Photoshop Basic 2 - Portrait Retouching | John Ross | Skillshare

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Photoshop Basic 2 - Portrait Retouching

teacher avatar John Ross, Professional Retoucher

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

15 Lessons (2h 3m)
    • 1. Introduction

    • 2. Skin Color

    • 3. Flesh Tones

    • 4. Easy Skin Cleaning

    • 5. Hard Skin Cleaning

    • 6. Healing Comparison

    • 7. Removing Shine

    • 8. Eyelashes

    • 9. Eye Whites

    • 10. Iris

    • 11. Teeth Discoloration

    • 12. Tooth Rotation

    • 13. Liquify

    • 14. Loose Hairs

    • 15. Flyaway Hair

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About This Class

Perfect Portraits

The smallest details will make or break a portrait. Do it right, and you can make the person look great. Here, we are going to discuss problem areas, what to look for, and what you can do about it. Sometimes all it takes is a soft and subtle correction to fix the worst shot, and create the Perfect Portrait.

Some topics include:

  • Skin Color and Tone
  • 3rd Party Software
  • Compare Healing Tools
  • Focus on the eyes
  • Fixing Teeth
  • Fixing Shine on Skin
  • Bulges
  • Stray Hairs

Meet Your Teacher

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John Ross

Professional Retoucher


View my other Skillshare Videos at: ___

My name is John Ross, and I specialize in high-end Portrait, Product, and Scenic Retouching. I've been working in the printing, photography, retouching, marketing, and graphic design fields for more than 20 years.


Most recently, my retouching work has been seen in Advanced Photoshop Magazine and Photoshop Creative Magazine.


Photoshop Perfection - Portraits, Camera Raw, and Smart Objects ___


Photoshop Perfection - Basic Retouching for Photographers See full profile

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1. Introduction: the four most important areas when retouching an image are going to be the skin, the eyes, the teeth and the hair. When you do it right, you're gonna make the personal perfect. You do it wrong, and it's just gonna be more distracting than the original. My name is John Ross, and welcome to the final class. In basic, too, which is portrait retouching. This is going to be your introduction to generally retouching Portrait's. We're not yet going to be getting into glamour, fashion or studio or any of the other deviations within portrait retouching. This is going to be exclusively on portrait retouching in general, things you should be looking out for and techniques that you can apply in order to make your images look better. We're going to be discussing the problems that come up all the time. Inside a portrait. It's We're going to be talking about what you can look for and what you can do about it. Sometimes all it takes a subtle changes to make things look a lot better. But sometimes you really have to dig deep in order to solve some of the more complex problems that are going to arise 2. Skin Color: One of the more common questions that I'm asked quite regularly for my students is How do I know when I've achieved the right color within the skin tones? The problem with this question is, I don't know. I can give you specific mathematical equations that you can check against the info palette that we're going to tell you what it should be. But the problem really is it depends on the background. It depends on the general feel of the image. Sometimes it goes warmer. Sometimes it goes cooler, for example, without actually seeing the image, I can tell you that for a Caucasian person, I can tell you that the basic color should be 10% saying 27 per cent magenta and 27% yellow . However, that's just the starting point. It's really going to depend on each and every individual image. For example, if I open up my info power and I hover over the skin tone on the image on the left, you can see that it says 9 33 and 32. I can move it around, and the values that gonna change a little bit, but generally we're still staying within the same ballpark. Now the reason that I'm actually making it warmer than the values I originally said is because the background behind the subject is cooler, so I'm making the skin tone a little bit warmer to compensate for that. When I click on the image on the right hand side and I just generally hover around, you're going to see values that are noticeably larger. However again, it depends on the environment. The background around her is red, and overall, I'm looking for a much warmer image. But since you are looking for an answer, this is something that you can use is a baseline scion is going to be approximately half of magenta, and the yellow is going to be equal to magenta now, depending on the background and the publication, I may make the magenta a little bit higher than the yellow because I want to make the skin tones a little bit more pinker. But I keep a close eye on making the yellows higher than the magenta, because if those values air too far between, you end up getting someone that's looking jaundice, and that yellow skin tone is going to suggest they're looking sick, and obviously that's not what we want. Simply all this means is you don't want to make the skin tones warmer or cooler when they seen around. The subject requires something different. What's much more important in these situations is comparing the images that are going to be published right next to each other. For example, in any editorial piece, if you're going to have an image on the left hand side and an image on the right hand side , something on the top, something in the bottom, whatever it is, you want them all to look generally the same. Because if one's more pink and the others more yellow and the others more sigh in, it becomes obvious to the viewer. My number one rule is less about what the specific numbers are, and what's way more important is that all of the images within the overall article look the same 3. Flesh Tones: Another thing that's important is how dark or light the subject actually is compared to the environment that he's in. This starts dealing with tonal range, and this image on the left hand side is clearly darker than the retouched image. On the right hand side. However, what happens when you taking pictures without any specific lighting source, The camera is going to try and give you a general exposure of the image, but our eyes are always attracted to the lightest part of the image, and in this case it's in the background behind the person. When we start manipulating the raw file with the adjustment brush, we can start selectively darkening and lightening areas that are going to give us the best possible image as a general exposure. And if you is the re toucher, make the subject of the image brighter and warmer than the background. Then they are going to come forward and stand out as the focal point of the image. Often I ask myself how I think I'm going to get the image from where it is to where I wanted to go, and if I can do it, then what's the best way to actually approach it. Details aside, like cloning or even color corrections, I'm more concerned with totally balanced images. They look good over the entire image. When it comes to the skin tones you need to play with light the way that it drapes across the skin and other objects in the background. The highlights, the shadows, the contours are all extremely important. Don't just flatten out the image. Overall, it's important to darken background objects as well as lightning foreground objects, making things cooler in the background and warmer in the foreground. These are the things that are going to make your images stand out and look their best. 4. Easy Skin Cleaning: when it comes to re touching the skin and smoothing it out there a couple different ways to approach it, and everyone's gonna have their own way. But generally speaking, there are two different ways to approach it an easy way and a hard way. When you're being paid a flat rate and time is money, you're much better off going with the easy way. When you have a client that's actually willing to pay you top dollar to sit there and make it perfect, then you do it the long and hard way. Personally, when I work on my beauty images, I use a little bit of the easy way and a little bit of the hard way, simply because I'm just trying to do the path of least resistance. So let's get started with the easy way, and you can judge for yourself if you want to implement this procedure. I'll say up front, though, that many professional retouch er's are purists, and they would never even consider doing it this way. But ultimately, it really depends on whether your target audience is a bride or for an advertising agency, whether it's a studio shot or a beauty shop. It's ultimately it's up to you. If you want to take this first shortcut in retouching the skin, I highly recommend the plug in portraiture from image Gnomic. The software itself is not cheap, but I often find it well worth the investment. There are many different tutorials online that make a big production out of using this software, and many of those ways air completely unnecessary. I've personally spoken to one of the developers, and this is how he recommends using this software. Take fine and bring it all the way down. Medium leave. It'd zero large. Bring it all the way up. Turn on the mask and click on this little eyedropper here and go right between the eyes. Generally speaking, that's going to give you a nice baseline for the mask you're going to be using. If you want to add to that mask, you can have this little plus sign here and come up a little higher a little bit higher, and it keeps refining it as it goes, Which is why I recommend just coming in here, clicking and calling it a day. Click once more to turn that off. Now you can zoom in and you can see what happens by default is making a pretty drastic change, but that's because this threshold is on 20. But all you need to do at this point is moved this slider more or less. By making it more, it's going to really smooth over the skin, and in many cases it's gonna be way too much. In most cases, even 20 is too much, and if you find the 20 is too much, cut it in half and bring it down to 10. Then click a couple times and see what you like and don't like about the results. What I do like is that it got rid of all of this vein work that's going on the side and up top. It's getting rid of those drop shadows and around this side it's doing a nice job there, too. However, however, this may be too much, and you'll see that it's removing way too much of the detail. So in that case, drop it down more, bring it to five. Perhaps something like that better meets your desire. Onley do as much as you think is needed, go around the image and decide how much of this you like and don't like. But since you're more advanced in photo shop and you're taking this portrait stuff seriously, I'm going to recommend that you actually break apart the skin visually, because the amount of smoothing that happens up in the forehead, you're going to have a different need than down here on the cheeks or the nose or the chin . What I'm saying is you might have a greater need to have details removed from certain areas and less detail removed from other areas, so I'm going to recommend bringing this threshold down fairly low. So it's just a nice little baseline, something that just kind of takes that edge off and say, OK, then the next step that I recommend is to duplicate this layer notice. It's a smart object. I always work on smart objects. At this point, you should be, too, because we have the portraiture as a smart filter, which means that we're going to be able to go back into this and adjust the settings at a later point. So I'm recommending. Make a copy of this smart object and the smart filter and double click on portraiture again when it brings you back in this time, Go for one of the more complex areas that's giving you more trouble and raise this up. It's at this point that I might use 10 20 even 40. It really depends on how bad certain areas of the skin are. The skin is kind of bad, but it's not terrible. And in this case, I think tennis. Fine. And I'll go Okay, so that means that we have 10 for portraiture on this layer, and we have five for portraiture on this layer on this top layer created mask, fill it with black and then zoom in on the image. Now, because this top layer is black, that means that this 10 effect we're not seeing we are seeing this five effect. But what I will do is click on the black mask, change the brush toe white, select the brush, give yourself a nice soft edge and then paint over some of these areas that you want this heavier portraiture done on. Now I'm using portraiture, but there are actually other freeways within Photoshopped to do this. However, I don't actually recommend it because I'm not a big fan of the results. When you come over here, you can see this is five, and that's with 10. And it's just these little areas up here. You can kind of see up here. It doesn't have to be anything dramatic. All we're really doing is first taking the edge off down here By doing this. This is before this is after before and after. And then here I'm doing 10 which is hitting it just a little bit more. This is before and after before and after. And if I come back to the history, this is the original, and this is with two different hits of portraiture, the original and the two different hits. Now in theory, rather than using portraiture, you could come up here and go blur surface, blur and effectively do the same thing with the mask around the skin Tones use surface, blur on a lighter setting and then duplicate the layer and adjust it for something heavier and then just hit certain areas. However, any of these built in blurs aren't doing the same job that portraiture is, which is why I recommend portraiture. It just handles it better. It looks better. The reason it gets a bad rap is because it's very easy to either overuse it or use it completely wrong and thereby just smoothing out the entire skin. Notice. I haven't smooth out the entire skin. I've cleaned it up, but we still have plenty of blemishes that we need to touch up. We're going to tackle that in the next video, which is going to fall under more advanced skin retouching. 5. Hard Skin Cleaning: In the previous video, we used portraiture with the threshold setting of five in order to take the edge off of the image We then duplicated that smart object went back into portraiture, and we doubled that threshold. The tent. We then use a mask to take the edge off of those worst areas. Now we're going to get into some of the more finer details on how I personally clean up the skin. Over the years, I've seen many different techniques on how to actually do this. I've seen good ways and I've seen bad ways. I've seen plenty of mediocre ways. However, I've never seen my way. And for me, what I did was I watched all these videos. I absorbed all the information I thought about what I felt was the best way to approach it . And then after a lot of trial and error, the way that I'm going to show you is how I do it for each and every one of my images that require this level of retouching. The most common way of doing skin retouching is with frequency separation, and I'm sure you've seen it talked about all the time on various big name websites by famous retouch er's, and they give their techniques of creating multiple layers and all that other stuff. I don't do it that way primarily because I find it to be way too much trouble. The concept behind frequency separation is to raise the details onto a top layer and drop the colors down toe a bottom layer. So in concept, you can remove all of the lights and shadows from the top layer but still retain the original color underneath. But the reason that I don't like that technique is because in areas like this, I need to work on one layer to get rid of the tone. Then you still have this discoloration, and then you have to go to the other layer to remove the discoloration because one is the details and one is is a blurred out color. So I personally can't be bothered to be jumping between one layer to a next and trying to figure out what I'm trying to retouch and where it belongs. Like I said, I was seeing professionals use other techniques, and the problem with some of those techniques is you can't use smart objects with it and my rule of thumb is always used. Smart objects. Now there's no big surprise and how I do it. I mean, once I show you you're gonna be like Well, yeah, and but you have to think about it in context. Just because I'm not doing anything crazy and I'm not doing anything fancy doesn't mean that the results aren't really good. It just means I didn't have to put in a ton of time with some complex algorithm to make myself feel like I'm an accomplished re toucher. And neither do I want to take the time to use dodge and burn on every single pixel, which has to be on a flattened layer, because the layered way of doing dodge and burn is incredibly flawed, which I approve in another video. But essentially, the way that I would approach this situation is I'm going to create a new blank layer. I'm going to name a cloning that I'm going to zoom in very close, go to the healing brush tool, and now, if you're familiar with the healing brush topic within photo shop in Photoshopped 2015 the April release, they broke the healing brush and there was a work around for it by using a scripting method . In the later 2015 release. In October, they introduced a diffusion slider, and after testing with that, I still don't like that method. So I use the script hack to take us back to the 2014 release of the tool. So the way that I approach this very specifically for a beauty retouching of the skin is I'm going to give myself a very small brush picking area next to it and just kind of clone over it. So, like I said, there's no big surprise in doing this. The only real difference is I'm taking the time to come up here and get really close. Now there is more to this technique, which I'm going to show in a moment. But for an area like this, I'm really just taking the time to pick the areas next to it that are similar in tone in color. As best as I can. Getting any of these excess shines any excess dimples, anything that looks a bit out of the ordinary. The real difference between this type of healing and standard healing is that I'm going to zoom in close. I'm going to get a very small brush and I'm gonna take my time in order to get this right for normal healing or cloning. I'm not zoomed in his close notice. I'm up to 558%. Normally, I'd be backed out toe like 200% and I would just do a general clone. The benefit of doing it this particular way is you're still retaining that high level of texture on the skin. But what we are getting rid of our these blemishes that are going on with these higher ridges between the shine and the shadow, I might even split the difference and do the shadow one way and shine another way. Like I said, there's a little bit more to this. So just bear with me. So I'm gonna go around and I'm going to do the best I can Take my time. Whatever blah, blah, blah. Zoom out. Now, a technique that I often use in a situation like this is I'm gonna have one version of this image that I have up close. Slide this over, then go window and then come down to New Window four and the name of your file. I'm going to select that, and it's going to open up the exact same file. This is not duplicate. This is literally the exact same file. But what this is going to allow me to do is create something a little bit looser in view while I'm working up in a tight view so that I can see that there's this dimple here that this dimple here and I can get rid of it, and then it goes. And I can use this as a method of finding where these problem areas are. And then I can use this as a judge to constantly reset myself so that I'm not working in this teeny, tiny little detail getting crazy with it. I'm actually just focusing on the worst areas, so sometimes it gets a little hard to get yourself ground. But I think I'm up here somewhere. Yep. Okay. Come over here. Do this in this. Okay, So this is one of the ways that I work, and obviously I have a much bigger window in a bigger screen. I might work on two different monitors, and then this allows me to do the detail work but stay grounded with the amount of work that is actually needed on the image. So when I come over here, I can see I have to get all of those. And as we start finishing up her forehead, I would be doing the same thing on the cheeks, on her nose chin, all that stuff. I'm not going to spend the time doing that. But I will come over here and spend my time looking at her eyes underneath her eyes. She has these very fine lines now show that there are two different ways of approaching it in this case. Now, you could do the same technique on the other blemishes on her forehead. But I find it to be more work on these big general areas. And I'd rather do what I'm about to show you on the other areas that are under the eyes that require a little bit more attention to detail. So one way to do it is the way I just showed you, which is getting up in here with a very fine brush and taking my time to do it right. But now, by doing that with the healing brush, you'll often find that you're not quite getting what you want, and you've end up fiddling with this a little bit more than desired. And that's understood. So I have a different technique that I use when I want to pay that much more attention to what I'm working on. So the way that I'll do this is I'm on the cloning layer and I'll change over to the clone stamp. Then I'll come over to a lighter area, and I'll select that lighter area and drop the opacity on this brush down to something very low, like 5% 10%. 10% sometimes gets a little high, but with the selection down here in the lighter area, I'll come up under the darker area, and I'll focus exclusively on these dark and wrinkle areas and go over it once, go over twice, and so that you're not just cloning arbitrarily. You're looking for the darkest pixels that are showing and again use. This is your guide so that you don't overwork your areas. Notice. I'm just going over the darkest of these pixels, and I'm trying to balance out the lights in the dark so that they're a little bit more baseline. And if you look on this version of the image, you can see that there is definitely less offending areas. So I see this dark area here, and that's this dark area here. And by using a very light brush, I can go in here and just hit it a couple times. Now, this is a lot easier with a pen wack. Um, tablet. I'm I'm using a brush right now, so I'm just kind of going click. Happy. Make sure again. You're still in the later area and go over it now by doing it in this level of detail with this soft of a brush, what you're doing effectively is you're not losing detail because you're following the counters of those pixel breaks. Just be careful that you don't make it too light or too dark. I'll go back to the healing brush to get this big one right here. Now come right next to it. And there's another obvious one over here. All right, But while I'm in here to this area, go back to the clone and do this. There's a little bit more that I'm going to dio other than just coming in here with ease later areas over the darker areas because often you have a lot more detail going on. Like these wrinkles can sometimes be very obvious with these harsh shadows and harsh highlights. And in those cases, what we want to dio is coming to these darker areas like up here and hit the lighter areas . And again, all we're trying to do is create a baseline for ourselves. Now, is this incredibly tedious? Oh, yeah, of course it is. But somewhere in here is the difference between you being a re toucher for a hobby and a re toucher for professional pay. Whether you're putting something in your portfolio or you're just trying to get something done as quickly as possible, I mean, if I wanted to do this as quickly as possible, I would come over here with this clone stamp. I bring this up to around 20% giving myself a much bigger brush. Click there and just give it one giant swipe and a second swipe and good enough. I mean, all I'm doing is blurring it out. But I got rid of the wrinkles, right? See, that's the difference. You could do a hack job or you could do a decent job. And if you want to do that decent professional job, you've got to go in there on a pixel by pixel basis and do it. The difference here is that I'm using the healing brush, and I'm working on the highlights and the shadows. And I'm trying to create a baseline by using the darks in the highlights that already exists next to it to balance out the crevices that are happening within the skin. And I guarantee you don't working this way is not only easier than doing frequency separation, but here you can also retain all of your smart objects and work in a very clean, methodical way for your layers, because I haven't created 234 extra layers in order to do it. I'm just working on one for detail like this. I might actually have two different cloning layers. One. I'll uses a general clean up in the 2nd 1 I'll be working on those fine details, but now is this kind of an obvious solution to the problem? Yeah, it iss the real differences. I'm slowing down, and I'm working on it in an incredibly close pixel by pixel fashion. And the amount of detail that I worry about really depends on the image itself and how much time and money is involved in working on the piece. Because I'll be honest with you. Nobody is going to pay you to use frequency separation. No one's gonna pay you. I'll be honest. Nobody's gonna pay you more because you did it based off a frequency separation. And no one's gonna pay you less because you used portraiture. You just need to establish what works best for you and generally speaking, repeat that technique each and every time you work on your images for me, I start with portraiture to take the edge off. I'll follow up with a stronger level of portraiture in the certain areas that are more problematic. And then I'll use a cloning layer on top of all that, that I'm working on paying attention to all the little details. And when it comes to the eye areas and the wrinkles, I'll use a clone stamp cloning the light areas over the dark areas, including a darker area over the lighter areas, and balancing out that skin variation and doing it this way. I guarantee you that you won't be losing pores and you won't be over smoothing the skin, especially if you use this to view technique, because this allows you to see where the problem areas are most obvious, and this view allows you to get in there and make the actual changes, and there's no reason to make this any more complicated than that. 6. Healing Comparison: I did this test a few years ago and the results were a little bit hit or miss. So I thought now would be a good time to reevaluate how these healing brushes have come along. Start by showing you a quick demo of how I approach this. And then I'm going to show you the final versions where I took the time to actually do all the work. And then you could see the different results that happened for each of the different tools . So if you come in and you use the clone stamp, that's often the absolute worst one to do. Because if you try and get a Grady int like this more often than not, you're actually going to end up missing your targets. And yes, you could do big, even open areas like that. But once you tried doing this, you're gonna end up failing and missing, and bad things can end up happening in this spot. Here is a really great example of that. So when it comes to cloning in areas that require gradations, healing is a much better way to go. Cloning should only really be used to completely cover an area with the tone and texture from another area not good at all for skin healing or anything like that. When you come over to the spot healing brush, all you need to do is paint and let go paint and let go paint and let go. Fairly straightforward and the healing brush like the clone stamp, you have to click a source and then the destination source destination. And then the other tool that we're gonna compare it with is the patch tool. For me, the patch tool is the absolute last line of defense. I have to really be pulling my hair out before I'm ever going to turn to this tool, primarily because it requires way too much work. I've got to select the area, move it and let go, then de select, select the area. Move it. Let go de select. As you could see way too much work is involved here. Mostly, I don't see Rita Cher's doing this or even photographers, but I do know one that uses this extensively. That's great for them, but way too much work involved for May personally. So with that said, I want to show you the results of each of those tools when I actually went through and filled in each of these spots, I did my best on each of these. And the results were quite interesting because when I did this test a few years ago, like I said, the results were a little bit header mess because he couldn't handle these Grady INTs very well in my testing, each and every one of these tools easily passed the test coming all the way through here until we reach this pink and red area here. So I'm going to focus in on this area. Throw away that quick demo I just did for you. The spot healing brush spot healing brush is where you just paint, paint, paint paint very quick, very easy, and this tool used to have severe problems. However, somewhere around 2014 they did some major improvements on the tool, and it works much better now. And by turning that layer on, you can see that most of this was gotten on the first pass. I could see a little bit there and a little bit there, and in which case I could go back to the spot healing brush and give it another swipe a little bit bigger, a little bit bigger, and it very easily got those problem areas and still maintain that Grady in Unless you can see something that I don't that looks pretty good to me. I want to jump over to the patch tool. And, as you could see, the patch tool handled this fabulously. Now, even years ago, the patch tool did the best job on this. The problem with the past version of this patch tool is that it used to only work on the layer that it originated on, meaning you couldn't have a blank layer like this. However, now, if you were to use the patch tool with content aware selected, it does now give you the sample all layers option. Like I said, with all the clicking and dragging, it is my last line of defense. But be aware that it handles Grady INTs. Excellent. Now I want to go back to the healing brush of 2014 versus the healing brush of 2015 with diffusion of one and the healing brush in 2015 with a diffusion of seven. Now, personally, I use the healing brush 2014 by using a script hack within photo shop in order to force it to use the older version of the brush. And by doing that, you can see that I was once again able to do this entire area first shot without a problem . I didn't even have to be accurate to do it. I would simply grab from a source generally out here somewhere, and then I can paint right over the top of it. And you can't even tell that I just clicked and dragged right over the area and looks fine . When it came to the new 2015 versions, my results were much different with the healing 2015 diffusion setting of one. I had to hit these inside areas twice in order to actually get it. So let me spend a moment to show you what I actually needed to dio. I'll take the racer and erase these three areas and go back to the healing brush tool. And then here, instead of diffusion of seven, will bring it down to one, and I'm going to select this area next to it and do it and this area to do it and that area to do it. And as you can see now, I'm starting to get this problem. Zoom in and you can see that I'm starting to create this strange pattern and there's actually I can see a color shift. Now keep in mind every one of these other tools. Flawless the first time it wasn't until I went to this new version of the healing that I started having this type of nonsense happening. And then I had to go in here and start sifting it out and smoothing it over before it actually worked 2015 with seven selected was even worse because this one required me to really go over it several times in order to get it to work. So I'll erase that and race that go back here. Seven is now selected. Now, this time I can see a discoloration that's actually happening. I'm not sure if you can because of your the video encoding and your monitor whatever, but I see that there's light, color, red light color and like color. There's a break here. I got red, I got two extra spots, and so now that's going to require me to do this to do this and Yeah, I think I kind of got at that time, but that's what I experienced previously where I had to go through the extra work. So my recommendation to you is to use the script tack to go back to the 2014 version of the healing brush and use that for the most control in your healing. However, if you prefer to make life simpler, you can use the spot healing brush and just make one swipe. And, as you can see, it handled that wonderfully. Now. That's because they made improvements in 2014. The tool before that didn't work particularly well at all. Even with the content aware, they revamped that content aware and didn't tell anybody. I've been keeping my eye on this and content where got much better in 2014 for 2013 and older, which is taking us to some of the earlier CC versions and CS six. You know, if you use proximity match, you're just going to get some fairly strange results. This one wasn't terrible, but I can see that swiped that I just put in. That's before and after, which we don't see with the content aware just to wrap up my final thoughts on this. Using the clone stamp at 100% is good to simply copy from one area and paste it over the other area, generally with texture and tone. Working with Grady INTs is horrible. The tool I use most often is the healing brush of 2014 that generally does a very fantastic job in handling Grady ated areas like the Skin and the updated 2015 version of the healing brush absolutely sucks. First, I thought it was just me. But just the other day I read an article off a very popular professional website, and that article came to the same result that I did. The 2014 was still better, and Adobe never should have changed that algorithm. 7. Removing Shine: when it comes to removing shine on images, I generally have two different ways. I go about doing it. This first way could be taken as a bit of a quick hack, but often the techniques air pretty decent. So I don't think too much of it. When it comes to those images, I'm looking to just get done as quickly as possible. The second way is a little bit more advanced. Some more advanced users would probably opt to use the second way. But to quickly show you the first way that I would remove shine from an image is to create a blank layer. Name it something like Remove shine, zoom in on the image and then I will use theme healing brush tool, and I will come right next to the offending area and clone right over it. Now, at this point, all we've done is just cover the area completely. I'm not gonna leave it like this, but this is just the first step. Come to an area next to it and cover over the offending area and then come up here and do the same thing. Now those little areas are pretty easy when it comes to these larger forehead type of areas . This gets a little bit more complex because at this point it's very easy to make it look very cloney and not very good, especially if it's a very large area that we're trying to fill in. But notice how I'm not paying a whole lot of attention to what I'm doing. I'm really just kind of covering over the area with the general theory. That close is probably good enough. And then, lastly, I'll grab this little area right here now, as you can imagine when I come up close, all I really have is this big, mushy, semi repeating pattern area, and it doesn't look particularly good. However, I will follow this up with a fairly obvious solution to the problem is I'll grab the opacity of the layer, bring it down to zero and then slowly start bringing it up. And somewhere between 50 and 60% I'll come up with a mix between the shine that was there that will be visually used for detail. But at the same time, it's not nearly as bright as it otherwise. Waas, as you can see down here, this is what it was, that's what it is. And then down here on the chin, that's what it was. That's what it is. And once again upon the forehead, that's what it was, and that's what it is. Generally, that's a quick, easy solution to the problem. But often I don't do it that way because it can still lead to mushy looking skin and you lose the detail in the pores. So more often than not, this second way is how I actually do it. But in order for you to do this, you have to have either in a photo shop knowledge or been following along since the beginning. And no many of the photo shop hacks and tricks that have recommended as we've gone along, how I recommend you go about doing this is zoom into the face and then turn on quick mask. I've talked about settings for quick mask in the past, so I'm not gonna go into details now. But suffice it to say that I'm going to go into the quick mask mode. I'm going to turn on my brush, make sure it's 100% flow of 100% and I'm gonna be working on black. Give myself a bigger brush, make sure it's feathered and then just kind of go over these areas very loosely that you want to fill in or otherwise reduce that bright shine. Notice. I'm not doing the entire face and not going overboard. I'm just grabbing a couple of key areas. Come out of quick mask and you'll see I have some loose selections going on head on over to the selective color adjustment and change colors from whatever is there to whites. Basically, by going to whites, it's gonna grab the brightest points within the shine. That's why we can make a fairly loose mask, because it doesn't really matter. The Selective tool is what's going to be targeting our selection and making the accurate change. What you can do now is visually match these white shine areas with the skin tones that air next to it. So this skin looks a little bit heavy in the magenta. Obviously, it hasn't been retouched in anyway, so I'm gonna boost this up now. Notice how when you go to high, it's just gonna make a magenta. I'm just gonna pick something that generally looks like it matches the skin next to it. And then I'm going to boost up the yellow as well and just play with the yellow, magenta and possibly the scion until you get something that's approximately what you're looking for. Notice. By using this method, I haven't lost any skin detail. I haven't done anything crazy like the first method. I'm not replacing anything. I'm just simply changing the colors a little bit. Now, if you find this looks good than fantastic, you can leave it alone. If you still think it looks a little heavy, like perhaps it grabbed too much areas, then you could drop the opacity down and bring it in just a little bit. Once again, I often find that 50 60% is probably right around where I wanted to bay in this case, at enough 75 whatever doesn't really matter. So now I've gone with one hit, and that's gonna grab and just the general outsides of it. So these areas out here that aren't the whitest whites have been affected. Now it has grabbed parts of the insides, but not all of the insides, as you can see on the nose. It kind of got it but kind of didn't. So we'll go back into Quick Mask again for a second pass this time will give our smaller brush and hit a smaller area. This time, when I go back in the second pass, I'll often be much more targeted in what I'm doing. In this case, I can still kind of really get a pretty big area in here, but in many cases is second Pass is really just the whitest of the whites. Come out of the quick mask and now you'll see I really selected very little compared to the first time. Once again, I will use the selective color currently still set toe whites, and I'll do it once again. I'll go in and I'll adjust the Magenta Allah, just the yellows, and I'll try and get this to balance out a little bit better. Now, just humor me a little bit because I admit I'm working on a crappy monitor. And then there's the video encoding and you have your own monitor and I don't know what you're looking at, but we'll just assume that it looks kind of okay. I mean, you get the technique behind it and and then if you have some areas that are still too bright, I don't think I've ever had to go past 1/3 pass. Quite honestly, this is just a case for the worst of the worst. And if you're wondering if I'm just continually making it darker and darker, no, because at some point it stops becoming a white and falls under a neutral. This way, we're always grabbing the whiteness to the whites that air actively within that area. In most cases, once again, you Congar. Oh, and it just the A pass ity as needed. And the general thing here is this is where we started and here it is after three passes. So this is the method that I often use, and I'll use a smaller brush and I'll go in and I'll target the very specific problem areas after I've done more of a global selection, and I find that this method works 99% of the time. On some rare occasion, I might default to that first method I showed you, which is cloning over the area. But honestly, I'm really only doing that. Unlike the shine on the nose, the bridge, something like that it's rare that even the forehead gets that much of a great shine to it . However, the type of images I work on come from photographers that are walking around and just taking shots in the bright sunlight. So I never know what I'm gonna bump into in my day to day workflow. But if you practice with this, I'm sure you will find that this method will generally give you the best results of any other method that's out there. So once you back off and you take a look at it, if you see any other areas that are a little bit too bright, you can go to one of these other layers and just headed a little bit more. And if you still want more once again, you can go in and hit it with a little bit more. It's completely up to you. And as a last ditch effort, if you find that you're really just struggling on something like that, I'll come underneath that layer with a clone, stamp something low like 20% and then just go over and that'll generally get it if I find that even 20% just did, too much all taken a racer and drop the eraser down to like, 5% or something, and then just tap it a couple times to bring some more detail back into it. But honestly, that's how I go about removing shine for my images. 8. Eyelashes: when it comes to eyelashes. Like everything else, there's a quick and easy way and a longer, harder way. So let's just tackle the quick, easy way. Then we'll get into the way that I actually prefer for a quick, easy way, creating new blank layer and then select your brush tool using black and then come up here and you're going to see the standard selection of brushes. Click the take out menu and you'll have more brushes available, but click load brushes and you can download this collection as part of the class. But here is one of the eyelash brushes, and then when we scroll down this list, we'll see we have a couple of eyelash brushes available. Also, select this other one that I have. You can otherwise go onto the Internet and try and find some others that you might prefer. But the ones I actually like out of this set is going to be this one in this one. So let's just like this one and get started. Now you'll notice that you on Lee had an option of a top in the bottom. There is no left right rotation and all that stuff You can customize that by using the brush panel, which is here. Scroll down until you find the brush that you're looking for, have it highlighted, and then, in this case, it's for the other I. So let's flip it around, make it a little bit bigger with the bracket keys. Now we need to rotate it, and I can do that with the angle. Just tip it a little bit and noticed that that brush goes at a different angle. You can also find that up here by doing this. Basically, we're just trying to match that up a little bit. Better make it a little bit bigger. And I guess somewhere around there is about the best. We're going to get click once and now we can use edit free transform, and that's going to select that area and then select this one right here, which is going to be the work tool. And now we can bring this down a little bit just so that it matches a bit better. Maybe bring it in and then go OK, and that was before, and that's after, As I said, that's the quick and easy way. Is it perfect No, absolutely not. But if all you're looking do is something quick and dirty getting in and out, then this is certainly a way to approach the situation for me. Personally, I'm going to do it a lot more manually, a lot more selectively, and ultimately it's gonna look a lot more believable to get started, select a basic brush and pick something that's approximately the size of the base that you're going for. So for right here, here's an existing one, and perhaps this size is a good base. So what happens is if we create a new layer and we paint. This size is going to be approximately this size. But obviously the top ends up becoming Justus thick as the basis, and that's not believable it all. So what we'll do is open back up the brush palette, click on shape dynamics and change whatever this actually says to fade. I'm going to pick a value of 45 test it to see how it goes. Maybe a little bit longer. 45 55 maybe. Okay, that's pretty good. That's going to give us a place to start. Yes, it's darker. I understand that. But What we're gonna actually do is get that panel out of the way, select our eye dropper, and we're going to select the darker color that is available in this area. Then we'll go back to the brush and we'll swipe, Swipe, swipe just a couple times because I really think this might be too much. Changes from 55 down to 45. Make it slightly smaller. Do another one. Another one, Another one, another one. Then bring it down again. 25. It will just kind of hit some of these tail ones on the outside a little bit longer. 35 but a little bit smaller. Don't go overboard. This is going to be a technique. Do just enough to get started and fill in these areas. Because what we're going to do next is we're gonna name this dark and bring this a pass it down something so that it kind matches, but a little bit more than what already exists. I say a little bit more than this is gonna be totally subjective. It depends on the image, how dark the images and all that other stuff. But I'm gonna pick up something that's on the darker side. Then I'm gonna click another new layer. I'm gonna go light, and now I don't actually have a light value that I specifically want to grab. But I'll just kind of grab maybe a later of the skin tone, Come back to the brush and I'm gonna try and go over the existing eyelash and matched where the light is coming from. So if the lights coming from a peer, I'm going to be matching into this higher area, so I'll just grab it a little bit here a little bit there and you actually want to. Do you actually want to do just a little bit less then what you did originally? Because these later ones become very obvious. Bring that capacity down a bit, just so enough that it's an enhancement to it and then pick another layer in between and go mid. Then I'm gonna pick a color. It's a little bit darker, but not as dark as pick something a little bit longer. That was 35 sold to 45 and fill in as needed. Any areas that specifically need something in there you don't need to go crazy just enough to say, Hey, you know, there should be a full eyelash there, and you may or may not want to adjust capacity on it, but when you back off, you should be able to start to see these eyelashes coming toe life. If you find that they're coming into dark based off of the overall image, grab the dark layer and bring it down this way. It still has fullness to the eyes, but it's not as dominating as it. Once Waas do it for the tops of the eyes. Do less for the bottom of the eyes and it just the opacity as needed. But you should end up seeing, but you should be able to start seeing some really full looking eyelashes. 9. Eye Whites: when it comes to working on the eyes. Where I start every time is going to change, depending on each and every image. Sometimes I'll start with the whites of the eyes. Sometimes I start with the iris. Sometimes I work on removing veins within the eyes. It's always going to be different. The one thing that is consistent, though, is that I'm always working as a whole. If I do a little bit in the whites, I'm gonna be doing a little bit in the iris because if you just focus on the Irish and getting that just right, as soon as you go over to the whites of the eyes, you're gonna find that you've overworked the iris. Or if you did it vice versa. You'll find that brighten up the whites of the eyes and then brighten up the iris once again find that you've overworked and it's just much too bright. That's why when I do work on the eyes, I'll take the time to create the masks for the irises. The masks for the whites of the eyes do a little bit of cloning. Do a little bit of lightning of the whites, a little bit of lightning on the Irish puts more detail in the iris going back to the whites. I'm always moving around, so I'm building it up as a whole. Instead of focusing on one individual task at a time. However, for the case of the videos, I will be working one task at a time. This way, it's easier for you to reference. So in this case, I'm going to be starting with removing veins within the eyes because I can't judge the color or how bright the whites of the eyes need to be with the veins in my way, distracting how I perceive the color in the tone to get started creating new blank layer. Name it, cloning. And now for me personally, this same cloning layer that I'm working on the eyes will also be used for this skin, for the blouse, for the whole thing. I only have one cloning layer when I work. Occasionally, I'll have to, but I usually have a really good reason for that. And the good reason is usually overlapping cloning areas. For example, I'm doing something detailed, like I'm removing the veins from the eyes, and then I'm later doing something more global that will be adjusting the whites of the eye as a whole. So because those air two conflicting different types of cloning in those cases I would create two separate layers. But in this case, I only need one, because I'm only working on the veins in the eyes and to do this it is one of the very rare times that I actually used this spot healing brush tool. I don't like it because all of my control has been taken away. It's completely automated. However, when you're working in these tight areas where you have nowhere to come from or go to, you'll find that you get fairly decent results by using the spot healing brush because the healing brush, by the way, they really should rename those. I can't stand the fact that they're all with the same name, but the healing brush requires a source and a destination, and that can cause problems in such small tight areas. In 2014 Adobe did ah lot of work to the spot healing and the content aware in general, and I finally did a well enough job that you could technically do more than just these fine lines were all creatures of habit, right? We just do things the same way that we've always done it. It's like we avoid the patch tool because when it was released, it didn't work on layers really wasn't good either, because you only had the proximity matches a choice. But as you can see here, I have removed the bulk of these lines. Not all of them, but enough for me to keep going. Then I'll come over the other eye and I'll start filling in this area as well. And I'm not a big fan of having to clone like this because even when I'm done, I can still see the imperfections in it. But sometimes you just have to let it go or possibly fix it in other ways, because just cloning over cloning over cloning is not going to give you better results. I do have another way I can show you in removing some of these faint colors that are left behind, and I'll show you that in a few moments. Okay, so I just went around and filled it in as best as I could without making a big, big project out of it and you could see that's the before. That's the after and then over here, the before and the after. Now what we're gonna do is work on removing the color casts that are causing the discolorations within the eyes. In order to do that, I'm going to select my paintbrush. I'm going to go to a quick mask and just give myself a relatively loose mask. It doesn't have to be anything tight. Photo shop is often very forgiving, and I may or may not want to do this in one shot. I may do it in multiple pieces. I may not. I don't know. Depends how it looks. So come out of the quick mask and I have the general areas selected. Now focus on this one. It looked worse to me. Now the first way I may approach trying this because a lot of this stuff becomes trial and error is alternate black and white, just so I can see what I'm working with because instead of seeing the colors, I'm just seeing the tones and here I can see some of the light and darks fading in and out . But obviously we can't leave it on black and white because then it would just look strange within the full color image. So generally what I'll do is I'll bring it up somewhere around 40 or 50%. And all I'm really doing is taking the edge off because this is the before and you can see I have, like this yellow cast going on in the eye and then some red cast going on in the eye. When I turned this black and lighten layer back on, you'll see that I've balanced it out a little bit better. Haven't completely removed the color, but it's a little bit better than that and not completely black and white. So that afterwards we can focus exclusively on these subtle tone areas that are causing these lines in the eye and once again this before and after. And that's a much better representation of the balancing of the eye, so that's not bad. Now, if you want you to take this a step further, what you could dio is by using the black and white adjustment, you actually have control over each of the different colors that we see within the I notice how we have reds. We have yellows and we have cooler blues. So what I can do is grab these yellows and I can play with them a little bit and effectively darken those up. And I congrats those cooler areas and I can also grab those red areas. You see what it grabs? I congrats those areas and brighten them up a little bit. So once again, I'm just trying to balance this out a bit. I'm trying to get rid of that discoloration as well as some of these lines that are going on again. That was before and after I put on just that black and white and immediately. That gives me a lot less work that I actually need to deal with. Now, when I zoom in, I have to make a choice. How important is this detail within the image and what sizes this image gonna be printed at ? Because, I mean, it's a tiny area within the image, and no 1 may ever notice these fine lines. So this just becomes a case of choosing your battles and focusing on the areas that are most important to you and your client. But for the sake of this video, how I would handle this because I already have a cloning layer that got most of this. And cloning over the cloning is just going to move around the cloning. See, it's just gonna kind of shifted a little bit as opposed to fixing it. This is one of those rare cases that I would actually create a secondary layer. So I have separate control over what I'm doing. Once again, I will use the spot healing brush tool, give myself a very tiny small brush just big enough. And I'm gonna move very slowly and very subtly notice how, rather than following the entire lines like I was the first time, I'm just tapping at them and going a little bit of time and by literally going slow, this is going to give me better results and more control over the final image. I just want to show you that I've come along this top area and I've removed a lot of these lines. Now, even though you still see lines and shifting in here, I want to show you whatever moved this is before, and that's after primarily you can see some of these darker, harder areas. And once I remove them, then we just have shape in the eye. And I don't think we actually need to remove all that. I mean, somewhere in here is a point of cleaning it up and then a point of insanity. And I don't think going crazy on this is really all that important. But again, it depends on your client and depends on your level of detail that you're really looking to invest in the particular image. I'm not going to keep going because you get the idea, but effectively. This is how I would address this particular situation very slowly, very subtly in one piece at a time. Very important that you do this in a way that isn't going to lose detail in the eye. For example, the eyes no longer look round. They look a bit flat because I've removed the veins that created the curve within the eyes . So the only thing that I could really do at this point is put the curve back into the eyes , and the way that I would approach that is to go back into the quick mask, take a brush, give myself a soft brush, make it large 100% and I would give myself a swipe of curve and a swipe of curve swipe of curve in a swipe of curve. It doesn't have to be perfect at this point, but give yourself something to start with and then create a curve. Bring it down. Change this from normal toe luminosity. It's probably not gonna do anything major for the areas that we're working on, so we can slip that color around to black and then give it swipes over the skin so that basically, we're only giving this curve shape to the whites of the eyes. It helps to back off to take a look at it and see what you think of the work. And in my case, I think that it's too much, but in the right direction. So the question is, Do I bring the curve up or do I drop the opacity? That's why I love working with layers. I have so many different options that are available to me, but for me I would just drop the opacity, bring it up a little bit, and then I might touch up a little bit if I really cared or I might just leave it like this , I think just a smaller brush and just kind of push that out. I just want some curve definition. I'm not going crazy with it, but again, I can't quite tell on this monitor whether I've really nailed it or not. But from what I'm looking at, it looks well enough and again, it doesn't matter how it actually looks. This is exactly how I would approach solving the situation. I'd remove the lines, baseline the tone, baseline the colors and then add the shading back in as needed. And I would adjust my masking or my cloning as needed on a per topic basis. For example, when I look at this image, not so much this side, but this I two things they're catching. My attention is this seems a little bit harsh underneath, so I can drop the opacity of the brush down to 10% just by hitting the one on the keyboard . And that'll give me 10% and I'll discovered a little bit. And then the secondary thing that's kind of bothering me is the reflection of the eyelashes . Maybe if I felt so compelled, I might try a healing brush and do a little bit of this just to soften it. So it wasn't his harsh, but I don't know. It really depends on how far into this I would want to get. But generally speaking, this is how I would approach it. And like I said, when I opened up, I would bring the whites of the eyes to some baseline. Then I would work on the irises. Then, after I got the Irish is in the white to the eyes and I start Teoh just which is causing the eyes toe. Look, quote nuclear. And it's often the whites in the eyes are two white. Like already. I can see that these whites are a little bit too white. They're not really the end of the world for me. But once we get to the next section and enhance those irises, I guarantee these are gonna be two white, and I'm gonna have to pull back on them in a later video 10. Iris: this video is going to be working with the irises. We're going to start off with two relatively easy Irish corrections and then I'm gonna follow up with one that's a little bit more complex for this image. I'm going to take my brush at 100% black, going to quick mask mode, dropped down the feathering on it around 50% somewhere and swipe around the iris flipping around and cut that black hole out and come over to the other. I flip the brush arounds, make it soft again, come around the eye, make it hurt again flip the brush rounds and once again cut out that black hole of the I come out of quick mask and then back off a little bit so I can see both eyes Obvious correction that we can make is to adjust the tonal range of this so we can use the curves and boost those up high. And by grabbing over here in the wider side, we've brightened up the eyes. I would also like to enhance the saturation within the eyes. I want to give them a bit more punch. So watch how I'm gonna handle this. I'm pretty sure I covered this technique back in the masking section where I will select the adjustment layer that I want, which is going to be the hue saturation. I'm gonna boost the saturation. But because theme ask is a solid white, it's allowing the effect toe happen over the entire image. But what I'll do is I'll select that layer and that curve layer that I used to brighten the Irish with, and I put them both into a single group folder by holding down the shift key and clicking on the icon, and that's gonna suck them both up into a single folder. Now I can open up that folder and drag the mass that I created for the curve up onto the group itself. And what that's going to do is it's going to be the primary mask that's going to control both of the layers that air inside of it. This way. I only need one mask, and if I need to create any other layers, I can just put them in this folder, and I'm not gonna have to worry about any extra masking and because this is the one master control both these layers I don't need this mask and I can actually right click and say Delete layer mask. And when we've saved this PSD file, it'll actually make it a little bit smaller because it doesn't need to retain any masking information. Now back to the saturation topic. I cranked it all the way up so that now we can see this is what the move is. Obviously we too much. So now I can bring it back down to zero and just give it a little something. Now, when I boosted it, I could see that the mask itself overhang a little bit. So that's also the benefit of having one mask, because when I see a problem, I only need to adjust one mask. I don't need to adjust to masks and two different layers. Then I'll go back to the hue saturation. Bring this down and I'll pick something that looks generally okay. Click back on this mask changing toe white, and I want to make sure that I'm getting around the outside and now I can tighten up my one single mask. I looked around the black. Get rid of that. Come back over here, put their own weight again. Tighten up this mask smaller, so come around the top just a little bit. Generally speaking, this is pretty good. Now I would like to call to your attention this black silhouette that is going around the iris. Whenever you create the mask for an iris and you do this sort of enhancement, you'll be able to see that I did not come all the way to the edge. I intentionally left this area alone so that it does not get later with this curve. And the reason that I did that is because what it does visually is it creates a deeper definition of the iris when you leave this black slash gray ring around the outside of the iris. And that's just one of the tricks to doing this. Now, As I said, I'm going to continue along the same thought process, and I'm going to do it again for a different set of eyes going to quick mask. Bring up the brush black. Give yourself a swipe. It doesn't have to be accurate, cause you can go back and modify it after the fact to again flip the brush around with the X key swipe again que come out a quick mask and going faster this time I'm now going to use the curves to brighten them up. And then I can use ah, hue saturation. Give it a bit of a boost. Overall, take both of these using the shift key and click on the group folder. Then we can take the mask from the curves that we created, dragged that up to the group mask and throw away the mask from the hue saturation. And for whatever reason, you do want a secondary mask on the hue saturation, you can use it. If you want, it will honor it. But if you throw it away, it'll make your file just a little bit smaller. Now, back on the hue saturation layer, you can leave it supersaturated or you can pull it back as needed. And now, in this case, notice that this I has a nice light shade of blue going on this. I has its late blue Onley down here, and we have darker areas up here, so I want to extend this lighter area up into this darker area. To do that, I'm going to go into quick mask again. Click on a layer. It doesn't matter what layer. I really wish they'd get rid of that. I consider that a bug. The fact that I have to use quick mask with a layer who cares? It doesn't matter. Adobe. Just pickle air changes to black. And then I'm going to extend this later area a little bit. Flip that around toe white and even that off a little bit. Come out of the quick mask. Come back into the same group because it will honor the same top and side part of this. Grab a curve and bring it up. And as you can see, it's on Lee Lightning. That little area that I selected. If you want, you can come in here and find Tunis mask a little bit the brush, make it white and open it up a little bit. If you're not getting what you expect, probably coming from the other mask, which it is, we can open that up to. And if we wanted, we can create another mouse skin dark in this area. I guess I'll do it. Quick. Mask Black. Yes. Come on, a quick mask. Go back where I wanted to go so and bring it down for a dark. And be sure to change any of your curves toe luminosity. Sometimes it helps. Sometimes it doesn't. But at least to put the effort in what I'm gonna do to help soften this edge, we go back to the mask, make sure I have a soft mask, which I don't put rounds a little bit bigger because when you make it bigger, it's gonna make it a little bit softer. And then and maybe if I really felt so compelled, I can create a clone layer. And now no one needs to be the wiser. I hope you're able to follow that. They didn't explain everything in detail. However, at this point, you should be able to follow me as you were at the Talon basic to and on your way into the intermediate course. If you really weren't able to follow me during all of the different steps, I was doing the intermediate course, maybe a bit much for you. Okay, so I'm just gonna back out a bit. And basically, that's all I wanted to show you on this second example. Now let's move on to the third example and this is a lot more of what I start dealing with on a daily basis here. I'm going to zoom in on one of these eyes and we can see that it's very dark. But inside of camera, raw or light room while we have the ability to do is to go over to the local adjustments or otherwise called an adjustment brush, and we can swipe over the particular area that we want to adjust. And in this case, I want to adjust the irises and I'm adding 1.5 to the exposure and I'll come over to the other I and I'll do the same thing. However, you'll notice that there is a difference between these two different eyes. The first I has plenty of detailed going on inside of the iris. We have all the different texture going on. However, in the other eye, due to the shallow depth of field, you can see that this I is very soft, so I would like to introduce you to another concept that I use in order to bring back excess detail into that lost I one fairly obvious way I might be able to approach this is to take my clone stamp at 100%. Start right there, come over here and literally just clone out the I. This is a fairly obvious solution to the problem, and it may be good enough for you, I don't know, but if that works fantastic, you can then move on with your day. But another way that you can approach this without that cloning option. Perhaps the eyes air just soft to begin with. Perhaps it's a smaller image, and it just doesn't have the detail within the pixel information. In order to give you a sharp looking I. There are different sharpening techniques that are available that I do cover another videos . But let's say that you zoom in and you want to put just a bit more sparkle into that iris. Open up your brush palette and by default, it's only going to give you these brushes. However, you have a variety of different brushes that you could play with for different reasons. What we're looking for is not here, but if I were to click load brushes and I go out to a special location on my server, I can click on one called Iris brushes I will have a link in this section about this where you can download these irises. But basically all we have to do is click one of them, pick one that looks good to you, and it comes in absolutely huge. Then we have to reduce it very, very tiny. And in this case, it's just for the clone stamp. But I wanted to be for the brush, so that was my mistake. Go down to the brush grab that comes in large. Make it small. I'm using the bracket keys on the keyboard to bring it down to size. Cook on quick mask, go back to black. Well, I'm actually gonna make it larger because that center and I'm gonna click once. And if you notice it's going to give me that detail that I was otherwise missing come out of quick mask And now we can have a lot of fun with enhancing this. I'm going to click on group folder and then I'm going to apply this selection to it as a mask. And then whatever I put in here is going to honor that mask. So let's start with occurs, and I'm gonna boost this up high and bring that down low. So I'm gonna create quite a bit of contrast on the front end and because we can now see that hanging on the outside, I'll change my brush back to a standard brush, click on the mask, bringing bigger, and then mask out this excess area. Now, as I previously said, we want to keep this on luminosity. However we may not want to. In this particular case, I may want that high level of saturation. I'm not sure put in a bit of saturation so that it matches the other. I maybe come back a bit on that darkness. Who knows? But this is before and this is after before and after. Now, do you see all those individual lines that you did when it was a just a brush? No, you're not likely going to, because the grain of the brush is gonna be different than the grain of the image. But when you can see is that we do have different shades going on in different highlight areas in different darkening areas, so that when I turn this off, it looks much flatter than it does here. And somewhere along the way. This brush does help and it's completely dependent on the image how big it is, how much detail is already there. As per usual, I can only show you the technique. The image that you choose to apply it on is always going to be different. 11. Teeth Discoloration: when it comes to the discoloration of the teeth, I often find that, um I'm sorry. I don't know how that happened. Let me just get that out of the way there and put this other image in when it comes to discoloration of the teeth. How often find that? But I'm sorry, I I don't know how this happened. Let me get that out of the way for you. Oh, come on. Fine. When it comes to the discoloration of the teeth, you'll often find that it's either staining or environmental that causes the discoloration within the teeth. And in this video, I'm going to show you how I prefer to remove that discoloration from the teeth in a quick and simple way. The first thing you'll need to do is start by selecting the teeth, and often I find you get the best results simply by painting it it. So use the magnifying glass to zoom in on the teeth and use the paintbrush and quick mask with a brush set to black and in a pass city of 100% in a flow of 100%. Make the brush nice and small. In my case, I'm using the bracket keys. Also, be sure to check that the hardness is something not completely soft, but rather in the 75 80% range. And that will give you and you'll find that that will give you a mostly but not completely hard brush. And when I am doing this, I will either paint free hands like this or I'll click a point, hold down the shift key and click a second point, because that's going to give me a straight edge when I find that I've made a mistake, I conflict the colors around so that it's white instead of black. Make the brush a little bit bigger, and then I can simply go over it and erase the mistake. Make the brush smaller again. Flip the colors around two black, which can also be done with the X key. And then I just simply begin painting. I'll use the bracket keys on the keyboard to make the brush little. It's bigger and smaller and shift key when appropriate, and I'll just simply go around the teeth as quickly as I can without making a big project out of it. In a situation like this, the teeth are usually so small within the image. That photo shop is amazingly forgiving at that point. So really, doesn't matter how 100% accurate you are. Just simply don't go too far outside of the lines, and you'll often just be good to go. And after I do the top, I'll check on the bottom. If there's anything in the bottom that needs my attention, I'll do that as well. Notice I just kind of skipped the teeth in the back. You don't want to go crazy on this. You want to get the areas that are front and center. This particular area over here is already whitened, so I don't need to alter that coloration and all. And I'm just holding down the shift key. Why click different points? And because this is a relatively small area, I'll make my brush a little bit bigger. Click hold down the shift key and just click a couple times, and then I'll free pain in the difference. When it comes to the top, this is a little bit more accurate and requires a little bit more thought. So what I will do in order to cheat the mask, a little bit is I will click on the Magic wand, which is up the top but often hiding under the quick selection tool. With the Magic one selected. Just be sure that contingents is checked with contingents. Check. That means the pixels have to touch. If you were toe unchecked contagious. That means it'll pick from anywhere in the image that looks like the color tone kind of matches. With contingents checked, it will get much better expected results from here. Just click in the middle and it's going to go to the edge. And if you were to actually zoom in, you'll see that it goes to the edge. But it misses some of this discoloration areas out here. So if I was to fill this with green by either going at it Phil, with the foreground color currently set to black, which equals green in this case, or by simply using the key command of option backspace on a Mac or all backspace on the PC , you'll find that it doesn't actually reach the edge completely, and it will give you this faint line that goes around it. In order to get around that particular problems simply go to select, Modify, expand and just give it a couple pixels and you'll see that expends will be on that particular issue so that when you do go at it fell with the black color selected, it easily fills in that area so that when you back out and de select, then come out of quick mask, it will give you a nice clean selection. All you really need to do at this point is to go to your adjustment layer and select selective color. Simply click on colors and because this particular image has an issue with yellows, as many images do all you need to do, select yellows and simply pull out yellow. Sometimes it changes exactly what you want, but if it's not, you can play with the colors or the tones a little bit better. It's perfectly fine Dislike neutrals instead of yellow. However, you'll often find that by selecting neutrals instead, it really swings the color severely, Which is why I'd rather start with yellows because in this particular case, selecting the yellows instead quickly and easily removed our problem. But feel free to play with the colors as needed. While it's really easy for me to tell you to simply pick selective color and move the sliders around. The reality of it is it takes a little bit more skill and patience than that in order to do it properly, because many times I find that the environment around the person is what actually caused the yellowing. It might be simple coffee stains, but it may also be the environment around them, and you have to watch your balancing act within the image. Don't just zoom in and make it white, because that's not going to actually solve the problem. That may actually make it look more obvious and worse than it was to begin with. So accept the images a hole and make it as white as it needs to be in order to make it look realistic. Additionally, in the areas where it wraps around the inside of the mouth, I often find that by balancing the front of the teeth so that they look clean and white as soon as you come around to the back side. By removing that yellow, it actually takes away a balance within the inside of the mouth so that it starts looking unnaturally cool or otherwise, giving it a blue tent. It's in those cases that I'll click on the mask and hit the back slash key on the keyboard , which is directly above the enter key or return Can a Mac but hitting the back slash key. It will then allow you to see the mass that you're working and clearly so you can come in here with a paint brush. You sure that it's set to 0% so that you get a nice soft edge. Make the brushes bigas. It needs to be said it to black so that it matches his background color. And then just give it a very soft swipe around the edges. Because when you hit that backslash key and come out of quick mask, you'll find that it left that yellowing behind while still d yellowing the front of the teeth. And, as always, you can adjust your mask as needed. If you find that their specific areas that need further de yellowing or otherwise adjusting the colors, simply repeat these steps as needed on additional air, for example, click on the background, click on the quick mask and just your brush resize. It is needed and hit upon the areas that you need adjusted come out of quick mask. Create another selective color layer. Select yellows, reds, neutrals, whatever it takes and pull out whatever colors air needed in order to adjust to create more of a balance as it wraps around or again. Whatever it takes to make it look clean and natural. The discoloration and these teeth are a little bit more severe, but the steps needed to correct it are all going to be the same. Select your paintbrush, select the quick mask, come up under your brush and select the hardness and brush size that are going to give you the best looking results and then simply begin masking as quickly as you can. I say it that way because, quite honestly, there's no need to make a big production about this. Coming fairly close to the edge and going quickly is really all you often need to dio if you find that there any areas that weren't quite grabbed after your first pass, all that you're going to need to do is flip the color around from black to white and simply erase the area that you find that you might have over sprayed a little bit and then slip it back to black again. Once again, we want to fill in the insides of this so used the magic one tool and click on the inside areas that you want selected. Go select. Modify. Expand a couple pixels insolent with black de select. Come on a quick mask. Use the selective color, said two yellows and pull out the yellow. If you find that it didn't quite grab enough of it, you can go down to neutrals and pull yellow out from there. Just be careful not to pull out too much. Because neutrals is much stronger than just yellows. Be sure to back off and give yourself a general idea of the scene. Don't just stay zoomed in and assume white is white because the environment matters as well . When you find particular areas that are still too yellow, click on a pixel base layer. Go back in a quick mask with a paintbrush, pick a brush size that is adequate for the problem and just touch upon the very specific areas that are causing the offending problem. Come out of quick mask. Create a new selective color and it just as needed, ended just as needed. Just be sure not to take it too far. Otherwise, you'll end up discoloring other areas that you didn't mean to damage in the first place. However, sometimes in a situation like this, it probably isn't even worth the trouble to actually give it another passive color correction using selective color. Rather, I often find that if I have areas that are damaging like that, as well as reflections in the teeth from light sources, I'll often find them just better off by going to a cloning layer. Select either the clone stamp or the healing brush. Pick an area that's similar and just start filling in. And if you're lucky, it will remove the problem areas without making a big production about it. Because we're working in such a small area, often times it will pull up darker or lighter areas right next to it. And in those cases, you might just be better off by using the clone stamp in doing it that way. Often when it comes to shine that's either on teeth or on the gums. I like to use the healing brush as small as I possibly can and then select a similar area and clone right next to it. Because we're working in such a small, tight area, this is likely one of the very few other times I might actually use this spot healing brush because I don't actually have to slight that source. The amount of work that you actually have to put into the cloning or color correction really depends at this size of the teeth within the whole image. If the teeth they're very small, don't put in a ton of time, it's just not worth it. If you have a very tight portrait and the teeth are very pronounced, then you have to put in more effort. Just use some common sense and you'll be happy with the results. 12. Tooth Rotation: when it comes to teeth that need to be repositioned or rotated. Once again, it falls under the topic of how important it is within the image, because teeth are just as important to a person's personality of who they are and how they look, as is any other birthmark that they have in their face. In situations like this, after I zoom in, I have to decide how important it is that the teeth are corrected. Let's assume teeth do, in fact, need to be adjusted. Do all of them need to be adjusted or just some of them? Maybe it's just one that's really bothersome in this particular example. Her tooth does, in fact, twist an incorrect way. However, it's not really visible or noticeable within the images. A whole, however, even at a distance in this particular tooth in the front is noticeable, so we need to correct it many times. You don't need to make a big production about it. You just need to use the right tool for the right situation. In this particular example, I'll go to the quick mask tool, Use a paintbrush, make sure it's set to 100% as well as have the hardness harder, soft, depending in the situation. I'll leave it just the way that it is and make a very loose mask around it from out a quick mask. Edit. Copy at it. Paste. Now we have the tooth by itself. We can then now use the move tool. Move it up a little bit, get it more fine tuned with the arrows on the keyboard and as needed. We can go at it free, transform, and then we can rotate it as needed or with the other options that recovered inside of basic one tools. Expanded class. Hold down the control key and one of the corners. Push it in independently and otherwise. Get the tooth to fit within the image as best as you can hit the enter or return key to make it look OK. Put the mask on the particular layer so that now we can come back in with a paintbrush and mask out any areas that it's now seems to overlap or otherwise not belong. And certainly in these cases, make sure you have a nice soft brush and swipe along as needed, and then something that used to draw attention to it has now been very quickly and easily corrected. And no one will ever even notice that you changed anything at all. 13. Liquify: one of the topics it's largely debated is that of the liquefy tool in concept. The liquefy tool would allow you to push and pull all the fat within somebody's body and make them look very, very thin. However, once you let go of the stigma surrounding this particular tool, you'll find that it just gives a better feeling within the image because it allows for the curves and the lines within the image to flow together in a much more appealing way. Now, in this particular example, we have a regular background lawyer, which means that the entire image is made of pixels. We certainly have access to filter liquefy. The problem with this is once we make changes within the liquefy tool, their permanent within that background layer. And other than using the undo function, there's no way for us to actually back up and undo any of the changes we've already done. So we've effectively damaged the image. And because of this, the liquefy tool is a prime example of why I always work with smart objects which allow me to work with smart filters. In the case of the liquefy tool, Aiken very easily go back to where I waas make any necessary tweaks and re save that particular filter without damaging any of the original pixels. To do that, Dragon dropped the image inside a photo shop or from living light room, right click on the image or on a Mac command. Click on the image and then go at it. And it is smart object if you are using light room. In that case, it would open the image up inside a photo shop as a smart object. If you are simply dragging and dropping like I just did, it's gonna open up here with an open image button. Hold down the shift key, and it will then give you open object for more functionality. Behind this smart object, please review the smart object class within this basic to course, but by clicking open object and now opens it up inside a photo shop not as pixels but as a smart object, which has the name of the file as opposed to the background designation. And I can now click on filter liquefy, and now any of the changes that I make within this filter will be saved so that I can so that I could easily make changes at a later point in time when you open up the liquefy tool for the first time, very few of these options are actually available to you. What you need to do is click on the advanced mode check box, and now more options on the left and right side will be available to you. However, at this point, if you're unfamiliar with, the tool becomes very overwhelming. So I'll point you to the most useful change that you can make within this tool. And that's going to be adjusting the pressure, bringing it down from 100% done something more like 20%. And now, by having this first icon selected at the top, which is called the Forward Warp Tool, we can now make changes within this image that they're going to allow us to push and pull the pixels in a way that's similar to Putty or clay. We could have done it with pressure at 100% but you'll find that it just pushes and pulls way too much by adjusting it to something more like 20. We can click and drag, and it's just gonna push them along as opposed to cutting through everything. So in this case, I can click several times and drag to create mawr of, ah, desirable shape. Now, in this particular case, what I'm moving falls along the usual. Should I or shouldn't I alter the woman shape? I personally see it like this. If it looks better, make the change. Don't worry about it. So I'm just going to come over here and push thes pixels a little bit so that rather than her having that straight flat shape, she's going to have a little bit more shape within her figure. I'm sure she won't mind that one bit. Also note that when I shift this area, it curves the fabric in order to get the best looking results. I should also move the area on the other side of the body, but move more of it so that it does push the pattern itself. And in order to do that, I recommend making the biggest brush that you can so that when you do grab and make that push, you're grabbing more pixels and pulling them along rather than little smaller moves which ultimately may not look as good for the final image. This is another example of getting good with the key commands for the brush tool, which is the brackets. Brackets bigger, makes a bigger brush bracket. Smaller makes a smaller brush, and this allows you to move through the image much quicker, pulling the shoulders down a little bit, as well as adding a little bit more definition within the herbs. In this case, I'm working on the woman, so you don't want anything to overly drastic. Just wanted to look like she's been working out, and she has some definition in her body. And also don't just limit it to the body, because facial structure also matters a lot. So you can push and pull the chin as well as the jawline pulling the neck a bit. Try and do enough, but not so much that it looks like a completely different person. Your goal is likely to just make it look clean and natural without doing too much. Same thing with the man. You want to give him enough definition within his arms. Now be careful because when you start dealing with backgrounds, it's very easy to push and pull these areas so that they become curved or slanted or otherwise obvious if you're not paying attention. So that's why I often say, Do just enough. Don't go crazy with it now. Any case like this if you do a little bit too much and you have what you want, the way that you want it. But another area becomes a little distorted. You can click on the next tool down, which is called the Reconstruct Tool. I'll often leave this one at 100% but I'll go much smaller and I'll do what I can just to bring it back to the way that it waas. Just be careful not to use too much, because if I go any higher, you'll see that I bring back parts of his arm that have otherwise pushed out of the way. So rather than using the deconstruct tool, I'd rather go back to the Ford Warp Tool. Just push it a little bit more in the direction that I wanted to go, and once again you want to create more definition within the shoulders and get rid of any baggy clothing. Honestly, as a professional, this is more of what I'm doing. Getting rid of baggy clothing because it's easily arguable that it's not the model's fault that the clothing is a bit baggy. We're just trying to get rid of some excess weight that the fabric produced, and if you do just enough but not too much, it'll look perfectly natural. Often you can use it to straighten out hairlines, eyebrows, crooked smiles, slightly off noses and all these air different ways that you can make changes with the liquefy tool, and as long as you do it soft and subtle, no one's ever going to complain. And again, when you have these wavy shapes are created through the background, come down a tool to the reconstruct tool and filling Justus Muchas, you need Teoh. But be careful not to get too close to the areas that you've corrected. If you want to see what you've done, you can click on show mesh, and then you can see where the distortions are, where you've actually pushed and pulled the pattern. If you haven't done anything in a particular area, it will be perfectly grid like left, right up, down and in the areas that you have made changes, it starts warping it in otherwise shifting and distorting it. None of this is actually seen in the final image. This will otherwise give you an idea of how many changes you've made to the final image. When you use a smaller brush, even when set to 20% you'll often find that it just creates these cuts. You see how it just pushes through. I'm going to give a higher pressure so you can see how it really pushes it down. It just slices through. If you can give yourself a nice big brush, push it rather than slice it. So when set to a lower pressure again of like 20 or so, you'll have an easier time of pushing and pulling these pixels around. And when you haven't looked like something that you're happy with, click on the OK button and you can review your changes in context. This is going to be before, and this is after before and after. If you find any of these changes that you don't like, as long as you're Layer is a smart object and liquefy is a smart filter, all you need to do is double click on the liquefy smart filter, and it'll bring you right back into liquefy with the exact same mesh, and all you need to do is make the necessary changes. Click OK and it will re apply them to the final image. Then you can click your undo redo and see what kind of change that you've made. If you're happy with it, simply move on. If you want to make further changes, simply double click on the liquefy smart filter and you go right back in the liquefy to make further changes. 14. Loose Hairs: There are two distinct areas of the hair. There's the outside, which falls along the background areas. And then there's the inside, which falls along the inside hair but often goes in the wrong direction. Let's focus on the inside first. I would love to tell you that there's a quick, easy solution in this particular problem, running some filter that automatically removes the hair that's going in the wrong direction . Unfortunately, the reality of it is, it's a completely manual process, and it's only going to look as good as much time as you put into it. The only way that you can really correct errors that are going in the wrong direction are to create a new blank layer. Select the clone stamp. Be sure it's at 100% flow and a pass ity cooking on the brush itself and making sure that it's small enough and hard enough so that when we begin clone stamping, it's going to create a seamless of a pattern as possible. Be sure that your brushes no bigger than the area that you're trying to replace, click directly next to it and begin cloning regularly. Resetting your point is going to help you create the optical illusion that the hair is not actually disturbed by one of these strange lines, bumps or other problems that are either originally there or created after the fact by our cloning. Take your time, do it right again. I really wish there was an easy way to actually do this. But unfortunately, there is not simply make your brush as large as it will go in order to remove the offending hairs, but not so large that it looks like you're creating a repeating pattern as long as you take your time and filling just enough missing information. Hopefully, no one will ever notice that you did anything at all. The other area that seems to be important is how sharp the image actually is to begin with . When it's a softer image like this one, it's much easier to get away with quicker, looser lines because no one is going to notice if the area is a little bit smudged. However, if you have a very sharp looking image, you have to be extremely accurate and detailed in all of your cloning so that nobody notices that you ever did anything at all 15. Flyaway Hair: something I'm asked to do. A lot of the time is to remove stray fly away hairs from around somebody's face. They'll often happen, like in this example, where wavy and curly hair just kind of start going off in their own direction, doing their own thing now often say that when someone has curly hair and it's being playful , well, let it be playful. You don't need to get rid of it all. Let let the hair have. It's fun. That's part of the character of the person, However, here, this isn't hair being playful and fun here. It's just kind of went and matted, and it's just kind of sticking out. This isn't helping. It would be very easy to come along here and trim back the hair so that it looks clean without giving her a complete haircut and making it look faking. Cut out. There are a couple traditional ways of going about removing the flyway hairs, and then there's another way that's fairly unique, but it's pretty awesome. I'll save that one for last. Let's get started with a more traditional way of removing the fly away Herr's. We'll start by creating a new blank layer, and this is gonna go above the background layer, and we could use either a clone stamp or a healing brush. Your results are going to be a little bit hit or miss, depending on the area that you're working in with the healing brush. Click on your altar key or command key on Mac, and that's going to allow you to click the mouse for a source point and pick somewhere that's out here. In a dead area like that, you can start painting over the loose hairs. Now when you do it on these outside hairs, this becomes very easy because you can clean them up and we'll do a good job. The problem is, as you start to get closer into the head and tighter areas of hair density, you're going to find that rather than pulling in the texture, it's actually pulling out the color. See that that just causes a lot of mushy muck, and that's not at all what we're looking to do. So very quickly the healing brush stops becoming effective. A better way to try and do this is likely with the clone stamp, so we'll select the clothes stamping once again, we hold on our modifier key to click our source, been a small brush and begin painting in. Now the benefit of using the clone stamp is we can get much closer because we're not going to get the color contamination. But it becomes harder because your source really has to match a destination for color, tone and density. Because if it doesn't match, this is gonna look very funny very fast. In this case, it's a relatively flat area that I'm coming from and going to, and they match quite well. So in this case, I conduce do a lot of this work without much effort. But still, I have to pay attention to what I'm doing. And I have to constantly re select my source point and keep coming in a little bit more in a little bit more. And eventually I'm going to remove all the hairs, and then we can come back here and clean this up a bit. When I hide the layer, you can see that's what I took out, and that's what I covered with, took it out and covered. You can go back in a second time now that it's covered with the healing brush and let this kind of blend together any stray areas that don't quite match up the way that you had hoped . But largely this is how you would go about it. And you know, by and large it doesn't decent enough job, you know. But you know, it's time consuming, and you have to get things to line up and make sure everything looks OK. But this is the traditional way of going about it, and you would just take your time and cut in a little closer and then come down the side and continue to fill it well, it certainly works. It's just a bit time consuming. Luckily, I have another way that's a lot faster and doesn't require nearly as much brain power or skill to actually do it. I'll delete what I just did before this time, rather than coming in close and making sure that I ride the line and that I'm picking my source and destination properly and being very accurate about it. In this case, I'm going to use the clone stamp, give myself a large brush, and then I'm going to pick a destination and then I'm going to fake it. Absolutely. I'm just going to come in here and I'm just going to start covering and I'm just cutting right in, and I'm not putting much thought into this at all. Just simply get it into the body of hair. And as long as it kind of sort of matches and blends off out here, that's really all you need to dio. But otherwise, yeah, I just cut right in. And just just enough or a lot. It really doesn't matter. Just a long as it looks halfway decent. You'll be fine now, just like before. You can come in here not only with the clone stamp, but you can also go back in with the healing brush is well afterwards. And that'll fix any of these splotchy areas that you have going on. Like I said, at this point, you don't have to overthink it. Because if you have any areas that are looking like clumpy like this, you can fix it after the fact. Because you right now you don't even know where the hair is gonna come out. Okay, so now that I've cut in and you can see that was before and after I've really just chapter in into her hair. And you know what? That's absolutely fine that we did that. But you know what? That's okay. Because now I'm gonna put a layer mask on top of this clone layer. I'll hold down the altar key when I click on this icon because that's going to give me Ah, black mask as opposed to a white mask. And the black mask is going to hide everything in this layer as if it never existed to hide it. But it back fired it. Put it back. It doesn't matter. It doesn't see any of this. But now that we have effectively this entire area cloned over now all we need to do is worry about creating the shape of the hair as opposed to the cloning of the texture behind their your watch. Rather than using any of the clone stamps, I'm going to use a brush just a regular brush, 100% opacity. And because the mask is black, we're going to use white because Black is concealing all of this brushwork that we just did . White is going to reveal it all and watch this all I have to do is just paint back in. The only thing I need to worry about is the contour of the hair, and I don't have to worry about any of the cloning or texture or anything like that. See how much easier this is? And it's funny that, you know, I never even considered this method. I saw it once on a video about a year ago, and from the moment I saw it, I was like, Oh my goodness, I've been doing it the hard way for years now. So when you're actually doing this, your mileage will vary a little bit because it depends on what the background is. The more complicated the background is with this type of texture, ingredients and different colors and things, this becomes a lot more complicated. But I'm sure you can agree this was a much better way of doing it. Rather than cloning in one hair at a time,