Night Street Portraits - Photoshop Retouching | Marcin Mikus | Skillshare

Night Street Portraits - Photoshop Retouching

Marcin Mikus, Retoucher and Photoshop Instructor

Night Street Portraits - Photoshop Retouching

Marcin Mikus, Retoucher and Photoshop Instructor

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17 Lessons (1h 51m)
    • 1. Introduction to The Course

    • 2. First Steps in Camera Raw

    • 3. Camera Profiles

    • 4. Adjusting the Colors on the Raw Level

    • 5. Lightroom Processing

    • 6. Other Cmaera Raw/Lighroom Tools

    • 7. Cleaning up Image

    • 8. Quick Dodge & Burn

    • 9. Even Out the Skin

    • 10. Adjust Contrasts

    • 11. Introduction to Adjustement Layers

    • 12. Color Grading

    • 13. Fix Discolorations

    • 14. Worling With Colors

    • 15. Final Touch Ups Part 1

    • 16. Final Touch Ups Part 2

    • 17. Analogic Colors - Simple Example

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About This Class

In this course we are looking at the subject of night portrait photography and editing in photoshop. 

Night portraits can be really impressive form of art, yet they can be nothing without proper knowledge of photoshop which is cruical for creating stunning portraits at night. 

Why is it so demanding? It is no secret that to take a great portrait we need to have enough light, simply because it is way easier to take images in such an environment. Unfortunately when taking portraits at night we have much less light available - and the one that we have it's often from neons or lanterns. Naturaly if we want to create good image we will not be using high iso which will give us a lot of noise and rough look. We will try to preserve as many details as possible - and because of that our images might be underexposed. 

In this course I will lead you step by step from raw conversion. I will show you how to make image look better in camera raw or lightroom and prepare it for retouching in photoshop.

In photoshop I will teach how how to clean up image in non destructive way using empty layer and dodge & burn, as well as I will show you techniques that will help you to even out harsh transitions!

As a next step we will be working with lights and shadows, we will be adjusting contrasts and working with colors based on color harmonies. I will show you not onlhy how to tone the image but how to use existing colors better to make the object stand out. 

We will finish the course with my final adjustements, just to make sure every light and color on the image is as it supposed to be!



Meet Your Teacher

Teacher Profile Image

Marcin Mikus

Retoucher and Photoshop Instructor


I'm open minded and creative Photoshop Instructor and interationaly published Professional Retoucher.  The area I'm interested in is photo retouching and photomanipulation. I believe that massive layers of imagination allows me to create interesting, nontrivial ideas.

I've been teaching Photoshop for the last seven years. I spend almost every day with photoshop and in time I was able to gain more and more knowledge about right ways of teaching Photoshop. After few years of teaching on youtube I felt it's the right time to come out with Premium Courses, where I can share some amazing ideas and make Photoshop fun! 

If you are looking for a place where you can learn photoshop retouching in the right way, this is the best place to be!

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1. Introduction to The Course: welcome in my course on night portrait retouching. And before we start this course, I would like to tell you few words about me because I believe you might be wondering who is this guy who wants to teach me for the shop? Who is he that he claimed? He knows everything. And then also we going to talk about what you goingto land in this car. So let's start for me. I am professional recapture. I've been doing this for last few years, and many I do beauty and fashion retouching a lot off work, A lot off editorials for magazines. Ah, lot off work for campaigns for look, books, some projects for TV. And if you're looking for my editorial portfolio, you can find it on begins at this moment. So simply Google my name marching Miko's. You can find my name under my profile name here, and then you can see my portfolio. You can check if the work I do is the quality work that you're looking for. Because also, when you need to know, I teach professional retouching, so you must really want to know. Learn the retouching in the right way, though this subject that we touching here. It's more off our passionate because, of course, it's for the portrait's Taken in The nine Time is in neon lights. But of course, even if you are a professional fashion photographer need to work with the lights in the nine time, this course will be very useful for you. I'm also Photoshopped educator and hear. My career is a little bit longer, because before, I wasn't necessarily doing just retouching subject. But I've been teaching for the shock knowledge for the last seven years. One of the platforms I was teaching for the shop was YouTube, where so far I have 55,000 subscribers. I still have the people watching me over 400 videos where I give free photo shop tips, and from there many people know me from their people were asking me for more advanced knowledge, so that was the start for more premium courses. So now let's go back to photo shop and let me explain you what you're going to learn in this course. So many will be working on these two images, and I choose them because they over really nice colors on the image that helps you to understand how to work with colors, and this is my main focus of the sounds, and the colors are really probably most important thing in the night. Images. Off course. The elements like skin retouching, which is simple but requires a lot of time to learn. When it comes to the colors, it's more off the creative side off them. Photo editing. You need to understand the colors, and that's what I'm trying to do. In this course, I'm trying to introduce you color harmonies and how to use colors in the right way to make rain ice balance on the image. So, as I said, many will be working on this two images, and I'm going to show you the rock conversion process in a camera and in light room, depending on what you're using, because these two Softwares are the same, so it doesn't matter which software using. We're doing this in this to software's off course. I am showing you how to clean up the image, including that and burned process. I'm showing you how to work with the lights on the image off course, the most important part I mentioned. I'm showing you how to work with the colors to get really nice balance. And on this image, we don't really have such a strong differences because the editing is not about the big difference is that we make. But the editing about it's about the achieving the best possible look for the certain image and then off course final touch ups where I work where I published a color and it'll meet more where I actually work more with the lights to achieve the look I really want. And also we work on this other image, which has a few more elements, or when we go back to this off course once again, I'm showing you how to clean up the image. And if you result, it'll be drastic changes you can see on the neck. We had a few more things also. Then I'm showing you a slightly different and it take oh, everything on the lights and colors. And, of course, here, according to color harmonies, I'm trying to polish the Bagram light because usually we don't really change the lights off and the features off the world rub or the model, but we using the colors that surrounds the colors that we can use for adjusting toe make the model stands out better. So that is my main task in here. As you can see, we didn't nice amount. So showing you how to do small liquefy How time? Just a curse. More how toe Make the certain elements pop. So these two images How a main focus as a bonus. Listen, I'm showing you something simple us while I'm showing you how to achieve on this look from the previous image so a little bit more washed out. Because off course, there's many different images, many different techniques to work. So in this course, I'm showing you the technique on mainly use for my work on the ninth portrait's and the techniques that you will find highly useful. So let's jump to the first lesson and get some knowledge and photo shop 2. First Steps in Camera Raw: as always when we start working with the images, we going to start from raw processing and two possibilities here. Off course, if you have photo shop, naturally also have camera, great software and for many on the one software for processing. And also I'd like to do this in camera. If you have for the shop Creative Cloud. You also have possibility off light room and, many people ask, was the difference between two Softwares. The light from develop model and camera is exactly the same thing quickly as well. And for people, for the shop and light from are two different things, but camera light from the same. And if you want the way, as I do, I prefer to process my images in camera. I find it convenient double heat on the row file and we're straight away in our camera, and the first thing we actually need toe take care off. I'm going to share my way off. Working is make the image visible. So first of all, as this subject is the night images, I always tryingto work with very low isil to preserve us many details as possible. If we go at night with very high. I so unfortunately, we might get a lot of noise, which is not necessarily the think you want to get. So the first thing you want to do, no matter which imagery actually open, you want to make sure that the lights off the image look absolutely right, and this is the first thing I'm going to take care of. So first of all, I'm going to drag up some off the exposure, and I'm going up until the moment I feel satisfied. At first we probably can go higher, but let's keep it at this level first and then I'm going up with the shadows as well. It'll because you can see I found nicely restore the area from the background. So now it's easy toe realize that the main thing we are doing is working with the basic panel over here in camera to get more lights to make it more please. And for the I off course, be also careful with shadows. If you go to hide, this image might get a little flat on not always negative, but it might happen to be negative for you. That's why not on the shadows but also exposure to get the right amount of light. If you have too much like, you always can drive down some of the highlights, and I'm trying to see where I have highlights. I don't have too many file it on the face so that that doesn't have to be my concern. So I'm going to drag down the file. It's a little beat tonight down this line. It will give me a little bit nicer color. I really like how it looks. So let's press be before, after already big change. But I feel their lights need to be restored still a little bit better. I got quite how of exposure on God quite high with shadows. I think this image looks quite all right now, but we also have another panel that can help us with getting a little bit more light. And the other panel, just next to the basic panel is named the Tonic Your So I'm going to the tonic, your of and we have to curve here first is Parametric, which we can use working with shadows, dark slides and highlights Selectively. As we have here, every quarter is responsible for certain area, so for example, in this quarter on the left hand bottom is responsible for shadows. The next quarter darks next quarter from exactly the center words our mittens, lights and the highlights. So, for example, dragging down the shadows, you can see many this area going down and dragging up the highlights. This area will go up. So let's go back and what we can do here. We can probably increase a little beat off the dark's I've seen and also increase a little bit off the lights over here for the better balance. I don't want to increase the highlights because I will increase what I decreased in my basic panel before. So the highlights. I could probably even go a little bit down over here because I want to increase mainly a meat on area and a little bit off the shadows for the nicer bars. So the tonic you've actually got me, Ray, Nice possibility that I not necessarily hard here in the basic panel increasing, for example, brightness off her face. I had only possibility using exposure, but not necessarily that selective as the tank. Your allows me toe increase the area off the meat once also, the other tonic curve. It's more off point of which we can choose. Exact point. What we want to do. It represents exactly the same. So first quarter will be shadows, darks, lights, highlights. But instead of manipulating with the sliders below, I can just go up here and increase the Meet Tom. So also another thing, Very selective. We can make the points as many points as we want to work on it as you can see and just drag it down if want toe end up the point. So in this case, I don't want to work too much on the shadows or highlights just a little bit on the meetings here and touch off the brightness. And once I make sure these image looks actually good for the future, processing is bright enough, and I feel I can. I recovered as many details as I want. This is the moment where I'm going to stop and process to a little bit more things. We're going to stay a little bit longer in camera. So still, don't worry if you see some more imperfections with the lights because as we going toe, stay a little bit longer and do a little bit more maybe with saturation values who always will be keeping in mind the lights on the image and unjust in there still will start our work in front the shop. But this is exactly the first step I am doing when I go to camera. And this step is especially important for such an images as night portrait photography. Because the lightning is everything here and we found setting up the lights in the right way. Our image come not look good. 3. Camera Profiles: the next step out to discuss with you is about the profiles that we have in the camera as well in the light room for those who have older versions in for the shop, unfortunately, will not enjoy us many profiles as though that half for the shop creative cloud or light room creative count. But don't worry about this, because I'm going to show you how to work later with the saturation and hue values toe match it better for the camera profits. So once you open for the shop and if you work with the creative cloud, you will have a prophecy over here in the basic problem, as I remember well in the older versions, you will have them in the calibrations, and you will not have as many choices. But let's go back to this basic panel, and we're just going to walk through different profiles that you could choose from. So basically, if you are not happy with the colors, you feel the colors are quite flat. The hue is not necessarily right as the one that you so before in your camera you might actually manipulate, and it'll beat more with the camera profits to achieve better colors and the better saturation. So first of all, you will start with adobe color, which is really nicely updated, and it's very close to the real color that you can see in your camera. Don't. If you are not satisfied, you can just open it and search fruit different profiles here. So we will have the basic profiles that I believe are pretty much the same as we had before , which is gonna be Call out of landscape and they'll be portrait, standard and vivid and monochrome for the night. Images actually think, which might be quite surprising under the landscape will work very well because and they have quite well saturated warm colors, which you actually might need for there for the night images. I'm not going to go with this profile because I believe for the courses are a little too controversial bad. There is not a crime, and it's not a crime to do this. So I believe if you will decide to do this, no one will have Problem of it on the report would would be quite flat. So as you can see from this profess I have here none of them really go as well, probably as adobe color for me, But likely now you have way. My more profits just by pressing browser. The country's just a color profiles he countries all profiles and quite popular aiming camera marching matching. You can find some of the really interesting profiles, maybe also in other Be Rock, but this will be, uh, I think many are actually the same that we have from our favorite profiles. So then calmer matching. And I always recommend you to go from comer matching because you can actually find some very nice profile. I think for many people I talked to many photographers. They favorite profile a standard, and they usually go with adobe color or if it's daylight image. I was working few daylight images, and you're looking for more pantry. Look, Camera standard might be the right choice, I think for the night images we go. It could be a little too much, but of course, it always depends on the images. You're goingto work, so I'm going to go with other be color. It doesn't mean I'm fully satisfied with the look. That's why, for those who I don't have that many profiles and decide toe. Not really go. I don't think the profiles offer you such a great choice. Eso In most of the cases, I would say I go with a W profile for those also who don't re half the creative cloud and cannot enjoy all of the profits, I will show you how toe unjust the colors. Better to make them really well and just before we jump into father shop. So let's go in the another lesson and learn how to really work selectively on the channels and with the specific colors on your image. 4. Adjusting the Colors on the Raw Level: the last step I'm trying to make sure in for the shop is tryingto unjust. The colors toe make the image us. I want make to look it at the very start. So let's do a few steps backs, maybe toe the moment you are shooting the image and imagine the image in your head. So you're on the street the recent night. Maybe you get some nice neon lights, maybe some other lights, but you'll have the picture in your head. How you wanted to look in the camera, how you imagine toe capture the image. And this is the step where you go with the colors now in camera, you're going to the step, how you want the colors to looks like when you were captured this. Unfortunately, the truth is we can never really achieve in the camera the colors we might necessarily have in our head. That's why in the row, processing is the right moment to do it. So for me, one of the best ways to do it is actually going to the calibration and work in a little bit more in here to one just tending toward just a hue and saturation on all of the channels, but I really need toe. Explain your how the channels works, like because for many people who will start with for the shop, that will be quite confusing. We have Fred Primary, Green Primary and Blue Primary, and it all goes to the understanding RGB right, green and blue. And to be very precise, this doesn't mean colors. It means color rights. So RGB colors connected together create that picture was we see this three color lights are the channels, and they don't necessarily mean just the pure color but the color light. When you connect them these three colors as a channels together, you achieve the image. It might sound a little bit complicated, but once you will be working more with RGB, it will become more clear. So going with this read primary channel doesn't mean the red color off the image. But it means the existence off red light in the image, which usually is the highest and the lowest existence is the blue primary. So, for example, even here when I look in this science wall over here, we still have existence off the Red Channel here. So what we can do we can manipulate the hue off each channel. So as we have Fred Primary, the secondary color off the red would be rather greenish here. But of course, we don't really see the secondary colors and, for example, going days on trying to manipulate with the human. But you can see we basically changed the hue on whole of the image, but mainly on the face and the dress off course there read. Channel existence is the highest here, but we still have their existence off the red primarily channel. As I was saying over here, where we had the sign a wall which now changed into the green, which of course, means that there is something. And once I go with you up to 100 this from Sion gets blue, so with their hue, we cannot just the color spot. You don't really want to manipulate with colors that much as the chorus are right. But what I don't really like in the camera is the lack of the saturation, and especially for the light images for the 90 images for the night portrait, when the saturation and the colors from the Neons and other areas needs to be really visible. You want to make the saturation really punchy. So that's why tryingto increase a little bit off the saturation on the channels to make the image a little more police. And for the I, I'm going to increase it mainly are on the blue channels and least on the Wreck channel. I feel there the model. She's rather she rather house enough of the saturation on the skin tones. But as you can see, the Blue Channel and the green allows us to get the rest of the image a little bit more punchy. So the light that was a little bit hidden. But you want to extend this, you want to make it a little bit stronger. This is the way to go, and also we can set up that thinking on the shadows. So, for example, whether you want toe, add a little bit more green or more, imagine trying to the shadows on that will be your choice. A few words before you even start doing this. Be very careful, because let's say, looking at this image, we have a lot of pink. We have a lot off red, so all of you sign in the head. It means it would be great to make the shadows a little bit more drainage. And why I would do like this is because the red warm colors work really well with cold so they can work well with blue. But as we have a lot of this, Redstone's opposite color to the reds will green so and in a little bit more green to the shadows works actually perfect on this image. But there is one problem of it. If you did this right now on the level off camera, it will be a little bit difficult toe. Get it back later. That's why I would recommend you to be really careful on this level to go with 10. Think you don't really want to go too far with this? Whatever you decide whether you decide to add magenta, which will work really great on this as well, or whether we would decide to go more with green, I would recommend you toe be careful with this and do not go with Tintin too much if you don't have to, because when it comes to their colors on the shadows, you can do it later. There was nothing wrong. So don't feel really on patient. Don to go with colors now because you think you want to experiment. Patience is the key. You don't want to overdo the colors. You don't want to create some weed colors to achieve great results. The first step and that's why I'm trying to give to you the knowledge less is more. So go if it make the image look good as you want this to look good out of the camera and nothing more than that. Once you achieve this, we are ready toe open the image in photo shop. And how am opening the images for the shop? Always as a smart object, because if you open as an image, you will have just an image and for the shop. Once you press the shift, this battle change into an object. Make sure you work in adobe RGB color space or pro photo on GB's pace, because these tends to be bigger. This than S RGB, and you might need image for something more than website later on. Also, death, of course, 16 bits. You don't want work on a debate image because it's just less comfortable when you need to deal out with some dark areas, etcetera. It holds less detail. So always 16 bits, more details. Easier to work with. Hit. Okay. And now I'm going to perceived and open object and just have a look. What is happening now? Once we open the image as an object with their if you would open this as an image, you would not have this possibility. But if you open this as an object, you have the small icon inside. It means you can't just amble hit because it's an object. And if you want to correct something again, you have all the settings you had ask. You did. And if you change your mind, you just go fix it a little bit. Then press OK and you're back in photo shop again. So that is how I prepare my images in camera for the work in Photoshopped. That's how I process the raw files 5. Lightroom Processing: for those who processed the images in light drum, we going toe have weak work through the same image as to present that tools we used. If you not necessarily can find the exactly same tools that we have in for the shop, decison will help you because, of course, as I said, it's the same. They might have slightly different locations, so let's hit important Already selected the images stuck I have in the folders, I'm going toe heat import and we go into the same image for comparison mint. I'm going to choose, as you can see, the image we were working on and then we're just going toe hit our develop module. So what do you see? It's already how much we processed the image before in for the shop because a camera and flight room are connected. So if you get the raw file from camera that were already processing before, as you can see over here, we saved the settings. That's why when we opened this in light from, we have actually the same sentence, which also shows you that this Softwares are of course, the same. I'm going toe heat. Rest it right now. because I want to do everything from the beginning and the fingers I was remembering. We started with other big collar was the same. We dragged up and the exporter toe around 1.9. We lowered their highlights a little bit. We brought up the shadows. I remember a lot till around 70 and we are closed. Our starting point. I believe it was slightly brighter. And of course, does that row because we're working with the tonic. You're over here. And of course, when it comes to the cure, it's also they saved your as we have in for the shop you have the cure of with the specific region highlights, lights, darks. I remember we brought up some off the lights. We brought up some of the darks and just a little bit more off the shadows over here. Us. I remember. And we're not. We're not really working more with the highlights over here and also switch to the different cure to the point curve. And we brought up just a little bit more off the lights to on this level. And I believe at this point our image is very similar to what we did in camera, if not the same, I can see we pull up on the highlights a lot, So this week it's a little bit too bright, so I will let myself to take down a little bit more off the highlights. So with these two panels with the basic panel and tonic will funnel, we basically did nearly all of the job that we have to off course. We have other options. We have street stoning. We have detail, less correction and everything, which also exists in the camera. But I didn't use it in a purpose, and I will give you are less on explaining the stools and also explain why we didn't use simple reason would be We just don't need it or something's is actually not good when it comes to preparing the image for retouching. If you do whole landscape image in a camera off or light room, more of the tools would be useful. But when it comes to the retouching, not all of them is actually useful. That's why I'm actually jumping straight toe calibration and also, as I remember here, more of the saturation for their Green channel. Add more saturation for the Blue Channel and that would be our starting point and then image. We also did in a camera the other option you might have. You might wonder how to get from the light 12 for the shop. You can just hit right on the image and you will have the option and it in and headed in photo shop CC 2018. And you could think this is the right option. But then you opened. This just has an image just to proof That's have a look and what is happening now I believe now it's opening our photo shop. But it opened this just as an image. This is not what we necessarily want. Go like we did this and open this once again from the light room hit right and it in and then open a smart object in photo shop. And this is the thing I want to work now it's going to be open exactly the same exactly the same as in smart object, just as we did with camera. So this is just the point I tried to make to show you, no matter which software for your processing, you going to choose the software sward exactly the same. And to Softwares give you a chance toe open this as an object in front the shop. So now let's say you want to change something. Once again, you double heat on the object and you land back in camera. If you need to adjust something and if you do so then you just need to heat, okay? And you will be back in front of shop. 6. Other Cmaera Raw/Lighroom Tools: before we start doing the things in photo shop, let me talk a little bit about the things that we skipped in the camera and life from, because once again, these two Softwares are the same camera, right room and develop panel in light room is the same thing. So I'm going toe double hit on the image I already processed. And I'm going to walk through with days on the panels that I don't think are useful, as well as through the panels that actually you could possibly use, but not necessarily in this case. And some of them we will use adity and as a final patch ups, because I think some of the tools in camera are really good to use as a filter on the very end. So we talk about two first panels and then the third panel under the name detail. We have also the same panel in the light from I'm going to zoom on this image because it will be easier toe explain your things in this way and for detail. You actually need to zoom the image to see what's going on about the first part off the sharpening. This is not something I touch on the level off camera. You don't want to sharpen the image before retouching because it will only make the texture harsh. It make it more visible, which will cause more difficult. He's later and photo shop with retouching. One thing that could be actually acceptable is below, which is noise reduction. So especially on the night images, as we have over here when you need toe, bring up some of the exposure some of the shadows and things like this and issued with lower I So some of this and noise might actually appear, or if you should, with high I so you'll also get some nights. I do not recommend you to go very far with the nice reduction because you will even out the image way too far. So I'm actually going up just a little bit until the level where some of the noise disappear. Maybe our on this level, As you can see, I have the noise, which is not so clear animal. But I stay. I'm still able to preserve what's really on the image, so I'm getting somewhere where I don't see the noise, but also where I preserve the natural outlook of the image so I can see all of the sports and everything. More than that. That means I can let myself to go till this level later. Off course you can play a little bit. Wolf eliminates detail. It will unjust your noise. As you can see, if I increase the luminous detail, I can see this a little bit more harsh. Circum the crazed is a little bit toe, not see this luminous details as well and mix it all together with noise for the best results. Also about the sharpening. As I said, never use it on the start. But you basically choose the amount the radios off it so around how many peaks else is going to build the sharpening and the visibility off the detail. And also, if you want to mask the sharpening that you applied the next panel that this reward to talk and this is the panel that I really like to use and different issue saturation, luminous and just mints and nothing really complicated. First is the hue, so actual color saturation. You choose the level off saturation or level off the saturation off the image, which is basically the same thing with the re saturate or D separate and also amount off luminosity on each color. So how they work, for example, pled MSM out. If I want to change the huge so the color off the right article be, I can manipulate with days and as you can see, it picks up, is the red color and change the hue. Simply speaking, we can do this with every single color that exists. So I have some my cross here. And as you can see, I also can change you off this. This will be extremely powerful when it comes to the final steps, when we need to adjust the colors the same with the saturation. You can do this at the very end when you have very end and also sometimes very beginning, want to need toe. I'm just a little bit of the skin tones in this case, usually working with some oranges, for example, because the skin might be the saturated or too saturated, so my increase, the saturation, or de saturate the value of the skin also preferable. I like to do this at the end, and luminous is actually the amount off light on each color, so if I would increase the right on red. As you can see, the light on reds is getting increased. So I'm not going to do anything at this moment because it's quite risky to do this at the very beginning. And I keep this onto that street running, which is basically and in some color and toe highlights and shadows, and you can also choose the balance between shadows and highlights. So, for example, if I would go with shadows with some cold color and for highlights with some worm color, you can see that's how it works and we can manipulate with the balance not going toe had any off this on this level at my belly at this at the very end, because I just don't like the results it gives me. Let's correction barely ever used effects. We have grain, which I prefer toe add in different way. I'm do this in the fourth shop, so this is also not something that I use post crop vignette ing. If your camera tend to add something yet you can always slightly try to correct this in this final, and we have calibration, which we also this cast And this is the panels that you have in Landrum and camera askew can see. Not all of them are useful. Some of them can be very useful. And with few of them also, we will work at the end. So this is These are the things you need to know. Before starting, I might lower a little beat off the highlights over here. I feel this light is quite strong and now we will be ready to start our adventure and work with photo shop. 7. Cleaning up Image: Now it's time for cleanup. So first and rather simple process in Fort Shop, I'm going to show you how to work with basic tools, which are the pants, because using basic tools is always better than using shortcuts. It's gives you the best results. Most non destructive results completely non distractive results to be precise compared to other techniques which can actually destroy the texture and very the first very important thing once we going to start working on the image. First of all, we have the smart object, so we even cannot work on this layer. But the other thing that will be super important is that you never actually want to work on the actual layer. But you always want to work on the empty layer, and I I'm getting this question a lot. Many people say they cannot. Why do not work on the actual layer? Why empty layer? Because if you work on the actual layer, you will work destructively. Once you do some mistake, want to go back, but you cannot because you're layer there is already changed. So that's why I always create their new empty layer on the smart object. You can't work anyway. I'm going to call this empty earlier, clean. And then another question that people often ask is how to work on this empty layer because they don't Really? No, something often doesn't work, so make sure on the top when you have sample that current below is checked or all layers. But I would recommend you more current low because once you create some layers on both, it will also be affecting the information from the layers on both. So you want to keep this current below, and then you can work and let's zoom on this image. We don't really have so much cleaning up, and it's really great, and I believe on most of the 90 minutes you will not have so much clean up so many needles . So this process is actually very simple, and I'm working with two tools. First is hearing brush tool, and it was good works. Basically, I'm going to press J. Some present out, and I'm getting this circle once I press out. But you can see, and then I'm hitting the area next to the spot. I want to clean, um, covering this spot. You should have regular round brush I can. Is there something different? It's probably does the recording software. So you press out, grab the sample and you cover the spot and how Mr will work. Actually, when you press out, you take out the texture off the skin, and when you cover, you apply this texture of the skin and the color is applied from the areas around, so we will have few spots to do. So I don't actually feel any need over here to use other tools, So this is rather simple. Process. I wouldn't go with Crown Stamp. There is absolutely no need for that. As you can see, just a few simple spots and this one toe do absolute enough job. We have few sort of freckles or malls here. You don't really have to remove that You can if you want, but never removing. Actually, this sort off freckles, or most because they are characteristic this ones are very small, so removing them wouldn't be a problem if you have, because you always want toe, actually keep it, then what I like to do, I can use soft added close stump. To use this, you have to press as on your keyboard and with soft edge across time, you can make it slightly bigger, and you can grab the sample and do something like this. So paint over the skin, toe even out this skin texture. If this is something you need, many people would get confused at this step. And many people often use a frequency separation for some sort of even out of this to even out the skin and thinks related today's. But if you feel confident with the brush and you feel confident with from the shop, that's how you should even out the skin. No wasting time. Just do this around the areas that you feel it needs a little beat off work, except that there is no need for doing more of that. We can also use this around her little beat, just going to make the brush smaller. I'm going to paint with the direction off the hair. Don't worry if it doesn't work first of all to paint over the hair. Of course you will need that tablet, which is crucial part off the retouching. I always repeat that with the mouse, you should give up on the cleanup. They heard that will be a little too difficult, but also in this image we don't really have to do it. And mainly I want to work on the colors a little bit later. But also I have to show you how to clean up the image at least just a little bit. 8. Quick Dodge & Burn: on the image as we see before. We don't really have to use dodge and burn technique on many. We use Dutch and burn technique on beauty images or some studio portrait's and images similar to this. But I want to make this quick lesson to show you how you can do it, just with few spots, even in that, that will not be very big process. But I think it's always useful to know this at least a little bit how we can fix the lighting perfections. So to use natural burn. I'm always using the curve adjustment layers and that because curve adjustment layers are the best tool, possibly to work with the lights you can easily manipulate and the lights to bring them up or bring them down. So I want to create to address mint layers. One will be with the lights up, and the one with the lights up will be titled as much. And I'm going to copy this now Command or Control and J. And the other one, I will be with the lights down. So this with the lights down, well, we lend burn. What we need to do now, we need to inverter the layer masks because we don't want the effect to be visible but will bring bang the effect by painting on the layer mask with the white color off the brush. Because in photo shop, when the layer mask this area over here, when it has the white color, it means there everything is visible. When is the color black? It month means the effect is invisible, but we can bring it back by painting with their white color off the brush. So I'm going to invert this now and let me present you if I'm going to press, be on like a brush my people and then paint with color white. As you can see, I'm making darker because I paid it on the bird. And if I'm going toe paid on the Dodger, making brighter. So the next step, What I'm doing now is creating black and white adjustment layer. I will use hue saturation. I will de saturate name this be damn you and I all. I'm also changing, blending what from normal toe color. Why you see the difference. The normal blending modern affects the color and luminosity values, so we changed it to color to make sure we see under the color and not the luminosity so alive values. I'm also going toe. Add some of the contrast here to see the imperfections, and it will be better than I can see. We do have imperfections that we did not necessarily see before. And now with this amount of the information, we can simply paint with the white color of the brush are the imperfections using our Dutch and better adjustment layers so it will not be too much painting a Zay said. I don't think it's a good idea to waste your time on the images like this. But if we can improve something, we feel losing too much time in few minutes. It's always worth to do it and enjoy the better quality off the image than not doing this. And then seeing some imperfections that could be done a little bit better, says he can see the surgical beat off the burn around the white spots painting. Maybe on the hand over here I can I can not. His few off the imperfections, Sybil Dude, around here a little beat. We have some vein, so I want to just to even this out do not make this vein as strong as it Waas. Just something soften. So if we would make their studio image, if that would be some beauty made, for example, that would really take us a lot of time. But But the fact is, just a street image. Most of the people wouldn't really do this step. So I don't really feel our pressure on to show you this more often as another shallow technique. No become, Have a look. How would change it before After, as you can see, very small, very small change over here. I brought in time to Syria a little here, and I think maybe it would be a little too much. So I'm going to dark in here. Absolutely, Just like this. I can turn off my black and white layer, and from the day starts, you can see in the US look a little bit better. So now we can move on to some other extra informations in this class. But that's how you do. They're very small corrections using light, the definite so called Dutch and very 9. Even Out the Skin: in this lesson. I want to show that the thing that helps you to even out this skin weekly and quite precisely, I'm talking about the use off frequency separation in a certain way that could help you to sort out this certain image parts. And I have to mention just before we start frequent separation. It's not really good technique when you plan to use it for beauty retouching for fashion retouching. I don't see the point etcetera bad for your own images, for example, as the image that you see in front off you at the moment, this is actually pretty good technique to use, whether it's for retention for social media or your own passion images that you do for the kind etcetera. This is actually pretty good technique, and I will show you how to use it also what's really important. I'm giving you few actions in this course that can help you and speed up your retouching a little bit. So, first of all, creating our frequency separation, I'm going to show you how to create this. And of course you will get this interaction so you don't have to struggle every time we've creating recommending you using my action, I was in touch with few people recently that had frequency separation actions from other sources. And I must say that poorly made so remove the ones you have if you have it replaced with mine how we start. I already have some layer above. So we need to press command, option shift and eat to create this stamp above that stamp is a simple air. So command options shift and he altogether if you work on a Windows device that will be control out, shift and e. So we have the first layer now, and I'm going to name this love as a love layer. I'm going to pris command or Control and J two copies. And this will be high, so great within the first part, we doing really well for the first lawyer. I'm going to assume this ingested. It'll be to see the details. And then I'm going to feel her blower guard Gendler. I'm going to blow to still the level. I don't see the details on the skin, so that might be for this image. Maybe around six big cells. It's still quite low. Maybe a little higher. So we need to find the point for us where we I see the bird out, the skin don't go over it. Every image is different so this value will be different for every image or some of them will have the same. But images are different so the value might be slightly different. You don't have to be super perfect, but just do not see the details so that I'm going toe press OK and I'm going to highlight here This time I'm going to image apply image and I'm going to choose the layer first. The sort of source will be low layer. So getting information from the lonelier and blending us we work on 16 Beattie made because we're working from the role within change this inter ed bit image the blending will me as an odd scale to off zero invert and then we should see something like this. If you have a big in age, you can see it here the number will go sub subtract and like this which basically the same thing I'm going to hit ok and now I'm going to change blending mode on this top layer into the leaner light and now our image should looks pretty much as the image before, so nothing change. These two layers connected together is our image and now explanation to it. The first layer layer contains mainly color information, I'm saying, mainly because not only and the top layer contents mainly the information off the skin texture and eaters. But it's not fully, let's say, 90% picture 10% color and for the lower layer opposite, many people say fully This is not true. So we have this to organ name this f s and we're going to work on the lower layer if you want to be protective, just copied a lot earlier and work on the copy because in this case, we actually have to work on the on the layer. So what I'm going to do as this layer slightly Brugler. But I don't like the shifts the color shifts I'm having here. That's why I want to take you just think so. I'm going toe Pashto end off course. We work unnatural layer because using Paschall, we have to work on the actual layer. So I'm going with Paschall and finding this parts that are not perfect. We have some discoloration is here. I'm trying toe use it just a little bit to make this a little bit better. Transitions she can see. Well, we'll have a look very soon. How did it work for us? Also be very careful. You need to be careful with transitions to make sure they doing well. If not you Door. Step back. Try again. And maybe trying to take the selection from some other point. Have a look. Transitions are getting a little slightly smoother, which is not good once again for beauty. Mitch, I would hate this. And I would hate this for the studio image, but on the street, even like this one. What? What's good for it? A smooth transition. Because sometimes we country get this nice light. Sorry. Here. Okay, Scott, that it'll be better. I can see some spots, but we can take care of this. And of course, at the hand, I can see a lot off transitions here. So I'm going to do this around the hand and you will see a difference. I'm going to try to be ready fast. Don't be careful to not get close to the edge. Also, this will not help you to achieve the nice result you would have to the UK days and also make sure that you're trying to replace this with quite similar skin tones. You don't want to goto very different areas. That's this. This is the key off the good and efficient work. So unless you can see I'm doing this quite fast, if you want to be a little bit more precise, you don't have to be that fast. But this is not very demanding as well, so I think we can let ourselves to be ready fast. Cain that Zuma Let's have a look she can't see. It's getting a little better. It's a smoother. There will be some more work for us, for sure, but at this moment it is indeed better. I need toe fix article, eat more on the neck. Usually, I would go here fully with Dutch and burn and still will need a nickel more. It wasn't really precise. That's why a few steps back, I wasn't happy with the full results. So here a little slower. And just to be more precise, don't go too far. Do not turn, move everything and now more satisfied with the result I got. If you need to clean the spots, I saw few. You go to the highlighter and use clone stamp or healing brush for the frequency. Separation across time would be better. And also better to use hard legend brush and layer Karen, because we also need to work on the current layer. And there you simply fix in the spots on this call layer, so it's also not very complicated process. 10. Adjust Contrasts: in this lesson, I'm going to show you perfect way off, improving highlights and shadows on your images or unjust in contrasts. So I finished cleaning up on this image with this very basic way. Cool down. The highlights are on the Ferris wheel and cleaned up Ah, the pink panel on the left hand side. And now we want to improve some of the highlights. But maybe we don't really want to improve this highlight. Going to make some highlights a little bit more visible in the face. And this is the think we will try toe work on a little bit more off course for working with highlight. We can use a few different adjustment layers to work with flights, of course, adjustment layers that are responsible for lights. Contrast is of corporate off course brightness, contrast levels, curves and exposure. My favorite all time favorite always will be curves in this case. So I'm creating the curve and I'm going to name this highlights. I'm going to create one more. I'm going to name this shadows, but I have to say I don't think I'm going to use the shadows in this case because I don't really want to darken this image. I will wait with this to land just in case I'm opening to you. If you need that to do this if you will have to do highlights and shadows you will be working similar way on this ball players. So I'm going to highlight and I really want to define the highlights out there. Face off the person so I will go to image and applying image. It's my favorite way to define the highlights shadows and the things I really need. It is basically the same way as peeking up the selection from RGB. So we will receive everything that is in the bright areas and the dark areas will be in black. So thanks to this will get a mask where we can have really nice control over the highlights . And of course, your lending multiply or normal to get the right highlights and layers merge. So it manager off the layers and it just represent the highlights off the image. If I'm going to press maneuver it, it will represent the shadows of the image. Very simple theory behind that. I'm going to press OK and to view the mask you can see how the mask looks like You need to press interruption heat on this and that's our mask. Very simple theory behind that. If you want the inverters, you can press comment or control, and I invert mask inverted again to go back toe what I'm talking about. And to me, it's really the easiest way to do this. We can also make the mask, for example, by selecting in channels you go to channels, you press commander control and make the selection off RGB panel. And this time I'm going to invert this into the shadow. Some person command or control, and I and I have sandals, so exactly the same mask. But for the shadows highlights. As you can see, this is the same technique. You can make the selection from two different sources, So I'm going to start with highlights and look what I'm going to do. I'm just going to bring it up the curve and you can see that I brought up the Highlands quite that drastically. I can change reading about two luminosity if I don't really want to affect the saturation values, and that's good. I'm happy with the highlights. I could maybe make them even more strict than that if I want. But this is the really easy way. Have a look before after nice Brighton, but also some other areas got way brighter. For example, the highlight over here and I don't necessarily like it. So I'm going toe press other option to view my my mosque and with the brush, I'm going to choose the flow at 100 capacity at 100 the black color of the branch. So I'm Christie to reset colors here and eggs to switch the color So black color and with the black color, I'm going to paint over the area that I don't really want toe get affected by the effect. I just apply So because Well, here, let's have a look. And I think this is something I really wanted. So as you can see, I turned down Samaria and I don't remind the other gas over here to be so bright. Maybe maybe justice tools here, but the blue color. It's absolutely fine for me. If I would like to dark in the shadows, I under this way can see. But as I said, I will be killed for at the moment, I'm not going to work with the shadows yet on my main mission, waas toe Improve the highlights a little bit. And this is exactly how I do this. So these two layers now I'm going to perceived and select two layers and then commander or control and G and named these contrasts. So this is how I get the control on specific areas, basically picking up the selection over the highlights and shadows. And then if I need to mask something, I paint with the black or white color over the mask. 11. Introduction to Adjustement Layers: in this lesson. I want to talk about the colors. We will have few different lessons on the color. Work will start with explaining you the tools that are used and that you more likely will use for your color grading in the next lesson will the practical color grading for this image. And then we will see more examples off working with color. Still the really in France level that will give you ah lot of control on working with agent specific color. And these images in this course was really perfect for this by the fight that we work really with very strong colors that you actually have at night working with the fake fake light, you will always have a little bit more colors, as in this example. So first of all, let's this counts. Of course, the adjustment layers I need to explain you. I need to explain you the adjustment layers how they work, and we can simply split them into a few different categories in the color adjustment layers and until the light adjustment layers from the basic color adjustment lives will have solid color egg radiant, which are not probably the best for working with the color because they're just like simple color masks, color layers. And then we have something more advanced than we have the adjustment layers responsible, many for lines, which is brightness, contrast levels curves an exporter on we all already work with them off course curves. Levels are is something that's given you must control. And also these two adjustment layers can be also used for the color grading from thes. My favorite would be curves gives you some control for shadows highlight and then below. We are moving for very classic and great tool score color adjustments. We have vibrance who have hue saturation. Grateful. We have color bass, another grateful black and white conversion. Rather, we can keep. In this case, of course, we have photo filter good for adding some solid color. And on the bottom going, we have a great and map and selective color, very powerful tools as well, especially selective color. I'm going to talk about few that will be selective color. That will be color balance, and that will be hue saturation, something some mystery. Crucial tours are really powerful for any color grading. You more likely are able to do all of the color work, using just the stools, maybe on even one of them. You can off course, use great and map. It doesn't give you so much control over the lines on the image in colors. So that's why I do not work that often with Grady mom. And then we have to work a lot with the and blending months Evil work with these kind of tools. That's why I think we should be forecast on these tree adjustment layers. Let's start from the selective color and why is it so good and so powerful for the image? Selective Carra gives the possibility of choosing working with each and specific color reds , yellows, grids, etcetera. So, for example, choose in red. We will have red color stay probably most likely exists on the skin, not even more likely for sure, skin dress and everywhere we have this war colors. So how does it work? For example, we cannot sire to the reds existing on the image. We cannot yellow to the reds existing on the image or reduce yellows, and you can see the areas affected by this only areas where the possibility off reds exists over on the face. As I mentioned, we have oranges and this sort of colors. That's where it works and the same will work with each of the other color will choose. We also have white, no trust. So great car and blacks, which has very close relation. Toe highlights, meet tons and blacks. Why, of course, not necessary highlights. But you can see we have a wide over here. So, for example, adding yellows, you can see it dance affect this area not so much all the area, but it does affect the specific area where the wide color that's exist, most powerful here would be probably trials, which were great. Color exists a lot, so you can see adding this all areas, especially the meetings, are filled with the manipulation that we applied over here and blacks some around her. Possibly you can see the darkest area. Many shadows on the are affected now. Now it's very visible. We have shadows area here, for as I said, this is the area that would be affected, and this is really powerful toe. The other tool would be color bands when where we can manipulate with RGB colors. Primary red, green and blue, secondary, cyan, magenta and yellow between shadows, meetings and highlights. So, for example, for the shadows we cannot called color for the meat tones we cannot something in between, and then for the highlights, we could add some warm colors. As you can see, that is how it works off course. I'm not going to apply exactly this to this image because it doesn't look good. But simple show. How does it works and finally, hue saturation. I really like it is because we can adjust the hue off the whole image. Or we can unjust the hue off each and specific color, like reds, yellows, screens, whatever we need. So, for example, if you think this images have little to read, you can search it in tow. Yellow sea, 15 images to yellow. You can go more into the red direction, and also you can increase the saturation off this areas. But also I recommend you to be very careful. I always try toe Peak, uh, and work with very small values because this is very strong tool, so I always recommend to people Be very careful with it. You can also choose at exact specific color on the image. For example, let me choose Blow over here. And if I choose eyedropper, I can choose the color that is here. So with their eyedropper, I can choose this and as you can see it somewhere between my agendas and reds. But it recognized the colors that we have, and then we manipulate strictly this one color. So this is adjustment layers that I'm going toe more like you work on this image. I'm not going to yourself probably color ballons. You might also try to adjust some color and do some more light work with curves or levels. 12. Color Grading: Now we can start working on the colors. One thing very important, maybe even more important than understanding adjustment layers is understanding how their colors work not only in photo shop, not on the images but in every possible visual heart. Whether it's motion picture, picture or painting, you need to understand the color. So, for example, me looking at this image already know the colors that exist here. I see them and I know how I want to approach it. So one that will be something that will be very helpful for you will be using the color will. You can find one on close kin. Designer. I really like to use it. It's very intuitive to use, and I will explain you quickly before we start how to work with this and what am I talking about? So the one thing that I want to pay a little bit more attention is the colors that we have on this image. And of course, we have some of their magenta pink color and called their shadows some science color, which is really good. Start this amazing colors that we have here. I can also see the other part off this that the pink color is a little bit dominant on this image, and I would like to put a little bit more balance to it. So let me open color skin Designer and I will have the dominant color, which is on this and the color opposite to this dominant color, as you can see, is the color green. So I'm very close to it. I have the color Cyan, and I think if we can push, it may be a little bit more inter greener and I like direction. We could get on a little bit more interesting result on this image, So I am going to start with the color balance and I'm going toe rename this in tow grading . And also I am going to change Blanik month from normal to color. So I'm sure that I am affecting on the color and not an a luminosity values. And now I'm going to go to shadows and I will start working from the shadows. I can see Shadow Area and I was talking to you that it's signing, but I would like to add just a little bit more off the green color to this. I don't see the reason why I would add a little bit more blow to it so I won't be ready. Generous with this green color. Maybe a little bit off the sion. And this color, as you can see, got a little bit more off this definition. Also, what are you really like? Is that I took down this pinky color from the hair and now they actually look more realistic, More natural. Not having this this weird colored this weird pink color. Not too much off this at least. And I'm not pushing this stronger into the green color because I don't want to make it too obvious. For example, if we push it through this way, yeah, it looks and not too bad. But it's too obvious it doesn't have this natural touch that we have by applying just a little bit off this. So this is on one thing I want to do with the shadows. I don't feel I would do a lot to the meat turns. We can see some transitions, how it works. The meat comes as you can see there even stronger in this area. So I would rather be really careful days maybe just a little bit off the science to the to the meat counts as a smoke transition, but not too much and also the highlights. This would be end off the first step that I want to apply over here, and I'm relatively happy with the highlight. So I would rather be careful days. I want to see how it works. The highlights. As you can see, we still have a lot of this pink color, and I'm thinking that I might actually reduce a little bit off this because it's still dominating over the image and quite become out. I want to go with more red over here because then the skin tone is getting this sort of unpleasant look. It's getting a little bit agreed, so I wouldn't go with this unpleasant look. But I can take down just a little bit off their rights from the highlights and that's let's have a look. What we going to do with Blue? This will give a little bit too much. So I want to cool down this. I don't really like the yellow wish to yellowish skin comes, so I would be really careful with this and I will go with a little bit off the blue. So we cool down. We cool down also the high rights and now we have way better balance between the colors. So it was slightly feeling more colorful before. But after this small adjustments, we have really nicer transitions and nicer balance between the highlights and the shadows. And I think that would be really good starting point for us. So we did the grating and what else I would like to do on this image. I want toe. Give it a little bit off the mat touch so I can use levels or care of adjustment layers for this. Both of them are really good levels. You can cut out the shadow, surgical beat and highlights. As you can see, it gives you a really nice Matt touch. But my favorite tool still would be probably curves. I can have a little bit more balance. That's why I'm going toe work a little beat with curves over here, what I want to do, I want to cut down a little bit off the shadows and a little bit of the highlights. I want to smoke out this image a little bit but not make it to flat. I want to also care of it. So I still want toe preserve the contrast, the outlook but with some sort off smoother touch and you can see on now what am I talking about? As you can see, we washed out the shadows. I can actually go a little bit deeper with the shadows over here. And now this is the result Out which I would be happy not maybe 100% 50 to not make it to soft. But this soft outlook will be nice for me. I'm going toe named this Matt, and we also can see if normal blending mode or luminosity blending month looks better. I think luminosity will be, in this case, really good choice. So I'm going to close it and I want to try a little bit more work with the curves here color again, and I'm going to change depending on the color. And I would like to add a little bit more blue to the shadows Just small touch and a little bit more green to the shadows. Small touch again. But also I'm going to reduce their things that applied to highlights at this stage, I think the curves will that this a little nicer? So we have this really strong, colorful image now with really great balance. And look at this image. I'm happy and we'll have soon final touch ups Off course. A little bit more techniques is in front of us, so stay and moved in excess in to find out more what you can do with the colors also working selectively with the masks. 13. Fix Discolorations: in this lesson. I want to talk about the small things on the images that needs to be corrected. I did a few more adjustments on the colors, especially to adjust the skin. Basically, I took down what I did on the highlights. I notice the balance wasn't perfect, so I did few other adjustments. But there was one thing we need to be aware. Every time we do something on the image, especially the night images, we have a lot off neon lights and some lies that we do not necessarily have control. And we might fix it in post production in Father Shop. In this case, I'm talking about the ice. I have these two images. One is before deep anything the other has, uh, not So what you can see over here, the eyes peak up some of the color that doesn't necessarily supposed to be here, and this is not even extreme version of these. But I will show you how Tofik stays in very easy way for this, um, using hue saturation. It's really grateful for all of these sort off small fixes. And one thing you need to do basically take down some of the saturation. If you need to do some and deeper corrections, you always can manipulate a little beat with the hue. In this case, I'm going to make it slightly warmer because we have some of the red color inside. And then I'm going toe. Invert this mask permanent, and I'm ever And then with white color off the brush, I will paint inside their eyes to take down the unnecessary and wanted color that we have there. Have a look from the distance before and after. As you can see, we remove this unwanted red color, and here we don't have it that much, but we still have some color that could be taken down. So I'm going to invert this layer and once again paint with the white color off the brush to read us the unwanted color. Very simple but very powerful thing when it comes to being already perfect in editing the image, and I always like to pay attention to the small details to make sure I'm not leaving enemies takes, and I'm sure that later when I will look at this image, I will not think that something could be done better 14. Worling With Colors: in this lesson. I want to show you one off my favorite techniques for adjusting the colors on the image. So we work on this image at the moment, and once again we have two main colors visible on this imagery. Half the skin color, which is in quite the right Thomas Brownish times, I would say pink dress and orange allied on the back US. It's personal images, lifetime it so we can have a little beat, more flexibility for the work. And I would think once again, what really much for this image and obviously a similar think us with the previous image will have this a lot of magenta. So I want to use this as the starting point for my image. So what I need to do, I need to have the selection off the other color than the dress. I need to have the selection off this light on the background. So what I'm going to do, I'm going to create Hue saturation adjustment layer and I will name these BJ like background color and now I will try to define the selection on this background. The best way to do this east to use color ram. So I'm going to select and color wrench in car range. We can choose each and specially color which will define our mask. We can not. Is that this background is many yellow colors outside problem or orangey. But we do not have oranges here. And the best way to do this will be to choose sampled colors. It allows us to use eyedropper to choose the colors we want to define as a mask. So I'm going to use this eyedropper. I'm going to choose their orange colors over here. And I will increase the fuzziness for days. Because, of course, I want to have a little bit bigger rent. If you want to be able to grab a little bit more colors, you can choose this place on the eyedropper and trying to define a little bit more details on this area. I'm rather happy off the selection. Maybe I'm going to decrease the fuzziness a little bit, so it will be easier to mask the model out off this layer must. So I'm going to hit, okay. And this months that we saw here will be defined in our mosque in our layer to look at this . We just need to process Al corruption and we can see our mask when I'm going to do now. I'm goingto recent my colors by present the X for the black color. And then I'm going toe mask out the model by painting over her because off course, I don't really want toe affect her with the effect I'm going toe apply to the Bagram. So we need to be careful. Close to the edge is to mask her out hand and everything we don't really want to affect needs to be mask out. Let's have a look. What? We have more. We have some of their yellows over here. It's so I will keep this in mind because we might work anti to beat more over here. And also I want to increase my influence in this area a little bit. So I'm going toe paint over with the white color just will be and we'll see how it will come out. So I'm opening my hue saturation now and simply what I'm going to go. I'm going toe work a little beat with the hue off the age. I don't really like increases. I can see it increase really strongly the separation off the image. That's why I'm changing the blending into color, and I can see the selection is a little bit harsh. That's why I would like to make smoother transition of this moment. Using the wide brush and painting this over, you can see it allows us to add a little bit smoother transitions, and also we need to sort out the color of our fear. Make sure that all of the colors are right on the meat. So, for example, if you change the colors to different color men, sure that if they're like the color comes from the same light, it needs to be the same. So that's why I need to paint over this area. Also, be careful with using this master panel because master Panama and actually affect a little bit more than you want. So for firms specified lor, I also want to choose some color that doesn't exist. Match on this image, For example, I could go with the science and olive trees eyedropper, and I'm going to choose the color that I want to work with, which is the fun on the yellow as the yellows to. And then once again, I will try toe, move this a little bit more in the direction I like. Have a look. I believe it looks so much better. Also a little beat, more corrections. We need toe. Add some of this color on her arm because you can see before there was some yellow color coming on the arm. So this is also the part that we need to do Toby here. And I think it's quite strong, and I still have possibility to work on this a little bit later. So what I'm going to do on Monday, Chris a little bit off the rapacity and I will try to do more collection, more corrections in the final touch ups to not really ruin this image on this moment by adding so many things to it. Rather prefer to be very careful on the early stage and then push it a little stronger if needed on the final stages. 15. Final Touch Ups Part 1: And now, at this time for the final touch ups, and I'm going to show you how I do final touch ups for most of my images, no matter if it's my personal images, some sort of hoppy images, or even if it's my professional work. More likely I will do this last step. So the last step is creating a stamp on the top off all layers. By stamp, I mean the actual image. So two days we need to press command option shift and he working on my book on Windows that will be control out shift. And so I'm going toe rename this layer as a final or final touch ups. And then we need to heat right and convert this to the smart object. So we do something that is very signal that we're doing at the very beginning, where opening image as a smart object. So then we can go back and manipulate our filter and the same thing will be happening right now, we're going to work with camera filter, and then if we do any mistake if want to fix something, we can come back any time and work on this non destructively So I'm going toe filter and Camero filter. So what I do in these final steps? Basically I'm trying toe match the colors a little bit better. I'm trying to adjust the contrast and light, so of course I will be working with the basic panel and I want to increase a little bit off the contrast. I was knocking down the contrast. So I want this a little bit more also maybe a little bit more or the highlights if I can increase this just a little bit to get a little bit more definition are on the face. Maybe less contrast and more off the highlights. Let's have a look before and after. You can already see this image getting more contrast. E The one thing I'm really afraid off this face getting too dark and I think it's mainly because of the really high contrast. So I'm trying to go more with highlights instead of this, and then also maybe a little beat down with the black. And also I want to pull down a little bit of the saturation because what actually what happening when you increase the contrast, you also increased the saturation, so I always trying to be aware of that to pull down some of the saturation in case I'm making it more saturated by manipulating with contrast over here the next step that we can do over here, of course. Careful adjustment layers. If you want to do a little beat, more work with the lights off course, you can do this basically, what I like to do. I like to work with the hue, saturation, ruminants and the development ed toe and just on the color a little bit better. So, for example, I have some off the my genitals off this image. You can clearly see how manipulating of this if I would like to make it a little bit more in the parable wipe. I would go in this direction If I want to make more right, I would probably go with this direction. So I'm just trying toe adjust this for the perfect balance on my images. So I'm just tryingto find the right point. Also, oranges. I think the oranges we quite nailed over here. Also the separation. I would like to be saturate oranges just a little bit, but I want to set keep the saturation up on the dress and on the this panel over here. Also, the reds a little bit up to keep the red red leaps off course intact. We can also increase the saturation around the blues and requests which will increase the saturation on our background. If you think this is needed, you can have a look how it looks like and the luminous as the last one. Personally, I really like to work with the oranges often hear when I cant pull up some off more highlights using a basic panel and the highlight, you need to remember that skin tones are off, always orange, so this is really great tool to increase the highlights on around the face without using this tools here. As you can see, our highlights are nicely increased now, and it's not because of this basic panel, but mainly because of this luminous panel over here on. Also, I could maybe dark in the blues for the better contrast or bright and is the same I could do off course with the our quest. I would try to darken this a little bit to make this more shadowy in the background, and let's have a look. This is before, and this is after. As you can see, I think the final touch ups really work well for us, and this is something I would finish with this image. But it's not done yet because we have also other image on which we going to do a little different final touch ups because of the different colors. I want to show you the really cool techniques, how you can work a little bit more with camera doing your final adjustments. 16. Final Touch Ups Part 2: on this example. I want to do another final adjustments, which will be a little bit different than on the previous image, Of course, will use similar some the same tools. But of course the outcome might be different. We might be thinking, and it will be different. And once again, in this case, I will create the stamp on the top. So Calmund Option shooting T If this is the Windows device that will be control out, shift any and final adjustments. Touch ups. It's a little different, not big difference. And, of course, convert toe smart object once a month. Once again toe remind you working non destructively. We always want toe. Create the smart object if we will be working on the actual layer and once it's created, before I jump into the colors, I would like Toa liquefy this image people beat. Yes, as you can use liquefy as a smart object, which is pretty cool because, to be honest, I think liquefying is quite difficult in use. Sometimes it's easy to make a mistake, So having the smart object option, it's really amazing, and I don't we want to do too much. I'm not a huge fan of liquid. Fine. But I know many people want this. I know many girls actually ask to be Anita liquefied here and there s O. I think if we have the control, it's not too bad. So But I want to that I want to just liquefy this arm a little bit. Just slim it. Not too much. Once again, let's have a look for after. Could be a little to match some just going step back, trying to liquefied back. We could just simply do a step back. If you feel confident, you can only could find this back on Some doing three depends on your feelings and in your car. In your confidence, how we do. I want to do also a little bit. Although we could find on this because simply because of the lens, this are most closer to us. It's a little bit bigger, so that's one thing coming to dough. I need to have the extra looking down on the shape. So once again, it's a little bit of the liquefying. With control off course. Pull back a little bit and here onto feeds this corner. Let's have a look. I think We did a decent job here. I still feel this arm could be what's a little too much. And as I said, I'm not a fan off, really drastically could find. So I'm trying to make it. I'm trying to make a trail. I'm not trying to change the things, but I'm trying to keep it really as it is. So once it's done, I'm going to hit, okay, you can have a look now before and master the change. Would it just quite drastic what I want to do? A little bit more? I think I pulled this arm to White that will be mailed. That's OK, but I think that's a little too far, so okay, and now I am going toe begin to filter and camera future this time and there's a few things I want to do. That will be, of course, contrasts Once again. I want to put up some contrast on to pull up some of the highlights and just a little bit down with the saturation and the other thing I want to do. I still think I would like to do a little bit more on the background over here because this lights are more yellow than greens. So I would like to work and it'll beat more on this. Let's see if we have some greens. This is the greens, some making them a little bit greener and about yellows. Also, we can pull out the yellows just a little bit in the green direction. Let's let's do some nice balance here. That yellows and greens. Let's pull it out for this way before after I think we're ready. Got it. Then he mailed it a little bit more. It's really there. The color harmony on this image. I would say it's very superior. I'm really happy about the result I got also, I would like to pull ups. Um, eliminates on the dress on the dress to stand out so luminous up a little bit. Maybe you can try to make. There's a lot of red on the face so that I would keep it as this Over here. It's not that much off the orange, maybe orange. It will be done, but the highlights are quite visible over here, so I'm okay toe keeping this as it is. And if I decide to pull up the Reds off course I will have to decide to take down the highlights here because the rats already were increasing this. And I think that was mainly because of their rights here, as you can see. So just to be up here and then it will be more careful with the contrasts that was already strong. Once again, I want to check. I'm going to be a little bit more careful with the Luminess here because, as you can see, increased a lot of this on the face, wanting to increase the dress. So just a little bit, not too much with this more careful and we can do the dressing on. It will be different way, actually. So these and Jasmine's a something I'm really happy about, so I'm going to hit. Okay, let's have a look. And if I would like to do something more on the dress, there is very easy way to do it in for the shop. So curves I'm gonna title this dress. And now, using select and color wrench, I kind of work as it'll beat more on the dress before I jump to it. I would like to go back to liquefy once again and I want to profile this a little bit more . Some. Sometimes that's how it works. We can not, is the things at every moment and sometimes just about when we are about to have a look or started the other thing. So now we can go to the dress and sell it color range. And now I will try to make the selection on the trends. Just something like this. You can increase the foods, you nice, okay? And one thing I'm going to do, I'm going to mask everything else that it's not the dress. So I press other option and hit on this layer mask, and now we're there, Color black off the branch. I'm going to paint over the body parts. It's like this, and that should be enough. We can easy pull out the Kurth and bright and address on the dresses very bright. Now, if you don't really want to increase the saturation, you can always change planning to luminosity. Actually, it wasn't increasing the saturation. Let's have a look. Have a little bit different lights. So always check with luminosity to preserve the real color. And this is the image. I'm happy about. This is the final adjustments. I would do understand me. Just you can see we have to have the looking few different things. Sometimes you have to go back on to fix something. That's why it's really useful to work with the smart object. And sometimes there are things that we can do in camera because we need to be more selective and off course. We could still do it in camera, but then we would have to make this election. And as you could easily see in this case, we could simply do it, using curves later in photo shop. 17. Analogic Colors - Simple Example: at the end. I want to present you this simple project off course. You can see by looking at this image that we don't have that many details, and also we don't have that many colors to work with. So there will be much less work upon this subject but will try to make it a little bit more impressive. Energy is the colors. What we can also see. We have more often Anna logic color. So we have one color, which means we don't really have possibility toe, which also means we don't really have possibility to work with few different colors on this image. So I'm going to start with the camera. I want Oh, bright in December, just a little bit. Bring back on the shadows for me to make it a little bit easier to retouch, and at the end I can and take it down a little bit off court, off course, the exporter and stuff. I'm not going toe lower the highlights that much just a little bit on that would be around it. I like the light. It's still we're still capable to say this is a night that's the point, not go too far. You need to know this is the night and also on to turn the profiles because I believe, for example, landscape profile. My do actually really interesting colors on this image, even though it could be a little bit controversial to use profile like a landscape, because it doesn't meant to be this sort of image. But those are not a typical portrait to see more. I'm going to browse and see my before common marching. I want toe, see how the standard looks like, and that also gives me really nice, strong and interesting colors. But I feel it could be a little too far. Let's have a look compared to the color of the day on W color. I believe it's a little too strong. So that's let's compare this for the big color, as you can see that every color well, if it's a little bit more natural, that's why I'm actually going to work more in the camera, to adjust its color by myself and not using the profit, which also could be interesting. So I'm going to collaboration. I'm going to increase the saturation on few of them because I want this to be more saturated than we are already working with this and I want a little beat, more magenta on the shadows. We can also work a little bit more on the Hugh. If one toe make their lights on, people beat more red. That's compared to the before. As you can see, we got way more details out of this image. At this moment, I'm not going to work with each and specially color. Now I'm going to start in father shop. So I'm opening the object and we could perform just a little bit off clean up on this image . There will not be too many details, and I can also see. I think, once again, which I realize quite often what they think is the noise that I want to just just a little bit. It's not also the beak amount of the noise, but we can reduce just a little bit. And also now you can see there is not so much clean now. But I would years the calm stamp and tried to paint with this soft brush just over the head because once we increase the light that hurts seems to stand out. So want to cool them down. Just that included over here also don't want to spend too long on this simple task. Mr Her both. I see a few more areas that needs to be taken care off on the face. I didn't really notice anything that is required to clean up here, and that would be only probably the waste off time. Now what I'm going to do, I'm going to go with color balance, going to number this as our one and I will test which colors if I should cool down the colors or maybe warm them up. As you can see, it's really easy to notice what you can achieve here on actually, like when I'm calling this down, it gives me more often abstract color. When I had some blue color to the shadows, which is OK, I'm also not going with science because it will kill their very intense atmosphere that we have a figure. But that would be off course, some option. But you have, But just more not so intense. Maybe a little bit off the grins. And then the highlights go with something maybe opposite, to sell a little bit to call it down, Let's have a look and I want to see it. The result before and after. I don't like it. We shouldn't call it on the highlights. Anything that was there, My reason. So I think just adding on the shadows, believe me being more satisfied. As you can see, we change just a little beat up the shadows. But the highlights more likely stay as they were, and I like this color much more as a next step. I would like to add some sort off Matt effect, and for this I'm going to use curve. So what I'm going to do, I'm going toe, pull up the shadows and pulled down the highlights. But also I'm going to dunk and the curve in this way, which is going to give me this really interesting Matt effect on the image. I can also see different blindly month as luminosity, just in case. If I feel normal doesn't work, I can see luminosity. But even though luminosity doesn't affect the colors, it brought up so much off details from the shadows that it looks like it works on the courage. That's why I'm going to keep blending normal, even though It's sort of take away the colors from this image, but it creates ready nice atmosphere. And if I want to work with the contrasts, a little bit more anti end would use levers for this and just darkened. A little bit of the shadows made dark and a little bit off the meat comes in case you feel you want to dark in this image. But I think we actually dark in this with the parents. So there's no need that I want to bring up some of the highlights. Also that for just a little bit more contrast, let's have a look on. I felt this effect. What did we decide upon different before this one? I think both of them look actually quite interesting. I'm going to cut this out just a little bit, and we also can manipulate with luminosity, not color, of course, with luminosity. If you prefer days, that's compliment City to normal. As you can see, normal is slightly more colorful to come decide upon with which direction you will go. I feel for this image there's a little bit cooler. Colors were work a little bit nicer, so this one wash out layer. I kept it normal for this one contrast, and that would be our quick adjustments. Of course, at the end, you are free to do some camera adjustments for simple image like this one. I wouldn't do too much. I wanted to cool it down. I wanted to give some special vibe into the image, which could be this wash out result, which I really like. So thank you for watching this week course on how I added and how you can. I did how you can use the techniques that I'm presenting this course on your own images, retouching you're might portrait's, whether use neon lines or whether use more off there cooler lives from the lanterns on the streets. Thank you.