I would also check is Camera Standard, which gives, I think the best over here. Adobe standard and camera standard is the result that I want. When I go with Portrait, I think I don't want to go that flat. I prefer to have the control by myself over this. But though I would say yes, you can go with camera portrait. It's our good start and especially over the face. I can see it's sort of smooth and this, uh so that would be absolutely good choice. I'm going with a camera standard over here just to see how knocking down the highlights and recovering shadows would go for me here. So then it would look c'mon to the portrait, a magician camera standard, because some people would probably consider that choose another be portrait, maybe is controversial, So I don't want to go that way for sure. I want to drag down the highlights because I want to recover highlights a little bit later . And also I want to recover some stuff from the shadows because the shadows are quite dark and will be working with the contrast a little bit later. So this is not something that we want to have right now. Um, clarity off course. We're not going up with the clarity over here because it will make this horrible look overly mich. Also known contrast what I would do for this image. I want to actually take down just a little bit of the clarity because I can't see a lot off the skin texture on the face. So this is the one thing I would like to work with, and that's press be before and after. I think this image looks really nice to start with really nice colors over fear deeply saturated, and I don't want to do anything much more with colors over here. So what's important for me setting up really nice profile working with highlights, shadows and apparently we could also taking down some of the clarity if you want to work and it'll be more off camera profile. You can see how the hue works, etcetera, but it's very I would say it's quite dangerous to go this way. Working with you, you can go to the direction that you would not necessarily like. So I would rather avoid such a things and work with this if it's needed just a little bit to make sure the result is the result that I do really like. And I do anyone so bean as you can see, just few points. These are that to see what really suits to this image and in which direction I want to go Sunday. I can't go more with the highlights because I think it will give me slightly unnatural look . So just to the point I can do and then we will be ready to open this in front shop. And one thing I want to tell you thes image might look a little too much. We don't have this area really nice over here, So I want to just tell you at the very start that probably I will be cropping this image, searching for more this sort of outlook, which I believe will be sitting much better today, Meat. I might cut this just above the blues to keep on the the portrait, but will decide about this at the very end. And though, what do you want to do? You want to open the image as the days and have some more time to decide. So I'm going to press achieved to make sure I'm opening this not as an image, but then opening this as an object. Why opening this image is an object I'm going to show you right now. If you open this as an image, you can't really go back and change, and it's settings that you have over here. But once you open this as an object, you can just double heat on this layer and you're back in the camera and you can change the settings if you are not happy about something, so that's really powerful. And that's why I always working nondestructive way and open images as an object. Once we are in front the shop, we're ready to start our work 3. Non-destructive Cleaning Process: The second step is cleaning up the image, which might be made the most important process really over, lived by many people, thinking there's many techniques that could be the shortcut for on this sort of process. But you must know there's no shortcuts if you want tohave really high quality. Misha, if you want to have free amazing looking image, there wouldn't be the shortcut for you, and I do not recommend you to look for the short cuts. In the next lesson, I will show you how you can improve an ad, sort off the technique that you can blend with different techniques. But there's nowhere, never a short cut. So the first thing you want to do on your image it's always the basic cleaning up. So I'm creating a new layer. I'm going to call this clean and the reason why I'm creating this thing because I always want to work in nondestructive way. If we going to retouch on an actual layer, you will be destroying the actual image. If you work on the separate layer, you always can remove the layer and the ethic that you actually applying today. Major never stays on the actual image, so that's why we kind of work non destructively. The second thing is, there's two major tools that will be using for the clean up process. And this is, of course, the healing brush tool. You can press chain on your keeper, and you can find feeling rational, which we always will be using with hard edged brush and also as a sample current below, so the layer current and below. If you on the press the layer current off course, you will not be able to clean this because there is nothing on this layer. So you think you want the effect to be visible. Also in the layer that is below and the other tools that amusing is clone stamp, which I'm not really using with hard edged brush. But as we'll be clean, you'll see the reason why I'm using them for what? Amusing actually close Stop. So how we do it with that with the healing brush, What you need to do. You just need to zoom in and press all corruption to take that sample next to dame each and then cover the area that you want to clean what you should see when you price out eruption , sort off around the shape with a cross in the middle, and then when you release, you see your tool once again and then you can cover. So I'm going to cover all of the areas that can be covert. Using this tool. There will be some job because this mother has rather beak pores. Which person? Good, But as you can see, I have some sort off pores that are blended with the skin imperfections. So we need to do something with it. We need to give this a little bit off work and find this sort of spots. As you can see, it's hard, hard to define it sometimes when it's actually imperfection. But in the days like you just need to clean up the area that stand out from everything that have different shadow, different line thing, it's more likely mean it is imperfection. We have some hair over here, but we'll use different tool for working with this and for most of the things as she can. Not this amusing, just simple toe healing brush tool and nothing else than that. What I would do over here off course, I would go to the background and clean up days Hair. I believe you had this question might be at the very beginning, but I want to clean up the skin first. Some of the hair you want to keep them looking natural, but some of them may be just go too far. So if it goes too far and bothers you, just clean up the hair shorter, Damn make make this a little less our views And then you see us some hair just going in many different directions. But you must keep in mind that it's also outer image. It is natural image. So you don't really want to messed this up too much and you want to keep it natural because it is out there meeting this national portrait. It's not really some sort of beauty staff. It could be. But it is outdoor portrait about fall. You already seen I switch. I press s to use. Close them and let me explain for what? Amusing crossed. Um, first of all, amusing for the rough skin texture us over here, we can see some of the hair so soft edged brush that also like you must know that I'm giving you myself gadget brush, which is probably the best brush for retouching that is out there. I believe the ones that are in for the shop are not so good. So I'm trying to soften the rough skin texture with with this tool over here on little beat wherever, wherever the hair comes too far, I would try to blend it a little. We have some pores here. I also try to blend it. We have maybe some of them I brought over here, going quite fast. Also, I try to do something about this and then off course her for the hair. I'm trying to see what's the wrong. So, for example, I have really strong, bright like these ones, and this is the her that could be blended in the red. Some trees in the small size brush. I'm trying to paint with the direction off the hair. Pay attention to the texture because, as you can see, this doesn't have that much texture because of the lands that it's used mainly for the outer Remigius. We've big amount of flight, so it's really easy to blend this because the texture ISS not really priority over here. so then we have a few more, and over here we have a little bit more texture. So then we have to make our size a little bit. Somalia. What I'm doing. She can see and just blend. Everything was visible too much. You don't want to blend everything. And I've seen many example of really bad job where people want to blend too much and the hair doesn't look natural animal. So you want to avoid the think of going too far and always there was this one. Rule less is always more so. If you can avoid doing to too much of the staff, just just stop when you start having doubts, this is usually the right point. I went to stop when you start thinking, Should I know more or should I know this is This is the moment where I believe you should. You should stop. At least it was always like this to me, and it's hard to describe the right moment. But the feeling when when you start having the feeling that way, it means you actually did the job that you meant to do. So. As you can see, we have quite much of this. We have a little bit more over here on the body, which I can go back to the here in brush toe and sort out a few of these areas simply like that. Also, we have on the part of the clothes, which is always a little travel some. So I'm trying to sort off blended us well over here, as you can see, because they go a little too far, so I don't think it look nice. So I'm going to short in this part over here. My blend this with clone stamp. A swell for the nicer results. Just something about that. And that would be then on the back. Over here. It will be difficult, but choose what's next to it and just paint over this hair. Khost. A dance would look nice. You don't want your model to look like she was not in the headdress error or something like that. You want to model? Look like she was just like she just left from this Hello. Nor something I don So her should be tied. She should not have this standing out her that grow on the bank or something like that. If you over here. As you can see, I'm trying to blame this like, just softly, like without on too much off the pressure. And if you press too strong, it will be unfortunately visible that you are painting over here. But once you just like slightly covering this, you can see from the distance it doesn't look unnatural. So that's what I'm doing on the top here. And pretty much that would be eat about the basic cleaner. I believe this wasn't toe exhausting task and our image to look very natural. Of course. Don't forget about the body parts. I'm trying to see if there is something I supposed to do with that hidden in brush tal. But we just have some of the spots that are rather natural. So I would not remove that. I don't like this moved hand. That's why probably I will be cropping this image later. If not this, I could think of it. Think off the final outcome. So there is not much we can do with the blue part. But here also become slightly blend this. I believe it was a little too far here, okay. And also a little bit here So in the next lesson, I will be showing you another another technique. How you can blend with this technique for maybe better results but do not use as a major technique. This is very important. And we got some hair over here. I believe you didn't look nice. I hope you're agreed. I agree with me on. Okay, I think we did a good job with this smokin up. We could tight on a little bit eyebrows that that quite beeps sighs. I think it's just the way that the look she has so so not too far just titled them up if it's needed. 4. Additional Cleaning up Technique: Now it's time for another technique that I would not recommend to use as a major technique talking about frequency separation. And there's a lot of controversy. There is a lot of batteries. So in this notice that I'm going to show you how to use it as an extra technique for a cleaning up process in nondestructive way and how to use this in the right way. Of course. Don't forget that I'm offering you actions over here, so you should have this as an action as well. But we cannot do this from the very beginning. And due to perform frequency separation technique, you have to create a stab above your keen layer. So to do this, I'm going to press command option shift and E to create this layer above. And if you work on the windows, defines that will be control out shifted these so command option shifty on Mac control, out shift and on Windows. I'm going to call this low as the Lola on. Now I'm going to duplicate this one by person, commanding J or Control and J. If it's Windows and this one of going to go high. So we have two layers once below one is above, and we're going to start from this lower layer, and if you family are right now, already should be, and we're going to filter blur, and we're going to use garden blower in this case. And I have the set at 12 peak cells, which should be a right and many people task once the right value. There is not to really write value for all the images because the each image is different. And this is this is the major factor, how you define what it's right and what you need to pay attention. As long us, you won't be able to see the pores and some small details and more in the skin. This is right, so 15 still should be okay. I rather would keep this low at 12 pixels on the moment, and then I'm going to activate the highlighter, and I'm going to image and applying image to do the rest part of this so as a source and the layer of the source will be the low layer because you want to get some of the details from the lower layer. And also the blending is another super important factor as we working on 16 beating me. So if you have settings at 16 bit, which you should have been for the shop and if it was raw image than your image will be 16 bit off course. And then I'm gonna heat invert so that this is the look you should get. And make sure once the settings are for 16 big and also if it will be envied, the settings will look that way. So there is no difference between them. But you just need to know once the settings are and then he'd Okay. Once it's done, you're gonna press the linear light and let's put these two layers into the group, and I'm going to call this F s US frequency separation. Let's see if they change elite because it does sometimes sometimes change. Many people said it doesn't but and many people said the lower layers responsible for colors, the highlighters responsible for the texture in sort of aces, but not 100%. There is still some texture on the lower layer, and there's still some color on the highlighter, so it's not necessary like this, Um, and you should be aware of that and how I'm going toe work, choosing Cranston with the soft Liam. And, of course, this time as its actual layer. We get to work on current layer, and with this soft a soft brush, I'm just going to check where is too much off the texture. And I will trying to blend this in a little beat, as you can see here. So in sort of the laziness from some points of use could be. But you don't want to really spend countless hours doing the image. And sometimes, especially if its outer image you are photographer, you care about the time, and this is sort off the technique that could improve this that could save a little bit of time and still give you the results. That will be a non recognizable, as are some sort of distractive technique, but it still will be very natural Outcome. As you can see you country not, is the difference, and this is easier to blend the skin that way and make sure it's sort of flowers. And we still not working on the lovelier that has very thin, very feen. I would say the line toe overdo the image and also we on the work on the areas where we want toe fix the texture. So here we handsome like weird pours from the knows where on the nose we don't really. We should not really have that pours. So that was easy toe correct. And over here we have some of the poorest with the poorest of thinking is that it depends on the skin. It depends them the look of the model. Some mothers have bigger skin, pore some others, doesn't have skin pores. So, of course, for the models that doesn't have skin pores, possibly never think off Going with this technique over here as the neck is on the background, we don't really have the texture. We don't really have the texture to do something. Also, I don't feel by looking here on her tummy. I don't really see Dad. I could also have something to do. So this is sort off the technique. I wanted to show you how you can even do a little bit more with the skin pores, but making sure that your image still look very natural. So keep in mind, you want to be very careful doing this and you don't want to go too much with blurring out the low as well. And just for the reason that later there weren't any with this technique could give you on not really desired results. And right now we stayed with desire to result that is very soft and gives him really nice and natural results. 5. Dodge & Burn Retouching: and now there is the step that you can't really means doing sort off professional retouching. And I'm talking about the Dutch in Bern. Each professional image should have Sum's amount off data and burn, especially when we talk about beauty images. This is might be fashion images, not always. And then we have our portrait. It doesn't require that big amount of dodging that Dutch and bird in this sort of images, but by the find out that this model has a lot of tight shot of small shadows, it would be really good to do it, and this would be required here. So how to do dodging bear what is not very process? It is simply painting with flied or the shadow so romantic with flights, we sort off even out the imperfection with we even now that the differences between the two bride parts and student pride parts to make the skin really soft, nice and solid looking, I would say, I know this is not maybe the best description, but you will understand what I mean, and I believe you can sort of imagine this and how I'm doing this amusing. The best adjustment layer for working with lights and the best advancement layer is curves off course. You can use the evils. You can use an orderto, but curves gives you the best control on working on brightening the images, working with flying shadows and contrasts. That's why I'm using the curves for it. And in this case, one day I'm going to call Dutch. So this layer will be the brightening layer just a little bit. Not too far. We Brighton in this and then we mean to create another one which will be burn. So I don't think a type. Name it Berg, and there is darkening. So I'm going to go down with it just a little. Beat us. Well, so what I'm going to do each of this layers I'm going to put into the into the group some person command or control its G on the Dutch. And I have group. I'm going to call these d like Dutch and also the same on the burn Commander Control. And that will be, uh, bird Osby. So, President Commander control N G. Puts the things into the group. Why? I'm keeping this in this group because later on, for example, you can manipulate with saturation values, which is not really necessary. But usually when we dance a little so the skin might get a little bit more saturated when we bird, this skin might get a little de saturated. So this is sort of like optional that you can turn off at first and later if you will have some imperfection, some discoloration you can actually check and manipulate. So this is, at the moment all visible. But what we want to do You want to create the layer masks on Dutch and the bird, and then you want to invert the layer masks just like that and why I did this. Because when the layer mosque is color black, everything is invisible. But we want to bring visibility by painting with the as you can see with the white lawyer, for example, by painting on the burn, you bring invisibility off burn if you pain with touch. You actually brightening this up off course? We not going to paint this s o. I'm carefully, but we will paint this slightly softly just to make sure we do. Everything cried. So how often did this, right? First of all, you better decrease the floor somewhere between five, maybe 10 using my brush. Because if you use the harder brush off course on developed, the flow should be lower. Make sure the Brussels smaller and how to see what we should Dutch or burn well, we should create their black and white layer, which best to do is buy is a hue saturation. I'm going to call this BW switch, blending much toe color because you want on this layer on affect the color and not the contrast and lights. And then also I can't see much still what's going on here? So I would create above that some curve adjustment layer and bring some contrast to it. We could even duplicate this so you will have more contrast id etcetera So I can see now I believe that will be quite solved. Visibility. Now let's put this all to the group. We can call list be that you help off course. All of this is available as an actions, but just want to make sure to show you how to do this sort of things, and then we can go down to whether it's burning and dodging and start our work. So in case of burning, we need to find the areas that are a little bit too bright. So you can see over here we have some bright spots and softly paint over that. So then we can cover the spots that are too bright. Some small scars and everything, just to make sure the meat will be even out in some other areas will be painting with the light. For example, next to the mouths. Sedler etcetera because, well, it just doesn't look right without. So I believe that keeps you the right answer for why we have to use natural burn and why Dutch and very so desired in professional retouching and why it cannot really be replaced because, as you can see, it require out off Manuel work. So if you want to make professional images, you don't have to be retouched, asked me. You can be just photographer who wants to have good portrait's, and I believe this knowledge to you as a portrait photographer is absolutely required. You don't have to hav e every time the image on which you have to use a certain technique, but you might have the images and on to each you have to use, and also the images on which it would help a lot. So that's why it's so important to know this technique to master the technique to practice that Dylan burning on the images toe use the tablet the graphic tablet because the training is very important to get better, not only in retouching, but once again, photography. Being re toucher makes you much better. Photographer and probably be photographer. Make you better re toucher. So if you are just photographer like retouching, could make you better. Photographer. Let's have a look. There will be much more things, and it will take a while. Of course, it's demanding process, but it's worth it. And once you spend some time on it, you will, you will see it's absolutely orphan, so I'm darkening. This are manipulating with this curves just to make sure I can see a little more off the details and I can do a little more. And that's why it's so important to work with this black and white layer. To have this visual help, we found a visual help. People like me, for example that are not super, are not superior with day side like I wear glasses. I struggle with some visual things, but we found it and we found such a visual help. It would be impossible for me, especially. I don't have background in painting, so this sort of things just helps you do. You don't have to have any background in painting or are to be really good photographer. It does helps, but what's important? Hard work beats the talent. That's the that the one rule I always go by. That's why I'm working hard to be even better than people with the talent. Let's have a look at this image where we heading, You can see this image is already improving. So what I'm going to do now, I'm going to speed up this video so you still can watch and going to quick attention burn, and we're going to talk again in the next lesson and way 6. Mastering Lights: in the next step, we need to go more into details. So we will start working with more things like highlights, shadows brightening certain stuff. And I'm going to start from brightening ice. So as you already know, the best technique toe work with the lights, of course, is curves. So I'm going to call this ice. I'm going to choose brush a swell this the same as before, and this time I'm not going to keep the flow at five Bad more go around 30 and, of course, brighten up the curve like just go up with this to make this brighter and then inverted the layer mask into the black color. And now you know you're ready to paint, so just paint direct with the position off the I, so you don't want to paint it the upper position over here. But you just want to paint the bottom because that's where the light reflects. If you're going to paint is all around, you might be assured that it will just look fake, and it's not going to turn well. You don't want the fake results. Sometimes you can even choose the smaller brush for more, um, special results. But as you can see, I think we did a lot. But it just looks amazing on this image. So the next step will be working with the contrasts. And once again I'm going to work with curves and I'm going to call one highlights. So one will be worked with highlights and the other will be just shadow, some duplicated days for highlights. Off course, we'll go up and foreshadows will go down so first thing I want to do I want to sort of defined the shadows and highlights, and there's few things you can do it. One of the things is, for example, going for select color range and by choosing their highlights. Once you drank the wrench after maximum and then go with fuzziness, it'll be up. You can easily define the highlights for the natural light images. It will my it might not work that well as you could expect, So the best mental for days would be probably image applying image and then tried to apply the highlights. Of course, blending. We need to change to the multiply as it waas or normal and layer must emerge. After this, you will have exact definition off the lights on your image and everywhere. Where's the white color is the lights Everywhere is dark, is the shadows. So we can easily say there's much more light than the shadows, which it's quite challenging, but we probably might do something with it. What I would do over here, I would try to make selection over this highlight mask. You can do this once you switch the layer two channels because in channels your mask is created. If you have selected this, simply speaking, your musk represent what RGB represents him. So now you want to make the wrench off the highlights smaller because we already saw that the wrench is very big. Once you have selection, you want to make the wrench off this smaller. As you can see, we can even have a look how the mask looks like over here. So we selected this justice like this. Just press command heat on this layer, and that's where the selection goes. What we want to do here, us. The wrench of our highlights is a really big one to make. The less highlights at the darker parts darker. So I'm going to press command options shift and I'm going to hit on this layer. And what should happen? The wrench off the selection should get smaller. So then I'm going to press their new layer mask on the bottom, as you can see, safe selection as channel. So not exactly you layer mask, Bud. We saved there another selection. And this time the wrench is much smaller. So we have these two selections and what I want to do. I want to take selection from this Alfa one and want to create another curve adjustment. Liam, with this selection. So I will call this highlights number one. So you have to kind of highlights on the moment, and we can actually work with two of them. I don't want Oh, uh, use the top one as it is, but what I want to do for sure, I want to cover their highlights I have on the back here because they're so strong. I don't want to have any more highlights over here. It enough that what I have on the bottom layer, some trying to paint over manually, try to be careful to not cover too much off the hair. But also you might do this with the soft edge it brush because you don't want this to look fake. So this is quite a challenging, but it might be done right? And possibly it's easier than it sounds. So I'm just covering around and let's see if it's going toe work. First of all, I'm going to work with this. I am. So that's how we feast on Graham Looks like, and I'm gonna increase this. They're just a little bit. But what I'm really coming to increase is this other layer, because here the selection this is purely on the body highlights. I might check if I want to use the previous one. But actually the previous one might be even way too strong. And as you can see, the 2nd 1 works on my highlights Just the perfect way. So you can decide if you actually want to use off the slayers. I might actually sort off blend this are you just want to use the one layer with better selection. There's many ways you can work. There is much more definition. You can add doing this because, of course, you can change the range of this even more by doing the same tasks that we did before what I would do on this adjustment layer. I would add a little bit off blur for better results because it might get a little beat clear, sort off. So I want this effort to be really soft over over the image. So I believe this effect will work just perfect on this. So another step will be off course our shadows and for the shadows. Once again, we can take the definition from them. Color wrench. We can easily go to shadows this time a wrench down two dogs and trying to define them by sliding the fuzziness even up to 100. It looks all right to me. I think this selection over here comes quite naturally or we can do this through apply image and invert. And I'm going to see how this shadows this selection of your work. And I think it's too strong. Eso I'm going to go to select color range and for shadows Indian. I'm going to juice from the color wrench and I'm going nearly up 200. Let's eat. Okay, then what we going to do? Oh, once again, maybe we could just blurt this out just just a little bit. Maybe not even 50 parts, like 30 pixels off blur. And if you wonder how I'm checking up, how the layers, I'm just pressing our corruption and speaking on this and then thats dragging down a little bit. And now you must say that our image is absolutely amazing. It has this deep, beautiful contrast. I'm shocked. It comes that nicely. But one thing we change the saturation value. So at the end, you might change their blending mode to luminosity on the layers where you were working with the lights. So what I'm going to do, I'm going toe received. Select them all press command or control and G. And I'm going to call this contrast all together with their eyes. As you can see, the ice also got a little bit darker, I believe over here. Let's see. Oh, are that not too bad? But if it's not enough for you, you can always increase the value a little bit. But just make sure you're not going toe. Overdo the eyes because there is nothing worse than the eyes that are too bright 7. Mastering Tones: I am convinced our contrasts look absolutely the beautiful, and now it's time to do the same things with the colors you want. I really like the cars, how they are on the image right now, but I think we can do so much more. Off course, you can see the bottom. Part of the image is slightly darker, and we could easily Brighton this up. But by the fact we are going to sort off crop this image, there is no need to do this. So now let's be focused on the colors, and I want to just do something different. First of all, we need to have a talk on the colors. So question number one that many people asking, What is the best technique? Toe color? Great your images. There's no right answer again because all the tools that you have in photo shop are in fact good and are for something. So whether you will use grading map whether you will use color bonds, curves or any other, you can achieve the same or similar results, so it doesn't matter which totally use, but they have slightly different purposes. So, for example, if I would like to use grainy and map. Maybe I would like this image to be slightly warmer. So from the shadows out at some dark brown color, something even darker. And for the highlights, I would add maybe some brighter, creamy color in this case. And I would just like to see where it would leave me with the blending mode, for example, soft light. And it does get you somewhere, as you can see when we send this up a Passage 80. Taking percentages gives you really nice, like sort of model instagram look, and it's all right with great in map what I recommend you to stick with rather similar colors because it might give you really an pleasing outcome. So, yes, there was many different methods. Don't you just need to experiment? The curves will be good. The selective color to manipulate with some colors, also solid colors sometimes. And in fact, I want to do the think for this image I wanted create sort off base for this image which will be crash brown color over here and I'm going to drag down the opacity. Maybe Onley toe 10% looking. It possibly will get darker. It is darker. Um, so I'm gonna bring back the highlights. And this was the case. I want this sort off mysterious Look over here, and I think it thus the job that I want. So then another part will be I want to work. This was color one. Of course, if you feel it's too much, you can go lower. It doesn't have to be 10%. It might be 8% and it still will be slightly darker. This is sort of like atmosphere creation. So it's all after you. And then I will start working with the color balance and for color bonds actually going toe create the separate mosque, so the first will be for highlights and the other will be for shadows. You can, of course, do this in one. Go on the one layer because color balance can have have us. You can see different times for shadows, meters and highlights and works pretty good if you need more, um, different tension. If you need more selection, you might create the masks, which I'm going to do right now using apply image. But as I said, if you rush in with time and I'm always rational with time. I'm not really with column Grady and I'm not. And when I do use color balance, sometimes I do not work with masks. But I'm just trying to do my job fast. So first, let's start with shadows and what I want for the shadows. A little bit of the work done right. It's It's really beautiful now. And let's see if we cannot a little bit off blue, not too much just destroyed the touch of blue, and I think it creates absolutely so beautiful effect. And then, for highlights, a little bit off silence train. And let's see if the yellow color we'll do the job here. I think it gave us absolutely amazing result, as he can see, including with the color with I'm deciding to lower to five. Let's put this into the group. I'm going to call the Stones, and what do you feel? Do you think we need something more here? I'm trying to see I'm trying to understand, and I'm thinking maybe something different for the highlights. If we got with yellows, I think the blue not really right. So it's easy to go check there direction quite far, and you will see what will suit. So that's how I decided upon this colors. I think for the shadows. It's really also a beautiful color, maybe too strong. If you want to go off something more natural, just a little bit, that would be a good option. So one more thing would be color black. I could actually try Tofik the color because it got this red color, which should and on this image I don't think this is necessary to fix it. But you can easily do this. Using any type off adjustment layer could be hue saturation. It could be another toe work with this. What do you need to know about working with color balance, which planted months to color all santo? Not no fake dead thinks like a contrast. As you can see, this got much brighter right now, and I'm just thinking maybe even less. Yeah, something like that. And let me see in few saturation you can actually, which is color range, and it will be very easy to define the black color here by sampled colors. Let's have a look. Just want to heat some of the black color, make the rent smaller, then I'm going to press outer option on this layer and what I will do. I will paint with color black everywhere that it's not the part of her wardrobe. So just about here and this area here, and we will have this sorted. Maybe we could just a little bit off blur. We'll see if thirties okay or should be less. I think on this will smoke this out. Nice name, and we could just take down some of the saturation. And if you play with, I want trying to show if you play with the here, it will also change. The hue are legal, so such a small stay small step very easy for for correction. I do believe it should have some of the red tone over here because it sort of gives this affect off the worm line. So for sure, I would I would keep this that way. So before, Don't said after I think we had right nice and warm tones to this image. So it's time for some more final adjustments 8. Final Touch Ups: this image looks absolutely beautiful and we going to make sure it will look even better, Which is going to make sure that this image is ready to go toe other people to seat. So what I'm going to do? Of course, Andy and I'm creating a stamp. A stamp, of course, is the layer on the top. So on my mind, book and prison command option shift and e off course. If you work on the windows, that would be control out, shift and E. And I'm going to rename this into the stump off course. We also want to convert this to the smart object because want to work non destructively. So as we won't professionally, we always will be working non destructively on the image. This is super important. You must remember on this if you work in, if you think off professional work, so then let's go to filter camera future. And you have to be careful at the end because it's easy to overdo the things at the end. Like color wise, for example, you don't want to go too far. Also, you don't want to go too far, for example, is in contrast because this contrast changed their saturation value, so I usually don't use it in the things as portrait's. For example, I'm not reusing contrast for the portrait's here. Do we want to do the Dockers darks for it? Blacks, for example, May Meter, So it will be going to make sure that this image could get maybe a little bit more contrast , a little bit more lights. I don't want to go too far with the lights. Of course it's it's quite bright, but I do not want toe over the days because where I think very close over here to blow this up. So I would be really careful with it. And I don't need too much contrasts and shadows. I feel the shadows are perfect. We really did a great job. The other thing that I could pay a little bit off attention is the hue I did. As you can see, I did handsome off the red color, for example over here, and I was just worried that it could be to read. So if you were in the same that you get the image and it turns maybe to read or anything like that, you can always manipulate with you and on this this few final adjustments to the image just to be sure it is correct. So as you can see, I did not have much to do over here. I don't want to go far with it. It's actually blowing up mainly the background is the model also in the shadows? I wouldn't go too far. I think the shadows are absolutely beautiful, as we said the man before. So what I want to do over here is I don't want to scrub eso in nondestructive way. I would actually use the scale over here, so I will see where it will suit well, and I don't want to crop too far. Maybe somewhere some around here. I also want to know your opinion. Where this him It should be cropped. Maybe a little bit more just around here. I think that would be the right crop. So after that hit, okay. And this is our final result. Thank you for watching days off course. You might had some off the noise if you if you need that I don't really like for other image. Some noise, especially for the one representing portrait so much but you can create empty layer hit Phil with great color. Change this to the soft line some of the scene and see how much amount off noise would be suitable for this image. How much noise it's needed depends on the grain. Of course, you could go really far with, like, 20 or 30 but I think it would be too much for such a such a bleak had image as this one. I would go on with 12 and I would possibly blow this out a little bit for like, zero points to not a leaf on their grain. So, Strunk, and also out change the opacity down to maybe 70. But I don't think the noises so needed on this image, Asai said. Not for every image, the nicest necessary. In case you need that, you might add it. So I believe you enjoy this. I think it was great example. Great image toe work with. We did absolutely amazing job off after raw conversion, getting this and finishing up on this absolutely beautiful skin, beautiful colors and contrasts. So the few elements that are needed to create absolutely outstanding images