Photoshop Compositing - Retouching A Commercial Ad | Manfred Werner | Skillshare

Photoshop Compositing - Retouching A Commercial Ad

Manfred Werner, Retoucher and Photoshop Instructor

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13 Lessons (2h 15m)
    • 1. Lesson 1 Behind The Scene Instagramer I

      9:30
    • 2. Lesson 1

      5:39
    • 3. Lesson 2 Raw Conversions

      17:04
    • 4. Lesson 3 Help Layers & Sharpness

      11:07
    • 5. Lesson 4 Image Clean Up & Retouch

      7:04
    • 6. Lesson 5 Dodge & Burn

      9:06
    • 7. Lesson 6 First Color Grading

      12:59
    • 8. Lesson 7 Iphone Raw Conversion

      7:14
    • 9. Lesson 8 Merging in Iphone

      18:11
    • 10. Lesson 9 Color & Light Control

      7:11
    • 11. Lesson 10 Building Iphone Screen

      7:26
    • 12. Lesson 11 Adding Iphone Graphics

      13:04
    • 13. Lesson 12 Final Color & Adjusmtnets

      9:50

About This Class

44840534

Instagram I - Become A Master In Photoshop Compositing

  • 2+ Hours of Photoshop compositing "Upgrade your PS Skills"
  • Includes all raw project files which you can profit from - Instantly
  • Full & free lifetime access to the complete course
  • All future & additional lectures will always be free of charge
  • No illustrator or another software is needed "You only need Photoshop".

ARE YOU STRUGGLING WITH PHOTOSHOP COMPOSITING?

  • AND NOT GETTING THE PERSPECTIVE RIGHT?
  • AND NOT MANAGING TO MERGE THE SUBJECTS RIGHT?
  • AND NOT GETTING THE COLOR & MODE RIGHT!

--------------------------- ” Then this course is for you ” -------------------------------

What This Course Entails:

I will teach you how to get into an advanced level of Photoshop, so don’t worry if you don’t have prior experience with Photoshop. Follow my lead and I’ll teach you to be good at it! “Seriously”

All my Photoshop instructions form part of a comprehensive guide that can help you to accomplish your goals by applying these skills. During the lesson you get to eavesdrop as I work, giving you some insight as to how I work and what I do.

The idea is to make Photoshop fun and easy! "Just Practice it "

Whether you have previous experience with Photoshop or not, it doesn't matter. Apply your knowledge for half an hour a day and you could be making huge improvements or even extra cash, just like me.

"And I'm not kidding when I say that you need nothing but Photoshop!"

You'll learn:

  • You will learn how to master your Photoshop compositing skills "I promise you"
  • You will learn how to build, shoot and light such a complex image
  • You will learn how to build a complete background from 2 exposures
  • You will learn how deep edge a subject and build him / her back into another image " This is a very technical step"
  • You will learn how to build on base plate "Final image" out of 3 main concepts
  • You will learn how to do suttle skin retouching and wrapping
  • You will learn how to do advanced light control & build new light
  • You will learn how to do advanced color grading and image moods
  • You will learn how to apply graphic elements into an image
  • You will learn how to apply dodge & burn techniques on humans and the overall image
  • You will learn how to do very complex structuring and layer adjustments
  • You will learn on 30 new retouching techniques "Some are very complex, but can be learned after time"
  • ... and much, much more!
  • Intrigued yet? Then keep reading!

    I'm known for always offering support in Skillshare, so feel free to shout out if you're stuck or need assistance. "I'm here to help"

    One final note:

    My goal is to teach you all Photoshop tricks & secrets, so don't stress about not having worked in Photoshop before. "I do my best to make it simple, fun & informative"

    I've crammed all my Photoshop knowledge into over 2+ hours of Photoshop tutorials!

    After going through this course, you'll be able to apply your new Photoshop skills to Photoshop anything and make some extra cash along the way.

    All you have to do is take this class. You have nothing to lose. In fact, you've got a lot to gain.

    Thank you,

           Manni

Transcripts

1. Lesson 1 Behind The Scene Instagramer I : Hi, guys. Welcome to a little behind the scenes of our pro tutorial Instagram. - So for this week's pro tutorial idea was actually to just showcase a really cool instagram and also showcased him at work. Basically meaning taking a photo for his instagram. But there there wasn't to just show him while he's taking a photo. We actually wanted to take a level further on. Show a person that is taking a photo from the instagram a while he's actually taking a vote of the sunrise shot. So again, we can't ritually do that by one. So we didn't begin in sequences. First shot outside on the Martin on the second shot, obviously in studio just with the hat. But that was kind of the main idea, taking a portrait of her instagram and seeing all of that on another phone. Now again, we also work with Lori. He is a kept onion instagram. It takes a lot of instagram photos for people from people and as well, sunrise and sunset shot. So he's kind of the right person for this project as well. Idea was also to get out really early in the morning, so we headed up Alliance head and it's a mountain in Cape Town on close to Lyon, said his also the area wins. There's a little bit of the forest and you high enough to literally see the sunrise. So we headed out really, really released, like five, almost six oclock before the sunrise was at seven o'clock. So literally we had a gap of in our time to set up beforehand and also get light riding everything and just a just a few things. You get ready before the sunrise, the sun would come up already. A reason for that is so that I would be prepared and I had my shot. I was happy with the composition. It was happy with scenery and I knew Executive Son is gonna come up there. There's my subject. I've got everything ready. And once the sun is up, I could just work with my subject. I don't need to worry about anything else. Camera, settings, wires. I'm shooting with Nick on, but it can also works perfectly. Fine idea was again to just shoot so that we have kind of a wide perspective, not too wide, so we didn't want to go with 14 24 rather again, something 24 to 70 in that perspective on that range, that is why I have also used an F stop 10 against its compensating. First of all, because of the life that coming from the front of sunlight so diming everything down a bit but also have pretty much a lot of sharpness and sinking with the extra flashes, because we working in with three lights and all are pretty hard with power. So f 10. For this reason, it is, well, 1/1 25th of a second. Again, I could have done this little bit quicker again, one of 1/60 of a shutter speed that would also be pretty good. You will have to play a little bit with that once you do this project, then as well. Also, I've used a nice of to hundreds again. I didn't want to shoot just with 100. It was not too much light, but I wanted to pop and push the highlights a little bit. So shooting around 200 again, a nice lightning wise this time we also worked again with our two Rangers are quite arranges that small from Ellen Crumb around medium power, actually a little bit of power, say rode around 100. What? So they weren't too strong on just filling up the lights or the subject? Actually a little bit, but obviously we also had 1/3 light and Ambien life, basically meaning the sun coming from the front with really, really hard lights again F 10 for that. But also in compensating are two flashes for that. So the sun was coming from the front, giving a really, really nice yellow relied on was just a yellow light computer, completely yellow light and you guys see also. And then we just used a beauty dish again from the left hand side with a grid in there as well had become. That was part of a little bit stronger, like just half a tick off a stop stronger just to boost the lights in his face is, well, a little bit and then also placing it not too high again. I had Desmond again holding it. It's so it was a bit easier. Also that day we had the assistance so he could hold the light. But I need to set up another stand in case these windows something so with assistant is also easier. There is. Well, we actually should have taken with some stance because on the other side we had again another flash, but this time also just a quadra stroke, just with a little bit of diffusing material day. It's like plastic sheet that goes over it and that we had from the back just giving him a really nice light on the back and on his complete right side for a bit of a room like, But you can actually see that because he's sitting in that kind of position. So the main idea was just to light him up from the back front, light some nice key light, also with the beauty dish and then obviously getting a really nice room from the sunlight. Modeling wise, I didn't really have the feeling of booking a professional model. For me, it was more important to showcase a really instagram who's really Are they taking again? A lot of nature shots, sunrise shot and really Instagram. So we work. Begin with Lori. He does take a lot of portrait's now, but he did a whole Siri's a whole year every day, a Siris on sunrise shot. So for me, he was the perfect guy to do a portrait series off aid Nature Instagram. Perhaps an outfit was actually this time a little bit easier. So I made. The idea was just to have a person, obviously with holding a phone and instagram it with his foot. So we just needed to iPhones either iPhone four from five and as well, a lady who would hold so again afterwards and studio. We had a lady assistant of ours who would just hold the phone, and she had actually beautiful hands, good fingers so we could take a portrait of that as well, so that we needed a lady with good fingers then as well, to firmed on, Obviously art food wise, this time for the instagram. Er, yeah, I didn't really had a specific brief. He should have just closed, dressed really nicely on kind of maybe just were had this world, son Los. It's like kind of a guy who is actually going on and being out for the next few hours. So it's not just rocking up taking a photo. He's kind of preparing to go on a mission for longer, while on one more thing that I actually had told him was to bring a jacket with that little bit reflective. So the light would pop really nicely on it and as well, the room live just stands out really nicely instead of a dark cotton or something that just zooms old allots something that would reflected for some tips this time. What I could give you on your way with Maybe just have pre prepared have a black and a white iPhone because a different shot die for pop again. Then it will be also prepaid if they would be window something. So you either take stands with with some sandbags so somebody can hold that. Yeah. And then also, the idea was to just do it obviously outside. So again, have a look if you need a permit or something for that area. Otherwise, nothing big and also come up be super early before sunrise is so you can actually prepare with your lights and be ready before the sun comes up. Yeah, And then also again for the post production side again. As you got so earlier in the video. First of all again, shooting everything outside then is wall in studio or even at home, wherever it suits you on, then obviously, comping both of these shots together, first of all, just bringing everything to one image together and then also adding color and all the other extra adjustments so that it a looks really and comes together as one. Yeah, we also combined all of that for you as a new pro tutorial on our website, which isn't up yet, but in the future will be. And you guys can also subscribe to our newsletter so long so you can stay updated for that . Yeah, And that's basically all far behind the scenes so far about latest pro tutorial. I hope you guys really enjoy these episodes. Please also do let us know via the thumbs up if you enjoy these. Yeah, share them with your friends, subscribe to our channel. And I hope to see you guys all on Friday. We have a more in depth light talk about this pro tutorial. Thank you guys. I don't see you old next time 2. Lesson 1: like talk Episode full. Hi, guys. Welcome back to new episode. My name's Manny and confined you on a basic page at retail, bro. Yeah, you better go check out that anyway. So today we're gonna talk about our latest pro tutorial light set up. So basically, I'm going to discuss the complete lights of the four instagram approach. Victoria, this is also a double pack. Next week, you're gonna have given a lot of talk for that certain instagram approach tutorial. It is because we have separate method, act separately, work with it, But it's kind of the same concept of a We want to have to interrupt the shots. Anyways, let's get right into it. As you guys can see on the screen. I've pumped up already the first image. This was very early in the morning, so we got up at five oclock and got up Lions head. It's a market. Yeah, and basically, we really prepared everything before the sun came up because today we're gonna work with the lights are basically ami and light from the sun on two strokes. So on the one side, we used again a beauty dish, but not dress just silver reflective. We used a grid as well. For that basically again place the grid right in front of it. Let me just change things here, like so in order, visible like that in order, first of all, to control just a life and to just narrow it straight onto the guy's face animal. But of the upper body side, you get some nice pumping line from that. Then, as well. We also used for the back another Quadra, just with the diffusing material name from like a small plastic blue that actually going right on the quality of life when I put it the up here on the screen for you guys to replace that in the back to give him a really nice back line, as you guys conceals the sheer in shop number two, you don't have any life. The sun is almost coming up, and we have no life from the beauty dish. We literally turned that away, and I just flashed the one Quadra live from the back so that she just with that diffusion material in order to see how strong that might have come from the back already clean as well. Also, the sun came up and we took another different shot. Just here with son as well. Literally. You guys can already see how that sunlight is giving the guy a really nice orange rim night around and just make for another mark. Wow! In the shot. Okay, Yeah. And then actually explosion and before the latest shot. And every life was on always pretty good from the front the beauty dish with the grid as well, from the back, the quadra light pumping up the back and begin some nice sunlight. It is well for the whole project. I also shut with 10. Just keep everything very nice and sharp as well. Also compensating, obviously for the harsh sunlight coming from the fund. It's a nice details is well, then 1/1 25th of a second, again compensating for my flash and for the small Quadra nights as well. We also worked with Quadra Rangers again. They also eyes 200 so pumping it up a little bit further to get a little bit more boost in the highlight and pushing it a little further because I didn't want to take my shot away. Dogs trying to get away with some blurry shots. Their neighbors well, 24 to 70 at 32 millimeters. Again love working with that 34 70? Yeah. So that was basically all for the first start, shooting the first part of that project. Then later I went back home and back home. I just took the iPhone basically, and also literally a friend of mine holding the iPhone on on the iPhone. Basically, I just wanted the hand on the phone, not more. I didn't background. Obviously we're going to come out all of that. So again, shooting just into a pure white background. So basically, I just want more of my house, and then as well, just let it right from top again, this time with a strip lights with just normal disputing material right from the top. Surf your with the hand would be here somewhere over here and shooting straight into the hands, literally just getting a little bit of light on top of the phone and also spilling to the back of the phone. So you would actually have that kind of look the same that we had on the day on the mountain? Yes. Then again, And Photoshopped obviously come everything together. First of all, building just the first play to the guy the Instagram er and then taking the shot from the front facing out on top with some graphics as well. Yeah, Add some color adjustments and color grading anchor and nice. Awesome for for you guys work, which you can find on our website on the retail protocol. You guys. So that's also for this quick light talk episode If you liked this episode, please hit me up with a thumbs up. If you have any questions about this person, don't belong Happy to give you feedback about this. Yeah, that's basically off. Don't forget to subscribe like shared with your friends. And I'll see you guys old next week. Monday for new instagram approach to toil and phone shop tutorial. Thanks, guys. 3. Lesson 2 Raw Conversions: so Hi, guys. Welcome to our third lesson of our instagram a pro tutorial. Already in the 1st 2 lessons, we talked just about behind the scenes and also the light set up. And this is the first start. We're going to start with our pre adjustments, taking our image to camera or doing pre adjustments and then into further shop. Okay, then also, if you guys are not familiar with any of the products here, go to our freedom, told Paige and we've got actually tons of tutorials. They're teaching you heart toe work with the's soft ways now as well on the left, inside here in my content area in the door bridge You guys can basically see the whole selection from the shooting. So again, starting from early in the morning all the way through working with the lights, working with a model All the stuff Now, before I continue and also go turn to our final image here. I just want to show you guys something. So first of all had the model just without the hand, just taking a photo and kind of like the composition and also the whole set. Now, then, as well I actually said to me, Hey, look a little bit to me so I can see that, but more of your face and as well I asked him to, maybe just, like, wave at his friend or something and kind of cool his friend and just bring the arm a little bit more into the whole photograph. But it somehow just lead it away from the whole main element here, which is the sun and also the sunrise. And it looked kind off weird and distracting. So again, I actually awesome to just hold us phone something like this on that I really liked. But I just wanted to see a little bit more of his face. So then again, I moved also of here we can see the trees. That kind of looks nice. But if I'm gonna add another Fernand top, it's a bit distracting. So for me, I move a little bit closer in and said, Okay, this kind of composition works really nice. Could also look really nice on the phone. But now I'm just still missing your face a little bit because it's obviously also about you . The person that instagram so again he moved a little bit to the side and looked somehow into the distance, and this was kind of the first shot that I really liked. But for me, it's a little bit too bride. So we didn't to Donald bit and took also his expression looks kind of bit strong. So again, a few shots and this expression kind of looked just really relaxed looking up into the distance. So this is also the main image that I'm gonna work with. Okay, so I've done my selecting here as well. On the left. Inside, you guys can see I'm just giving it five stars and also color here. This is just normally my workflow. I give certain images stars, and then sometimes write them and say, OK, this might looks this looks a little better or this one. So I'm happy with this one. I'm gonna double tap on this and also take this nine to camera rule and start with my first pre adjustments in here as well. On the left, Inside again. A few tools. You're on the right inside. I'm not gonna explain this tutorial how to work with the software. I learned that on our free to towards page this tutorial. We're just gonna work straight on this image now, also at the bottom. Here, I'm gonna open the workflow options first of all, and in here I'm gonna choose a dub RGB 1998 color space. I'm pretty happy with that color space. Worked pretty good for printing as well. Then depth. I'm gonna work with a paternal due to the my screen recording here and there to tora. Normally, I work with 16 bits more color channels and also higher quality fart. So I would prefer you choose in 18 16 bit file here then as well the size I'm going to just keep it to the four sides. And also resolution 300 pixels full size, then also sharpen here for none. I don't wanna shop in an extra for the screen or anything. Just keep it to none. This time I'm gonna say open as a smart object. Yes, because I want to take actually or credit actually a duplicated copy off the smart object, bring it back into camera rule and do a few pre adjustments. I'm gonna talk you guys through this right now, but before I'm just gonna hit. Okay, so basically what I want to do First of all, a pre adjustment just for the person over here with also my basic sliders. And then again take it through a smart object via copy back into camera rule and just adjust this area down here and just brightness up a little bit further. Okay? So that is why I also work with a smart object for the moment. Now, also here on the right inside, First of all, we're gonna work just with the basic slightest. But before that, we got to go straight into the detail, sliders and under detail. I normally push my rule and also sharpen my rule. Ready a little bit. So again, let's also zoom in a little closer here somewhere a little closer on the hair. Normally, you can see the effect really nicely under here. I'm gonna take the amount of my 150% and also radius all the way down. And you guys can really see how that sharpens the image Quite a lot again the before Let's also take it all the way it on on here, before and after. It takes a bit to render before and often said, boosts that sharpness. Quite a lot. A lot of people actually say you doing. We shouldn't sharpen in camera roll, I think. Or I normally do it all the time and nobody notices it. And secondly, I think we've got such high quality already files from the camera that it wouldn't damage the file or anything. It actually, it works pretty good. So again, I want to set their mind to 61. Yeah, that's pretty good. Now, again, I'm gonna hold or actually press. Come on. Zero. Because I work with the Mac. If you are you Windows User, you have to hold control press control all the time. When I press command, you have to press control. So for this, we want to set our image back. Now I'm gonna press command and zero on the keyboard, and that switches it back to full screen so we don't need to work here with our zoom functions. You can also do that. You welcome to that if you want. Okay. Great. Now we're gonna go back to a basic adjustments here, and we finally going to work just on our image. Also, before I start working with these adjustments and sliders here. Normally, people say you have to work with this temperature that that that and go through all the slightest I say they are no rules. Literally go as you. And as you work through your image, you It's also better feeling obviously and personal taste what I normally do. Start with my exposure, then maybe highlights, then also working, but with shadows. Then I see okay, a little bit more blacks than the contrast and the saturation goes up. Then I d saturated little bit. Then I add a little bit off exposure again. So kind of that flow is not a way off working from the top to the bottom and then as well also my exposure. Say, for instance, if I'm going to start with explosion now, I normally take the slide all the way to the left, all the way to the right and then somehow moving a little bit again and see kind of where I want to go with this and for instance, with this shot now, I can already see that I want to have it somewhere around minus 30. 20. Yeah, minus 30. Looks good. Ready because I wanted to just saturate and just give this a little bit more orangey. Callier obviously against as earlier said, I'm also going to just brighten this little bit again in our second a smart object via copy . Okay, so also, I'm gonna start also with my temperature right away here when I actually take a little bit cooler. Just 25 300 or something. So it's a little bit Well, actually cooler here. 5 300 somewhere on day, because it's already certain. And it was actually already pretty good adjustments here. My white balance from the start ready from the shooting, then as well. I'm not gonna work with my wife. Balance here with any presets here from Camero. I normally do everything under my custom settings. Okay, great. Let's also work a little bit now on the highlights. I want to push the sky a little bit and also his highlights a little bit. Let's take the highlights. Lighten up a little bit. A little bit further. That pushes it quite a lot. You know, Maybe just to like a plus nine plus 10. That's good. Already shadow wise. That was gonna open the shadows just a little bit. So let's take the shadow slider up a little bit again. As you guys can see the kind of the way that I'm working. I really like how the shadows actually brighten up down here at the bottom, so I might even use that for a second adjustment. Now, for this part here, I'm also looking more at the person here. Not too much at the bottom part. Also a little bit, obviously, at the sky and also at the sun. Someone has set the shadow to just a plus 10 or so, Yeah, plus 11. That's fine as well. My whites almost going to push that up. Boost those a little bit like a plus 8 10 as well. Okay, blacks, I want to give that a minus 23 All right, all of that. Increase the saturation on him. So I want to take the saturation just like a minus two, obviously in further shoveling to do another adjustment layer to just work separately on his face. So he's not looking all red. Okay, contrast wise. Let's also take it up here just for the sky. A little bit plus three four. Yeah, it's just getting really dark. So let's maybe just go like a plus three. Yeah, and so far I'm pretty happy, actually. Already, with all the adjustments here on, I'm basically done already. So this is all going to do in camera rule? I'm gonna hit open object now that will take us right into further shop. OK, so as you guys can see, we are not in further shop. And we have also imported this base plate now as a smart object. So first of all, in a double tap on here and renamed that as just based plate or basic, whatever you want to call us, I'm gonna call the base plate for the start Now as well as I mentioned earlier, I do want to brighten up this area a little bit here, so I don't want to do that with an adjustment layer. I actually directly want to do this just with shadows in camera. Oh, it's quick and easy as well for me. So what I want to do is just go again to my lay year. I'm still in further shop. I'm gonna make this little bigger, so it's not too distracting. We've got camera in the background, actually bridge in the background. So what I'm gonna do so on the layer hit right click and say here, new smart object via copy. You can't copy it by dragging it down to the newly I can hear That will not be the same effect. Because if you drag it down all the way just like that, you will have two of the same images and layers on. If you select the 1st 1 and adjusted, the 1st 1 will also be adjusted. So you have to do a dry the step right Click on the layer. New smart object by a copy. Okay, great. So we've got again based play, too. And I'm actually going to rename this not just to brighten. So you guys also know when you open this PSD fall that you know exactly where you are in this whole process. All right? I'm also gonna double tap now on this little I can hear, which actually means that this is a smart object. So double tap that takes us back into Camero, as you guys can see now. And I literally all I'm going to do is just work a little bit on this area down here. So again I'm gonna keep all the settings. But this time I'm not going to pay too much attention at the guy here. Let's just take the shadow all the way up. So be bright Ning up really nicely a little bit further, but further pretty happy with that. Also, the blacks to startle bit for contrast again. Yeah, maybe Let's also work. But with the contrast here, like a minus eight for the blacks and also shadows two plus seven or almost plus 80 and contrast like just another plus eight plus 10. Ok, great. Then I'm gonna hit okay again that will take us back into photo shop with this new smart object boom and directly we have again our second image here in further ships as you guys Cassina. That's why we're doing also a smart object via copy. Because now we have our first image certain, right? And our second images well and none off those both have bean effective or so it's sort separately again. Here's the before or the 1st 1 on the 2nd 1 before and 2nd 1 Okay, Now I don't want to go and continue working with the smart object throughout the whole PST file because it's going to take too much of my ram and slow everything down. So what I want to do is to elect both images while holding shift or basically both layers press right leg as well. And I'm just gonna say rust arise thes late. So they're basically no smart objects now, just plain normal layers and images. So if you also struggle with Ram, you can kind of do the same process is well, I'm gonna go back here to maybe just my doc and say, right, like, here and quit at the bridge. So also have got more and more speed on my computer. Let's select Photoshopped begin. And what are we going to do? Is also press f not in order to have a nice full screen for further shop, so we can literally see everything here and we not distracted by our background. Great. OK, we've got all of birth of these images imported now through camera or again, Here's our before and after on this base plate. What I want to do is also hold old anchored a hidden mosque because we just want to paint in all the bottom parts here from the city and from the nature We don't want to cover the guy and as well I'm not too happy with also the brightness here from the mountain and also the sky looks ilb adult. So again, hold old, select the mosque. I come down here and that will basically create a hidden mosque. Now, on the hidden mosque we're also gonna press be for the brush white, foreground color again, 100% capacity. And I'm also working with of acumen tenuous five pro tablet. So by my tablet, I can easily change my brush size all the time. Throughout this whole total, you will see me do this. This basically means I'm changing my breasts as really quickly. If you don't have that, there's another option. You can also hold control and all together I keep on holding them. Then take your pen tool your mass move left and right. And you can either change your breast size by that but still keep on holding control and old. This will not change the diameter as well. And you can also it has another function. You can go up and don and this will also adjust your hardness off your brush. So again you will see me do this quite a lot of times in the whole tutorial as well. If you don't have any of that, or you think that's still distracting, you can also use the open bracket and the closing bracket here to change your brush size. Okay. And the literally the last step is you can also go to the top here and just under the normal Photoshopped menu, change your size and hardness is well here. Okay, let's get back to our tutorial. First of all, what we're gonna do, see our base plate? We're going to just paint out the white a little bit. Basically meaning, Aled, this area down here on a brush that out my brushes super hard now. So I'm gonna press controlled Changed my feather this all the way down to 0% Also white, foreground color, 100% capacity. And just on that mosque I'm slowly going to brush and 100% capacity is quite strongly, but I can either not take down my capacity or I can take down the lay opacity. And in my case, I'm actually gonna take down the lay opacity. So again, let's keep on brushing a little bit. And I'm gonna be a little bit carefully in here. I don't want toe brighten up the jacket from the guy, okay? And that's also why my brushes super fitted so I can brush a bit easier now. I'm also not brushing like this. I'm actually gonna take my Lou appearing to just show you guys how I work with my brush. I'm not working like this with the center point. I'm literally just working like this. Tap, tap, tap, tap, tap all the way around. As you guys can also see the outside from my loop here. That's kind of where my brush will be affecting the area's a boo boo boop. Somewhere out this great. Okay, so you kind of get the point throughout the whole turtle. You guys will learn more about this as well. Again. I'm pretty happy so far with this. I want to do another daughter of here, but with 100% opacity will just be a little bit too much. So let's see. Just take that down to 20% 1 big dot Over here another dot and another ones double or three times, as you guys can also see here from our mosque. What's actually happening? Ok, great. Then also a little bit more here. And, um, so far pretty happy with this. So again, our before and often we can still take the opacity down just a little bit. Maybe to dislike 70% as you guys can also see. Now I'm taking the opacity drastically done really quickly like this. And then I bring it up a little bit. Little bit, Little bit. Yeah, Somewhere around 70 to 80%. That actually looks good again before and after before and after. It's already a little bit of an adjustment here. Now, what I'm gonna do is also take both of these layers. Hold shift. Press command G again. Windows users Remind yourself. Control. G please. And again, I'm gonna right here. Just start or basic, actually, this time. So you guys know this is the first base plate that we've done and we've created ready information. Okay. Yeah. And that's also all for this first lesson already. Just about importing your images from bridge into camera roll into further shop, doing pre adjustments and the next lesson. We're gonna start with some help, plays and also talk through nerds and stuff that we need to remind ourselves while working on this file. 4. Lesson 3 Help Layers & Sharpness: Okay, So in this lesson, we're gonna start out, first of all, just with creating a hell player. So normally I create help players. There's no rule again. You don't need to create hell players, but they kind of helped me sometimes. Okay, so also down here, I'm gonna create a new layer. And just right here, baby one also press. Come on, G. So I directly have a new group and just right here. Hell, player, This will also be in your photo shop file. So you can also have a look what I've done here in the hell players again. And when I just select a random foreground color here, maybe a red Okay, be for the brush. I'm literally just gonna make the brush super small so I can paint out and paint a few things. So again for me, very important. I want to keep the fern some way of here. So this is my main element that will also be in the fern. So this will also be a little bit blurred later. So, again, I don't need to pay too much attention on that. But I also need to pay still attention to that because obviously, we will have this in the center here off the phone. So maybe the fern has, like, a little but never here. There will be a hand and a hand of here. Okay, so that's my visualizing ready with the fern. Kind off will be. Okay, so that's on layer one. Then again later to over here. Also gonna select just the heart opacity. We can blend that off. What I want to do is also try to create a really nice flares. Well, not trying to create a new Fleer just increasing this orange little bit and creating kind of orange color going all the way until up to here. So we begin just boosting that and it's looking like that orange color will spill a little bit over him. Okay, so we've got that then as well. I'm just gonna create a new layer again, right it two and three on this layer, We first of all, going to do obviously loads of dodge and burning to create a new color quickly, maybe a blue, also just like a 20% capacity. We going to obviously dark and again this area here little bit his beard also available some sides. Maybe the capital bit is here. Yeah, and then we're quite a lot just on all the stuff here on this. Here. Sorry on his jacket. Yeah, just darken the jacket. Share the jack little bit more that will also just bring out the jacket a little bit more. Okay, obviously. So we're gonna work just dodge and burn wise here on him. Quite a lot. Also, what I'm going to do Just do march again with his it what I'm gonna deuce with be brush again. Maybe this time just take a yellow No, maybe green. We also going to brighten this area with Dodge and burning a little bit. So bright. Ning, this over here kind off showing more light. So it's a bit off light control again. And then also we go into dark and yeah, just a little bit thes areas over here. So kind of creating a vignette effect with the Dodge and burn. Yeah. Then otherwise just on overall color adjustment and also a few small things just retouching him. But that's overall quickly, my dear. So far for the lights and for basically the hell players in order for Dodge and burn controlling light. Yeah. And also again cleaning up all of that kind of stuff Composition. Great. Okay, so that's all for the hell plays. We can turn that off again to basically your before and after. So this is kind of a thing that I normally most of the time you use also and it's just easier to expand it to you as a viewer to understand. So you guys understand this a little bit easier. Okay, let's start now with our first image. What we're going to do is just work basically on sharpness. So what I want to do is create a master short cut, basically emerging all layers together to one because I'm gonna work again with a plug in. Now I'm gonna hold command. All shift e master, Short cut anchored a complete new layer. But I can't do this or nothing is happening. And that might also happen to you guys. The reason why nothing is happening now is because my foot or latest layer or latest group is hidden here. And you can literally see that So Photoshopped doesn't know from where you're gonna work Now you need to select basic now again, hold command. Old shift and e master shortcut credit complete new layer and move that to the top. Now also bear in mind. I've created a new stamp now, So everything that will be affecting on top of this this will be my late like your last point. We are had a fixed image and where everything was in one you know, Alexis and one layer. Otherwise I could still have, like, a little bit of affecting here. So be ensured that first of all, you have everything set, writer, and you want to work just like that. The reason why also create a new layer is because the plug in that I'm working with doesn't create a new lay for me. So after that process, we can also delete again this lay one, or we can just take down the opacity. Normally, I just take down the opacity. Okay. Select this layer again. I'm gonna just right here. Sharpness. Okay. And right away we're gonna take this also into filter or plugging. Actually called to pass laps details, too. Now as well. If you don't have this to pass details layer or basically plug in, you can also go here to just sharpened and sharpened edges a little bit or sharp and more, but you will not get the same effect like that. We've also showed a pretty cool tutorial. And Alfreda told Paige, called Editorial portrait retouch in there. I'm explaining a really nice way. Hard to also sharpen your image is a little bit more. Okay, So what I'm gonna do is just go to pass labs to pass details to over here. That plug in will open for us. Okay, So to pass, details to has opened for us and on the left inside again, if you presets on the right inside all their Justin's Now again, I'm not gonna expect too much hard to work in this. Plug in on the left hand side. I have a plug in here or basically a preset charity that I use all the time, just for my sharpness. It took me quite a while until to get this. But over here on the right inside, I can just give you my adjustments for this sharpness. And I normally don't adjust anything. I always just work with these settings for every single image for the sharpness. So again. Over here. A small detail 0.25 Small boost 0.21 then is well medium Details 0.16 medium boost 0.6 Large details 0.11 and large boots 0.36. Now I have to also excuse this is Aled, the settings that I normally use. So I don't play with this plug into at all. These adjustments are the best that I can get out of this for sharpness. Okay, Someone who hit okay here. This will now obviously render. And it also looks quite a lot at the moment. So I didn't even talk about this. The sharpness is a little bit too strong and way, way too much as you guys can see now as well. Also, the reason why I also shopping with this plug in is because I don't get any weird. Hey, Lierse! In order, say if you work with the high pass adjustment layer or high pass filter, I don't get that at all. So as you guys could see again, here's the before and after. Let's zoom in a bit closer again before and after. Sir, it is really, really intense and also noisy and sharpens too much. It's actually too, too much, but now this is actually where the trick comes in. Normally, what I do is not take the sharpness of this whole layer and the whole pass ITI just done to round about 20 to 25% as you guys could see, not looks kind of normal again, but there's still quite a lot of sharpness. So again, here's before and after before and after an hour. Obviously, I don't want to apply this on the complete image. I just want to have this and subtly on his skin, maybe even just a little bit. If it's a woman, I wouldn't do any sharpness on her skin. But for men that actually looks a bit better. And then, as well, a little bit more sharpness on the jacket and no sharpness whatsoever on the city, cause this is obviously a little blurred, so I don't want to shop in this as well. Select the shop layer again. I'm gonna hold Ault again, select the hidden mosque I can hear and just heart hide. Actually the complete sharpness Also money press Come on, G again, create a new group here, and I'm just gonna ride sharpness. Okay, great. So let's elect our mosque again. Be for the brush, Remember, now again, White for uncle in order to show from a hidden mosque black, foreground color in order to hide from a normal mosque. So again it works. And thirdly, opposite black white. And then if you have a white mosque, you have to work with black. Okay, so let's zoom in a bit closer. B for the brush this time. 100% capacity. Now remember yourself. We have just turned down the opacity here, so we can literally, with 100% capacity, white foreground color, just roughly painting here. And give this guy a jacket. Really nice sharpness. OK, a little bit more. Also, my brush is quite hard. Someone press control, old feather. This it is actually faded completely. Just does show up on the mosque here, okay? And we're just going roughly over the jacket, sharpening all off that Caleb Moore. And I'm pretty happy, actually. So far with that in a zoom up a little bit closer, see here, go up to his hat. Also sharpening all of the cap. A little bit of the glasses here, just adding a little more detail to everything. Okay. And now I'm gonna go over his hair years Well, and of his beard as well. Just a little bit. Also down here, making my brush a bit smaller, as you guys can see down here of here. Little bit. Great. And now what I'm gonna do also, maybe I'm going to do there of its eyes completely. That was shopping it up. Nice tea. I'm gonna press, actually five on the keyboard, which switches this to 50% of passivity. Now again, I'm just going to go, actually want to take it down a bit further. 20%. So I'm literally now going to just with 20% over its skin. Great. And just clean and not clean up. Just sharpened again the skin a little bit further. Okay? Years again, the before and after. I'm also gonna do this now on his hand here. I want to add a bit more shadow. Sorry, but most sharpness. Also taking capacity. I begin 100% literally just on his hairs here on his hands, giving it this little bit more detail. Also the fern a bit Liberte here on the hand. Yeah, Great. That's also all that I'm gonna do. Ready, swim, article. But again, that's basically all just for the sharpness. So again, here's the before and after before and after. The jacket looks quite strong, as you guys can see before and after before and after. So that really adds for another on dynamic sharpness on this. So if you print this, it will look really, really sharp. Okay, So also, this is this the sharpness lesson. Next lesson, we're gonna start with cleaning up here and just retouching all the little areas. As you can see, they are quite a lot of dust marks on here over here. So we need to clean that up as well in the next lesson. 5. Lesson 4 Image Clean Up & Retouch: Okay, So in this lesson, we're going to first of all, now concentrate just on cleaning up. I'm also promising that this won't be too long now. Also, let's select the new layer down here. We're just gonna create a new layer. And I'm just going to rename this to clean up. And as you guys can see, I'm also slowly now working in the process here in my PST file with grading new layers, creating a group, keeping everything nicely unsorted and in little steps, firstly, so you can find your way easily around my PST far. And so you guys also don't work very distracting and very unorganized in your PST file. It helped me quite a lot as well. If you fall back on this image and maybe a year or two, you know exactly how you go to your effect. Okay? Come on, G again, Credit new group. And I'm just going to write you clean up as well. Great. Let's select the cleanup group basically the layer. And we also now going to work just with ah heating brush tool. So press J for the healing brush as well. I'm going to switch my foreground color back to black and white. Simply select this little icon of year. And there you can also switch your four on colors again. I'm gonna zoom level close in on first of all, just want to clean up his skin a little bit here in his face, on a work with Jay Healing brush tool. Make this little bit smaller and as well. Now I need to work on always at the moment. Yes, it is setting to always as you has concealed from the top. Normally it's set to current layers, sir. Then it won't do anything. You need to switch it to all layers. Okay. Very simple to also work with the healing brush to pretty much the same as the clone stamp tool. Just with the healing brush tool, It just copies texture, clone stamp tool copies, texture and turns and luminosity. So, again, healing brush is easier if you just want a copy texture in a way and clean up if you want to copy a certain area. The clone stamp tool simply working with it, isn't We hold Ault. So you will see this little target here. So you select this area and then go over to your source point or basically your source point here and your destination, And you just cleaning it up. So again, old. And I'm slowly just leaning up a little bit. This guy's face now don't want a structure and create a complete flawless skin. I actually want us lettuce. Structural. So basically meaning his whole expressions and everything in the shot. I don't want to take that out. I just want to clean up small pimples and areas that don't look too good. And we could have actually looked a little better. Okay, So, getting just cleaning up this little bit his beard if you marks here, so it just looks a bit nicer. Okay? Also, this just a bit sometimes I wouldn't do this all the time on some people. I would actually that if you have prominent spots that people know you four so I would leave these spots. Actually, then this wall, this area of here hold Ault again. Cleaning this up a little bit. Can not trying to too much on this And as you guys can see, I'm working on severity quickly with this with the same brush size. Take a bit more time when you do this, Caleb Moore. And just taking all these little turns here out of the skin a little bit. The more also down here. Yeah. Then I'm just gonna clean up his beard a little bit. Something like that. Great. And I'm pretty happy so far with this. Let's go over here when I clean up this area, actually, little bit just from the cap. And exactly this happened. Now the smudging thing that I call it so basically is when you hold out and sample the area of the anger over certain pixels here, it will just create this really smudgy area. So again, press, Come on, set or go to the history here at the top. Go step back. I'm gonna suppress s now for the clones. Them tool Also, first of all, switch this to all day is not current layer. Make my breast of the bigger on hold old this time. Select X to the area very close by. And this will obviously copy exactly the same area now so I can go over this and you'll see that I wouldn't get that smudging effect. Can my breast source offended? Quite lots of press control. Old on actually changed the hardness of this to 90% somewhere around there. Okay. And my brush size again changing that fire. My border Hold old on also here. Old. Yeah, And just clean this up a little bit further. Okay, so that looks nice. I'm gonna go all the way to the top. We can clean up these areas here, and this is also just working out really? In the fine areas. Now again, over here, I see a few dust marks. I'm gonna press J for healing brush tool, Make my breast of the bigger so I can work quicker. Hold old discover this clean that clean this clean this. And now there's also another trick to clean up dust marks a little bit years easier. I'm going to go to adjustments on going to credit curves levels adjustment, lay here and just take my dark parts away down some darkening the image quite a lot. And this is just like a little help player. I'm actually gonna read this name this actually to help layer. So you guys don't forget about this, but I'm gonna blend it off once I'm done with it. So this is darkening the complete image, as you guys can see really a lot. And we have tons off dust marks in here. So again, J for healing brush tool, sample the area. Okay, I'm working on the just Millais, you need to select the cleanup layer J for healing brush on literally. Just clean up that. Yeah. And there's also another thing to that. Now we working on all layers. So obviously the healing brush to is also affecting. Now this layer. So you need to turn it off, Select. Lean there. And this is obviously a bit of a process. So again, But it just shows you we are all the dust mark. So again, here's one I can turn this off and you guys kind of get the idea of this. So I'm just gonna do the rough ones. I'm not gonna work through the whole pleat image Now again over here, we're gonna brought in these areas a bit more. Let's turn the help later on again of year on the clouds We have a few someone actually go over here J for healing brush tool Copy again. The Syria a little more. Here is another spot. There's another spot. So it would be actually wise to take the camera in for a proper cleanup. Okay, so this is just roughly not adjusted. A few more can also not see There are a few of here still, like a huge mining and turn off the hell Player J for healing. Brush said like this area and the Syria Okay, great. That's also for just the cleanup. So going out. And that's also all that I'm gonna do just for the cleanup lesson here. So again, before and after before and after. And normally I do spend actually, like just 10 to 15 minutes, go and look and clean up all the little little details. Because if you clean up more and more these details, they would just make for a better image chaos. So that's also awful. This lesson going to see you now in the next lesson, we're gonna start with the next process 6. Lesson 5 Dodge & Burn: Okay, so in this lesson, we gotta concentrate just on dodging burning. First of all, we're gonna dodge and burn just the person again. And then we're also going to dodge and burn just the background t a little bit and bright in the center point and darken the outside pointing in. Also, you're trying to create just little bit of a vignette in effect here with the Dodge and burn. Okay. Also, we have a free to total explaining you guys hard to work with the best three methods for dodging burning. I'm using the gray method. You can also work with curve adjustment. Lays again. I'm first of all going to go down here and create just a new empty layer. Duplicate that by a commander Che on ride here hard on the 2nd 1 Soft is also a quick, um effort to that. Just my way of doing it when I select the heart again also the marking tool and just press command a again. So selecting the complete canvas prison for marketing tool right leg, and we're gonna say fill this up with 50% gray. Okay, Come on, d get out of the selection When a turn off the hard layer. Or basically, actually, first of all, changed the blending options to overlay because that's a bit harder. And then the stuff Clarey also going to take the marking tool command again. Also, the Windows users control again and for marking tool still in the market to right leg. And we're gonna say again, fill this with 50% contents as well. Okay, so again, to group new grade layers now as well, I'm going to switch the blending options to soft light and select hard and soft command G and put that together in a group as d and be dodging burn. So you guys also no way is what in the whole pst far. Okay, so hardly we're gonna work a little bit more on just the little areas and little harder areas. For instance, to hear a little bit on the fingers a little bit on the jacket and the soft layer, we're gonna work just on skin. It's on the hard layer. And when I zoom in a little closer B for the brush on also hold control altogether. So I'm gonna make my brush first of all, all the way down to zero hardness. So no hardness it'll and also my rapacity changed that to just 7%. Sin city Very, very small. Okay. And then as well be for the brush, I'm gonna escape here. The caps lock mode. Because if you go caps lock on, you can literally see your brush. Okay, so, like that, then as well. Now select your black foreground color in order to burn and white for green color in order to dodge. So when it just go burn over his here and now, we're gonna go just in the fine details of the guys. I handle the little areas. For instance, the wrinkles here. And just give that a bit more depths here can. I'm literally just going through the small areas as well. I'm gonna make my brush with a bigger and just go over the beard here, Labour don here gonna make this little bit smaller and down here as well of here and now going to make my brush super, super small and just go into these little areas of here around the lips giving that just a nice structure for the outside. A little bit bigger. Great. Now, as well, also down here, just a few guests Cher's and tweaks that a bit. Okay, Not too much commands that go step back as well. I'm gonna go out of here and also burn this area. The Biltmore of here Cattle. But from the here, Cameron's remarks a little bit just to see our before and after ready suddenness again our before and after before and after. And I can literally go over the beard once again catches to darkness a bit more. Here the Outlands. Okay, Now what I'm also going to do is go just over the jacket. And here I work a little bit rougher. So basically meaning I'm just darkening all these shadow areas and wrinkles again and trying to just bring more texture out off the whole jacket. Let it stand. Article. But more so it looks a bit more dynamic and, yeah, just a bit more rough, actually. Caleb Moore and years you guys can ciel the shadow area slowly in there, using always a different brush sizes. Well, also talking this big spot of here and darkening the complete back a little bit. They know so down here a little bit more and I literally just were working here on the shadow parts a bit further. Also appear. Okay. Great. Now we're going to switch. I'm actually pretty happy. I decided. Look here at the cap. That'll looks good. Now, what I'm gonna do is actually switch with white. So with eggs to white, four on color, we're going to dodge now, then as well. Also. Now, I'm not going to work in the shadow areas, Basically just on the highlight areas. So meaning here on top, Also giving this jacket a really nice pop. Okay. And also again, change your brush size frequently again of here and here. Yeah, a little bit more caliber over the hand here. And I'm basically just doing this now, on the hardly just on the jacket and obviously a little bit here on the cap. Maybe I don't want to do that on the softly of the self. Later, we just kind of use for the skin a little bit more, and I want to zoom up to the top and maybe just for the cap here. And also give that a nice adjustment here in the top, on the glasses. So these highlights standard. Really nicely. Also a little bit. This room light here from the sun candle but the cap here. So we just get a bit more detail on the cap. Okay, then as well. Also, just a little bit here on this here and also one is a little bit closer. B for the brush again. On a little bit on his eyes. A little bit. The room lights here. Okay. No, too much. A little bit on his lips. Okay. And then or huge dot of here. And also a little bit on his cheek. Okay, Now we're gonna switch back to the soft layer, actually, and just do this little bit more. Another one over here. I'm also very close in now. So when the president zoom out a little bit just to see again the before and after, it's obviously a lot of red in there as well. We're gonna d such a saturated also in a little while, Kilby on his eyebrows and then as well I'm also just gonna work here little bit on this hands. And I'm also doing this quite roughly now, guys, and really quickly spend a bit more time when you do this care a little bit on his hands Still, then also switch with X again. We're gonna burn now, still on the soft layer, and I'm just burning all the shadows and edges a little bit. Okay? Something like that. Okay, Just brings again, but more detail there. All right, so that's all just for the person. So far. So again, here's the before and after before and often then is well, we also want to do just a separately for the background here someone ago. Create a new layer again from down here as well. Move that all the way to the top again. Select the marketing tool as well. From the left side command a selecting the complete canvas again, right click once again fill with 50% gray. Think actions for this would also be just doing the workflow quicker. So credit the action would also be really great. Again, I'm going to switch this to soft light planning option. And now this one. We're just going to work on the background. So I'm also going to rename this for you two backgrounds. Okay. Be for the brush as well. Make my brush super big so that we kind off replacing the son in a way also switching and four on colors of physical when enlightened again. So Dodge. And just check that the brushes superfine. It's or control altogether and it's completely feathered and she just going to brighten up the inside a little bit, like so they're going to leave that and that will render for us because it's quite huge. Photoshopped does take a bit of time to render with that huge brush again. Here's our before and after before. An office is kind of like waking like the sun a bit more here and also the city down here. Frightening that up a bit. Okay? And I want to switch with X again to burn. And I'm not just trying to create this. Been getting effects of burning a little bit over here. Then again, also down here a little bit on on the right inside care. Not too much. I don't want to create these weird rings, but further and that is rendering for us a little bit more. Okay, and you can already see year on our mosque as well. Well, basically the background layer with dodge and burn what we've created so again the before and after before and often. And you can still do this little bit stronger, a little bit more. I'm doing it just on the subtle way. So it's not affecting too much. Okay, again, the whole dodge and burn process. Here's the before and after before and often. I also did this really quickly. Now spend a bit more time when you do this. Yeah, that's also offer the Dodge and burn lesson. We're gonna go over now to the next lesson. We're going to start with the for. 7. Lesson 6 First Color Grading: Okay, So in this lesson, first of all, we're going to create again a color adjustment. So basically meaning we're going to credit unique color, Great. Just for the certain image. All right, so let's also start right away, just with a bit of pop. I want to give this a bit more brightness and also just let the highlights popular more. But also give my dark areas here, for instance, down here and on the jacket. But more contrast. So I'm gonna go to adjustments and also selected records levels adjustment layer on. Also, this time I'm just gonna take the highlight area of here and just push those up a little bit like so. And I'm not concentrating too much on the rest. Mom, Actually, just first of all, taking the curves here down again and putting an anchor point here as well. So it's kind of straight as well. Then you can just tweak this top point here again and just work with that. Obviously, guys since see that the situation goes up quite a lot, but I really love the contrast on it now. And also, the bit of highlights would be actually getting okay again. Here's our before and after before and after. So it's a little bit too bright I can still take. The opacity of this may be done just to like 80% so that we don't need to tweak again. Are curve a layer hero occurred so we can just let you do that by the layer, but still keep this really nice contrast e and boosting touch. Okay, so that's literally the first step Ready Now also, want to go to adjustments again and go into the selective color adjustment layer on also just started my neutral turn. So normally, start with the neutral turns. Play been bit with the Saiyan, then also magenta. Quite a lot here and there with yellow and black. And mostly I use the blacks to push up and to flatten the blacks little bit. Then I go into the black channels over here and dark in the black subtle, but just to give them again another pop. Okay, so that's really going to do that as well. Not someone to take this to just minus one or two and as well, mostly gonna work a little bit with yellow. Let's push that again. And as we did earlier as well, like we did in camera and normally take the sliders all the way to the left, all the way to the right, and then I play a little bit with this and try to get a little bit of a unique feel for this as well. That's also a lot of personal taste. So you have to kind of play with this little bit until you know it's the right thing that you want to get in. Yeah, see what suits you. I'm going to go to, like a minus two, actually, just de saturate at a little bit. I'm gonna also take the magenta start a little bit. Let's see, like a minus two. That's not getting too much green. Maybe just the minus one. And also the sy n. Let's again work those little bit to the right side of that cooler plus minus three, actually, minuses, increasing the red quite a lot. So we can also still work with that. I'm going to actually go to plus three and also not going to go to the black channels again . So again, blacks over here and as well the Cy ends too Let's have a look if we take the say Enza, obviously also just affecting our black so we can get away with just pushing them up a little bit as you guys go see left and right again what? I'm actually getting what effect? So again, like a plus three. Be good. Okay, Let's also work a bit with our magenta is let's also take the magenta is a little bit. I'm gonna push those down a little bit, See how strong I want to make it to green. As you guys could see. We're getting lots of green there. Maybe just the minus one. This is obviously a lot of personal feeling as well. Also, have a look. If your screen is calibrated so you get really unique taste and yeah, the right colors. Camels are going to take the yellows. Live it up. Okay. It's just making it a little more greenish like maybe just the minus two, which would give me actually really nice. Minus three is actually also fine again looking before and after before and after and as well the black someone push them up just like a plus one. Okay, so we just actually got away from a lot off orange that we had. Let's take again to the neutral turns here. I'm gonna push the yellows up a little bit again. Yep. Not actually going to affect those super Saiyan up a little bit again, Like just a minus two. So okay, again Before and after before and after now as well. What I'm also going to do is also create a complete new empty layer just with a orange turn in there. So I'm going to go down here to the just Malays again and to select a solid color again, the color picker will come up. I'm just going to choose like a deep orange of something. Let's just take a random colorful Now we can also go a little bit more into the red zone. Somebody over here can when I hit, OK, and switch this first of all away to new blending options to color. Okay, so it's completely yellow now orange. What I'm gonna do is also take the opacity all the way down to just like three or 4%. Maybe you're a little bit further again before and after before and after just giving the overall image like a yellow orangey tint to look at too strong someone to take it to 5% and also double tap again onto the color year and literally going to pick a bit more of orangey color and these colors, you're not too selectors. OK, so it's a bit more into the red zones, but more orange. Okay, then instead of yellow. And that looks a bit better, actually, for me. So again, before and after before and after just adds for another extra orange tend to the whole image. Okay, so last year, when I sell it to add, is now also a hole flay boost on top off the image, as we said earlier here from the hell Player if I'm just gonna blend this on again. So we mentioned that we still want to do a little bit of a flair player here on top, so that's also very simple to do. Actually, you can just go back again to the adjustment layer Stan here and select a Grady and Adjustment layer. And first of all, the great and adjustment layer will pop up here this little window and under Grady INTs. If you select the great. Since you first of to select a certain radiant Now in here. I've already created the Grady int and this one over here. So let me just move this little to the side so you guys can actually see what's going on. So something like that. So normally, my setting start away from the left side from dark, going to richer red orange into light orange and a yellow and appear white. So educators can also see how it's degrading here from white, yellow, orange, red and dark. So what we going to do is just take the whole style and angle actually to a new angle. Let me just say Okay, over here, we're going to switch this to radio. This basically means that we actually have now a circular motion. So then again, I can also select reverse, which will envy us the whole process, meaning that we can use this now on a new blending option. And we can actually hide the dogs and show the light areas. So again, let me just hit okay over here. And if we switch this not to screen, you will see that everything is dark, will disappear in everything that is light will still show up. So we've kind of created a really quickly flair and further shop again, I'm gonna move this over a little bit, but Icon actually moved us at the moment because it's an adjustment layer. I first have to convert this to a smart object. Someone hit right, like here and just say, convert to smart object. And now I'm able to also move this around. Okay, so as you guys can see, enough got the smart object, and I cannot literally just move the center point up a little bit. And we've got a really nice clear going all the way through the whole image. Move over here as well and also going to just take the opacity down a little bit. So it's not that strong. Maybe yes, just around 50% or 60% again before and after before an off. And I don't want to make it too strong at the bottom over here. It's nice, but I don't want to let it that effect too much this site because obviously it will be a little bit further. So again, so just a normal mosque when the press be for the brush switch with foreground color to black on. I'm just gonna use, like, a 60% black foreground color on. I'm actually going to just dark in this area a little bit down here, so it spills little bit better. Okay. Something like that against which was foreground colors painted a little bit better back. Something like that. Yeah. That's also all that I'm actually going to do. Ready for just this layer. Great. Okay, so that's also going to take all of the's four layers now for the color adjustment press. Come on, g again. And we're gonna right here. First of all, color grading. Okay, so we know that's all for first color grating there as well done. Except that I'm going to do so also, take all of this now into next software. So again, going up to the filter here on, we can do to take it into Nick Self because we don't have a base plate again. So what I want to do is again press command. All shift at E most a shortcut again. Submerged everything to one final layer. Now we can go to filter and begin Go hit here. Nick Software color Fxpro four and take this layer again into a new plug in. Okay, so the plug it has loaded and again, I'm not going to explain too much about this Plug in. Let's also make it just a little bigger on the left side again. You have all your presets for the plug in and on the right inside or the adjustments. So normally it what I want to do is just give this image another nice pop in color. So I'm gonna select an ink over here and also directly going to set the color set to the 1st 1 And normally I take it down to just like 20% 25%. This adds just a really nice pop to my images now as well. Shadows. That's play little. With that, we're going to take it too much. Maybe just around 8 to 9% and highlights as well. I want to keep this actually boosting, as you guys can see at the moment. OK, but the strength it's still a bit two hearts and maybe 15% but I'm going to leave it a little bit harder here because I'm going to take the passivity layer will basically just opacity from the lay it down In further shop, someone who hit OK that will be exported begin into further shop. And now we also have this on a separate layers. So we can also delete again our first layer that we've created with the master shortcut again, we literally just needed it so we can get back into the plug in. Obviously so again, layer one here, which is our bass player or basically are much layers with all I'm had, lead that take the in clear again and just take the opacity all the way down. You have to just maybe, like 40% before and after before. And often you guys going to really see how that gives the whole image again another pop. So when you take it down a bit further, maybe just to 30% try that before and after before, and often that box for grade one last step that I still want to do is just de saturate his face a bit. All of that increased the saturation so much so I'm gonna go back to adjustments and this time to hue and saturation again. Select that Ondas Well, when you go into the red turns here again obviously you could work with all these turns I'm just gonna work with the red turns on just taking the returns old with are not too much. And you guys can really see how that d saturates his reds again. It will obviously de saturate also the sky here. So I just want a decent rate that about minus 10 0 ser minus eight. Okay, look here before and after. And now what I want to do is invert this whole Marceau command I again Windows users, please use control I b for the brush White Forum color, 100% capacity. And I'm literally just with a soft brush going to brush just on the skin here. Okay, I just de saturating all this reds a little bit. Okay? So, again, before and after before and after. And now mostly in a crate. A new group again Select birth with shift command g again. And I'm just going to write here Flee as well. So you guys know that's all about the flare. Okay, Great. So that's awful. Are color adjustments again? Let's have a look before and after before and after. Obviously, you also have to do this little bit stronger and a bit slower. I did this really quickly as well. With the Grady int as well. Don't forget, you also have to create a complete new Grady int here. I'm just gonna go quickly to the great into again double tap on that. I'm gonna open the grating color again so I can just show you guys quickly again, Simply hard to create a Grady. And you can also look that up on our free tutorials. Select the Grady int over here, and you can just hit new or basically to select one. Then you create the Grady and throughout these little dots here, a double tap on that you select the color. Then again, a new one say, for instance, there's gonna be black. Okay, then is well done here. Double tap on that. Then you choose exactly the same colors is I have a rich orange and you kind of create these little dots here hit new and you've also credit the nuke radiant. And then again, you use the Grady int under the new adjustment lay here. Okay? Yeah. So that's also for this lesson going to see, you know, in the next lesson going to start with the first adjustments for the phone. 8. Lesson 7 Iphone Raw Conversion: Okay, So in the last lesson, we finished up with the Flay over here and also the color grating. Now, in the next lesson, me first of all, have to bring in the second shot from just the I for the lady holding the iPhone. So basically manages press African full screen mode here, get out of further shop on literally. We can also just minimize this for a moment. And I'm going to just select here Bridge Open that and I've already also selected the images and the category year. So basically in the content area again, I'm going through the rough shooting here from the iPhone. Now again, a few things that I'm going to watch out for is first of all, the light needs to be exactly the same. And and as well, the perspective needs to be somehow in the same way. And also, I'm paying a lot off attention, just two fingers and the way I'm spacing the fingers before the final image. So again, we did a few varieties here. You can also have a look again in the behind the scenes how we actually photographed this and also in the light talk on Yeah, And then I just paid a lot of attention to just the hands and this was kind off. I think this is actually the shot. Yes. This is the one that I've selected for the final shot to work with. First of all, because over here I can still see city. Maybe I could have even done this with this handle, But better where it's actually a little bit more off to the side still, so you can see, but most city down here, then again, for me, it was very important to somehow shows something down here. Oh, here as well a little bit from the top here, and is very important for me to see the person somewhere over here, because obviously we're going to import this now on top off the other plate, we're going to cut it out. But obviously you will still see the person here at the bottom and at the top. So again, for me, very important having the fingers in a good position and that they look kind of beautiful and good and not distracting, and also that you can actually see the background. All right, great. So we've selected this image. Almost been a double tap on here now and take that Also straightaway into camera rule Now in Cameroon. Wanna start with temperature? I want to go somewhere a little bit cooler, actually, 4200 because this is quite a Yeah, very greenish, actually. So 4200. Maybe just let's write it here as well. And what's gonna test this now? So, yeah, that's kind of giving me the effect that I want as well. Explosion. When you leave that to zero for the start, it's kind off working for me. Contrast. I'm looking to play with that at the moment. Let's push the highlights a little bit for this, cause it looks quite dull and could actually get a bit more highlights. So again, as us concede left and right pushing that up and down and I want to take it all the way up until let's see. Okay, now it's getting to Bride. Let's just take it down. Liberty again. Say somewhere around 30% 28%. Yeah, and that's actually good enough now as well. The whites. Let's also push those little bit. I'm actually going to leave the shallows intact So maybe just like a plus 10 plus 14. Yeah, that's a bit too strong. Plus 14 is actually pretty good as well. The saturation. Yeah, it looks very green. Someone to take the situation. Just done. Quite a lot, actually. Okay, that was a two for minus 40. Maybe minus 20 have looked on yet. We can actually take little bit further. Minus 14. 15? Yeah, that kind of gives me a rough even start point. Not to calorie. Not too much is reds and that kind of stuff. So it's a good starting point to get it from here into further shop as well. I also want to go and just add some sharpness to this. So once again and when it set the amount to 60 and also the radios to 0.5 to have it really , really shop. So again, sharpening that up quite a lot. And I'm not going to import this as a smart object. So basically under the workflow options here again, select, open and smart object off, okay? And we're just gonna take this in as a normal image. So again, all off that we're going to do in furniture, basically in camera here. Open image. And that will take it right into photo shop. Okay, great. So now we've got our image here in further shop already. As you guys can see on a separate layer, we can now either start on this layer or we can actually start cutting it out on this layer or canvas on this canvas. But I'm actually gonna import it first and then cut it out properly on the other canvas. So again, let's also just go to the background here. I'm going to just disable it the bridge, and we can actually cancel it. The bridge. So quit that. We've got again another a bit more ram here on our computer select against further shop and out. First of all, I want to select this canvas, move a little bit over, take my background lay here, double tap to unlock it, first of all, and I'm gonna write you just iPhone. Great. Now I'm gonna hold shift, take the lay here from the iPhone holding shift and moving that over to a second canvas over here. Drop that so that it clips right away to the borders here. Okay. We can also not delete this later again. Don't say if we don't want that. So again, I'm gonna press f nice and full screen. And yes, we've got our fern so far in our second shot on what's gonna zoom out a little bit, It's a little bit easier for me if it's not that big. Next that that I'm going to do is also take the opacity. Donald, let's say to just 60% and we can right away. See way we're going to space this whole image. So again, I'm gonna move the image around a little bit, and I think I can even make the hands a little bit bigger year. So, Aiken, somehow I'm not paying too much attention onto the center point here. I'm just paying attention on literally the sky. The guys cap here and as well. Also the foreground down here. So again, I'm gonna hold. Come on, t two also rotate and scale this little bit. So basically in the transform mode Now, now I'm gonna take an anchor point over here and hold shift while I'm doing this and dragging the anchor point article bit. This basically also means that you not distorting your image and utes dragging it on both sides equally. Okay, great. Now I'm gonna move it somewhere of here. I'm also gonna accept it from the top here on that will render for us. And I'm literally just gonna move this a little bit more down So somewhere over here. Great. Okay. And also, for the literally, for the very last step. Once we're done almost probably also going to create here to help lines from the top, literally. Just take you move toe. Yeah. And just go to the rulers on drag that all the way down. So most probably went to crop it somewhere like this at the end. Once we had done with old. So again also, if you want to get these lines here, you have to just go to the ruler system here at the top and just drag down some guidelines . If you don't have the ruler, please just go to view and just select rulers over here. Or you can also press command are and those will disappear. Show up again again. Windows users control are okay. Great. So we've got these two lines. I can actually, for the moment, get rid of them. It's first of all, Photoshopped. So again, back to view and clear guides. Okay, great. So we've got that in next that I want to do is just take the opacity all the way up. And also now, in the next lesson, we're going to first of all, work on the fern. We're basically going to cut out the complete phone, and we're going to create the first layer just for as a background layer. So we don't because this is obviously all shop. So we wanted to create a bit of a blurring effect. They're going to create just a separate blur filter and on top. Okay. Yeah. So that's basically all for this lesson Or so you know, in the next lesson, when start with those processes. 9. Lesson 8 Merging in Iphone: Okay, so in this lesson, first of all, we're gonna turn off the iPhone over here, and we can actually basically create a new group for that. So come on, G. Put that again into a new group and destroyed iPhone. Okay, great Army. Also gonna go here and just create on top off this flare. We want to create a bit of a gay Asian blur adjustment layer. So basically, that this whole image is in a blurred way. But before I do that, I want to just again copy the whole image and also create a master shortcut. So again, command old shift E creating again a master short cut, basically emerging all the layers again to one. And that will be basically now are layer for the iPhone screen, someone to write your iPhone screen, okay. And also move that all the way to the top. We don't need that at the moment. You could just blend that off, and I want to go to flare year and just on top off later, I'm gonna go to Filter. And yes, I need to also create another new layer for that. So again, we can also take iPhone screen duplicate that moved the one down again and select that. And now we can go to filter, blur, gaijin blur. Okay, so basically, we're going to blue. Another complete background, as you guys can see, like So. So over here, I think I'm gonna choose something between 10 pixels. Let's start with 10 pixels and see Kind of defected Sullivan Too strong. Maybe a little bit more. Yeah, again. 30%. A little too much. Maybe just 20% or 20 pixels. And that's kind of good. Ready? I'm hit. Okay. For the start, let's have a look here. If that will affect how strong that will affect our image again before and after. And it's kind of a good blurriness there, actually. So I'm just gonna press. Come on, G. Egan, and just write a blur quickly and take it out off the group of the blurriness. So again, move that all the way out. So we have blue here, and I found there and then again on top. So this will be on top off the iPhone again. Come on, G. I'm just gonna right here. I fern as well. I found screen. Great. I love to create the groups. As you guys can see, It always helps me a lot s Oh, yeah, I front screen. We can actually move that as well into this group now as a subgroup. But you can still blend that off, and we just see us iPhone ear and the blur. Okay, so let's also now start working just on the iPhone here itself. Okay, So first of all, what I want to do now is take the pen tool and also with the pain till credit a really nice path around the finger around the fern and again around this hand and also from that path, I'm going to create a selection with a mosque, and we're gonna cut out the complete phone. Now again, I'm gonna press people the pain tool on also Zuman really closely over here. And I literally just going to start to create now my first path So again, pen tool and put an anchor point of here and slowly going around the finger here and just cutting out the finger really nicely. Now again, I'm not going to explain too much. Hard to work with the pen to most of you guys must probably know how to work with it. It's very simple, actually. It does take a bit of practice, but it's literally just placing an anchor point. Then again, another anchor point, and you can rotate your ankle points and up and down. And I would suggest go and have a look on are free to tolls Page. We've credit A very good to total. They explaining in depth how to work just with a pen tool. So again, I'm also gonna fast forward this video now on just speed up things here. So you guys don't need to sit and watch me for about half an hour cutting out their hand and also the phone. You obviously see the process, but you don't need to sit in real time and watch me. So we're gonna fast for the video. If there's something that will stand out, I will stop the recording and show you guys what I'm doing. Okay, Someone starts fast forwarding. Okay. So you guys can see I'm almost done now with Penn to here, I'm just going to go and complete the pen tool all the way to the start again and is combined the complete path All right. So I'm also gonna go out to you now, as you guys can see you still a small piece missing and down here, we're gonna fix that in a minute. That's smart. And that is the path that I've already created. So again, when he hit in our pen tool on hit right click and say, make a selection from that whole path. So again, zero feathering. And when hit Okay, over here. And Gardez directly. You'll see We have ready a nice selection around our complete image. Here, then, is well, I'm also going to hit now whole keep holding old and select the mosque I can hear. And this will basically hide now everything. Now we both actually just hidden the fern. What we should have done. First of all, we should have just selected the inverse from our selection, so I'm gonna go step back. I also still move, Do mistakes. I'm not perfect. So selection change here. I'm just going to go here to the top in the History Channel, and we can also make this a bit smaller, okay? And I want I want to do It's just with the pen tool. Still I'm gonna Prince marking tool over here Hit right click and select the inverse. Or now obviously, we have everything from the outside. Now I'm going to go back to the mosque again. Hold again old and we hiding everything as you guys can see like So So we have nothing visible again from the outside. Obviously, we still need to add this little piece of here and this little piece over here. So again, when is women really closely of here? A little bit further and again, People, the pen tool on literally just going to create a quick path of here again, cutting out this little piece killed further. And also all these aberrations here getting rid of those we just cutting out on the hand. Doesn't matter if you cut out the bit off the extra pixels here from the finger. Okay, complete that path again. Right leg. Make a selection. Zero feathering. And again, I'm gonna hit this back space for this. So basically the raising that whole area come on de out off the selection and I consume art again and already see that area as well. I'm gonna go down here, Alsop for the pen tool, literally just going to create a smaller path of here. And as you guys can see, I'm also working really roughly with this again. Right Click Make a selection again, Backspace. So getting rid of that area. Great. So now we really have our first selection here just from the phone. But now we still need to refine all of this little bit, obviously. Here at the top, it looks quite good because we have a lot of flight, but here on the center doesn't look too good. And also down here, I want to soft in this a little bit. So obviously there's also a lot of sun coming from the back. So again, we're gonna work a death and light controls after this. But for this start, we still need to refine and just clean up our mosque a bit. So I want to start you on the right inside, actually zoom in a bit closer, be for the brush, okay? And also make the brush a bit smaller. And now we're going to switch the foreground colors to a black foreground color and paint with 100% capacity. Let's also press control altogether and just see how strong our brushes favorite. I'm gonna change it all the way to just maybe 90% mawr. Here we go, 90. Maybe that's a bit too hard. Let's go for 80% that you obviously have to play with a bit. Okay. Make it a bit smaller again. And I'm literally just going to paint now, over this area of here gets a bit softer and my brushes a little bit to heart. So again controlled, maybe switch that just too. Yeah, just that start with a 50% capacity here for just the hardness. Sorry. Okay, then it's again too soon. It'll be closer here and slowly. Just going over the edge is from the fingers on all the way around here. So basically, I'm cleaning up the edges now A little bit in here. Okay, Here is well, and I'm trying to get rid of a bit of this area here. Okay. My brush. I still need to feather Atmore. So again, I'm gonna completely feather this and also worked this time just with 50% opacity for the brush. Great. This is what I actually looking for. So again, just smudging this a little bit getting this odd little bit. Can I want to go over this one So twice, Again and again over here. And you're a little bit back again. A little bit more. Okay. Make my brush of its smaller okay. And again, And this is Obviously it takes a bit of patients as well. You have to do this a few times. So just might just a little bit Caleb Moore. Okay, Something like that. And as well, we still need to work in the color a little bit. But we're going to do that after this process again. Now I'm going to switch just to 20% opacity, make my breasts bigger. Yeah, And slowly just go over this finger just so that that blue spilled a little bit in here. Okay. Something like that. That's due march again. That looks great so far. Once we add a bit more brightness and also the color and also the brightness on top, basically meaning the life control. This is also going to look way better. Resuming a bit closer of here. I'm going to do exactly the same effect over here. Be for the brush. And again. Let's start with SE. 60% opacity and literally just slowly going to brush the south care of it smaller. Tell a bit more and I just wanna have a look here underneath. It's quite dark. Que also going to change the brush again? Super hard. Maybe that's switched that back to 80. Okay. And I'm just going to paint all the way around here. Also, my capacity It's moved that up to 80% as well. And we're just gonna go around here Can not. Too strong is the one to keep every clean, hard edge here. The more Okay, that's stealing a little bit too many pixels away. Great. Okay, let's go all the way. Iran, this looks or clean up here. Relieve that because we're gonna add, but more color later. Okay, maybe of here, we're going to clean up the Syria when the press doubles here on the keyboard in order to get 100% opacity here. Great. Ok, now I'm going to make this a bit softer like super Super soft. My brush actually, for that zero further nous Okay, let's have a look if we zoom out. Obviously the sun is coming from here, so we're gonna have loads of light at the back. So that's kind of works here for the fingers. Someone to actually leave it like that. Let's go over here B for the brush again. And also this time, I'm just going to make this a bit smaller here. And just brush this out a bit. Okay? Switch with eggs. Foreground colors. I want to paint actually back a little bit and to slowly brush back the softness off this a little bit from the edge here more. Okay, lets go up a little bit and also brushed with more of here. Something like that. Just in order. As you guys concede not to just feather this edge a little bit, so it looks a bit more riel at the end. Caleb it in here and also here. This can be kind of straight tell too much again. And one of a step back. Do this over. Okay. And again, that's why I'm also working with of acumen tennis five pro tablet. It's easier for me to paint then with a marked with a mass to just do these strokes. Okay, That's a bit too much. Again and again. Come on, Set goes step back, OK? The firm will leave that pretty hard, actually. Maybe a little bit over this year on the edge, Carol, but just spilling again a little bit, Okay, Just a little more. Okay, zoom out again, and here on the top owns, we're gonna work little bit on that and she just setting that spill again. I'm also working with 100% of past t. Let's maybe just take this to 50% stuff brush, and we literally just working these areas in a bit. Okay? And also, let's go back again when his remarks again. Some of here b for the brush again, feathering that edge a little bit. Okay, So, Ahmad Yeah, I'm pretty happy, actually. So far with this, let's have a look here on that side. Also. Good. Except that I'm going to do is actually blur this a little bit, but just with tiny bits. So I'm literally gonna go here just to the blurring tool. So blur 200% strength and I want to make the brash little bit bigger and that she just go over here once. But this time also, I'm going to select again just the mosque here. Let's have a look again Quickly, the before and after I'm just gonna go step back in the history panel. So again, before and after surgery, just on the mosque B for the breast, we just go step back again. I have to select the blurring till not the brush. So against, like, the brush on, just brush this edge a little bit. So we just breaking this edge of bit as us concede that works really, really good. Also up a little bit, maybe from the fern obits And when it would do that all around the fern. And this always helps to just break edges a little bit so that these don't have too much of a hard edge going with your background can Dittemore. I'm just going to continue this now all the way through. You can also make your brush a bit smaller for this Caleb Moore and more can. I'm going to do this all the way around now. So also up here around the fingernails, I can actually see we can sell clean up the fingernail. So let again select a B for the brush on black former color, no white foreground color 100% capacity. Control a. Make your brush super hard. You want to take out this? Yes. Which again with black foreground color. And we just want to hide this little area here from the nails. Okay. Also, not too good. I'm going to take the pen tool again and quickly. Just going to Craig a rough past year in order to just create a really nice round line. Okay. Something like that. Going to complete the path again, right? Click, make a selection. Zero feathering be for the brush in. The Children are campaign just quicker. And I'm stealing again. A little bit of pixels here. Come on. D Nobody Rooney and noticed that Maybe just fix your intent. Great. So nobody will notice that then as well. Also gonna select the blurring tool here. Actually, just go over this a bit. The nails a little bit. Great. Okay. Going of the hand, blowing this area a little bit and bear in mind, you can still always erase this area from the mosque. Okay, so I'm also doing this a bit quick in our Yeah, I think over here I would actually clean up the mosque, but with brush again. I literally just take out this area completely. So we don't have that red or green aberration line. Okay, then again, blurring to I literally just blur the edge just a bit great. Dad Looks again way better than before. Okay, Be for the brush again. Also on the top here. And when you clean up this area, bit blurring tool again on displeasure of the edge okay, lets you mark. That looks great. Also down here, I'm going to do exactly the same effect, but two strong. Let's take that little bit back. Okay? And also the blurring tool over the blur. And that works really, really great. That's Ahmad's and Watmore. Yeah, and I'm pretty happy so far with this process. Also could have done it over here, but that's all right. Great. So that's already cutting out just the fern. So the Lexx last step, actually now for the firm would be so going to do is just take our growth color grading options here gonna go all the way down. I want to just duplicate the selective color here. So again Come on, Jay, duplicate that move that all the way to the top. We're basically going to place that on top off the phone. What we want to do is let this just clip to the phone. So again, hold old. Let that clip directly to the fern. You guys can again already see the before and after before and often sits kind off, adjusting the same colors already towards the background plate. Here again, let's go down. We also going to select the color Phil. Come on, Jay, Move that all the way to the top. Also to hear again hold old, go between the Lezin at this orange light. Also clip to the bottom layers again before and after before and after said slowly getting there. We still need to obviously work in a lot off light, a lot of flight from the background and a lot of flight on the front. OK, But that so far, or for this lesson just merging in the iPhone so far when they start down the next lesson, we're gonna work a bit on dodging burning as well 10. Lesson 9 Color & Light Control: Okay, so in this lesson, first of all, we're gonna work in the phone a little bit. I'm just gonna turn off the hell plays or basically the groups here a little bit. And also the iPhone here. We've credit again. A few ones for just iPhone. Well, I'm actually going to create a subgroup from the served Just selected those I'm gonna press . Come on, Jigen. And just right here. Phone. So I know that's basically just the fern. Then again, I front screen. This will be separate and are between the fern and the hand. We wanted to work a little off light in here as well. So when you go to blur, credit a new empty layer. Move that into fern as well, because I want this to be underneath of the phone. Okay, let's move that over here on the press, be for the brush and make my brush super big. Also hold control old and fed this completely. Now what I want to do is just bright in the background, a little bit and kind of show that there's a lot of flight coming from the back. So when it switched to a white foreground, color and also paint with 100% capacity. So again, also making the breast little bit bigger and what I want to do Now, let's just make one huge white dot in here. All right? So as you guys can see now, we've created a huge watch flare just from the back, and it suits already the iPhone Really good. So most gonna take capacity just all the way down a little bit further. Yeah, maybe just to like, 24%. So it's just like a liberal inhaler coming there from the back, shining all the way through. Okay, as well. Now we have that. We're gonna prayed another group for that and just right here, flare from behind or something Just gonna be age so behind. And you has No, exactly. That's coming from behind. OK, now back to the phone on what's gonna go in top off the fern Credit New empty layer. Press command A. This will basically take a selection from the marketing tool and also completely fill my canvas again. Right click Phil and Phil, this again with 50% gray. Okay, Now again, we gonna work again, and with a bit of a dodge and burn system. So again, switch this all the way to soft light and come on D and command g. So basically meaning complete new group D and B Rini renaming to that. OK, I'm also gonna right here just d and B. So you guys know exactly what's going on and I'm zooming in a bit lesser. Okay, be for the brush. And this time again, 0.7% capacity. Not stronger than that. Also making the brush size really small over here and also hold controlled again. Just ensuring that this brush is completely to zero hardness. Okay, now, this is obviously just affecting. It should just affect the image down below here. So I've actually done ready a mistake here just with the group. I need to take the slayer moving all the way down and hold old and that disk also clips again. Go holding old go between the layers of this little thing clips again to our layer down here. Okay? Now he can actually just delete the d and b group the Dodge and burn again. Select Arjun burn over here before the brush. And first of all, we just going to Brighton again A little bit. The hands of here, breaking this edge a little bit of in here as well, then here from the top on when we were quite a lot in here. Okay. Brightening off that a little bit The fern. A little bit of here. Okay, a little bit on the hand here, All off that spill again. Also in here, making my brush, but smaller. Okay, down here. Some kind of just illuminating a little flight from the back. And we can actually have a look what it does if we create the clipping mosque here. So basically, unclip this again while holding old and again you guys can see Noticed the before and after before and often it's a bit too strong. So clip it back again. So again, hold all to go between the layers and clipped that once again. Okay, be for the brush once again, I'm actually just going to go a little bit in here. Do a little bit of dodging, burning right away on the hand a little bit. Okay. And one stat is done also, just dodging the for near a little bit. Great. Once that is done, I'm gonna switch now, just with black foreground color. So x again and black, forward and color in a dark in the fern a bit. And this and we're also going to work just with the shadows little bit in here also, Daniel wanted still to just show a bit of shadows. I'm gonna go over the thumb again. Also have here a bit of shadow Great in here a little bit, and then over here as well. And what's going to create a bigger shadow just over here, darkening this complete area a little bit of here from this thumb. Great. Okay, so that's basically all I'm gonna do for that to march again a little bit And think again about this. We still going to crop this somewhere the end, maybe over here somewhere like that. So having a little bit of everything closer and so kind of still cropping the whole process . I'm also retouching this now for the second time. So every time I do this, I somehow a condom actually copied exactly like from the first time. So every time I retouched this, it will be a bit of a unique image. So just bear that in mind when you do also retouching. It's hard getting exactly the same effect as the first time. So again, something like that, that might be the first process again. All right, let's take out these lines again. And that's just for the fern again. Just bringing in the phone. He is also a shortest of the background. As you ask unsee what would also be a little bit easier is instead of creating just a white flashlight here from the father behind you could have actually also done a yellow light. This would actually be even better than why don't we give this a shot quickly while we at it? I'm just going to create a new layer again. And just right here Now for this time yellow, and we can actually keep this to white. So you guys actually see exactly the step so yellow Be for the brush and I'm going to make this a bit bigger, But there's someone with a double tap here just on the black foreground color and also going to select. Yeah, maybe like this kind off white fish yellow color. Okay. And is we'll make the brush super big, actually. Gonna make it half the size press also controlled. How strong is that? Feathered zero feather nous capacity 100%. And let's make just a huge round dot Like this. Okay, so we created a big round dot Now we're gonna just take the opacity all the way, Don. Yeah, maybe just 20%. And I think this is actually a bit better than just creating it on a white. Here's the before and just after. Now again, let's put the phone on. And also iPhone screen that's gonna come still. So again, here's the difference. White or yellow. And the yellow is maybe still a bit too strong. So taking it down again just to 15% yen before here's the before. Yeah, and then after again. So you kind of have to beside with that. If you want to go more for the yellow all the white color, I'm actually gonna leave both layers in for you guys. Okay, Now, in the next lesson, I'm gonna start First of all, just with adding the screen and also adding the graphics for the screen of the iPhone 11. Lesson 10 Building Iphone Screen: Okay, So in this lesson, first of all, what we're going to do is just work in the screen a little bit here and also the graphic. So, first of all again, I'm gonna open iPhone screen over here, select iPhone screen copy. We can actually just rename this to iPhone screen once again. And we're also gonna turn this layer on on change the opacity, maybe just to 52% press. Come on, T So we can in order, get transform it and just transformer Donald. But I'm gonna take an anchor point here again, Hold shift as well. So it's equally transforming. And I can take it'll the way down but something like this and take us to the center point here and just move that old way up again. And still a little bit too big. I can actually Yeah, well, just a little bit. I can tweak it Still a little bit. Something like that. I would actually like that. His cap is still out of the shot here. Says something like that. I'm just gonna make it a little bit bigger again. Once you are still in the transformer, you can go up and down, basically meaning transform in its smaller or bigger. Once you've just transformed that smaller than accepted and again, then transform it bigger. You'll destroy the pixel, so bear that in mind. So I'm literally just going to take this up a bit. I'm actually pretty happy with this someone to accept this from the top. Ah, once said that I actually forward was just pressing. Come on, Teegan. And just wrote it. Now, if I would scale it now again, bigger, then I will destroy pixel Saddam. Did she just rotating it a little bit and that's it. Except that. Okay, great. Then also, actually, I'm gonna take my curse is here left and right. Little bit. That's kind of the position where I wanted to be. Okay, so when you take the pass it to all the way up, 100% also turn this off again. Allegedly now, weaken. Just work with the pen to create a little bit of a path here again. So I'm going to go in here, okay? And with the pen tool, press p for the pentacle on. I'm actually in the middle, but closer. Still, people, the pentagon literally just going around this block here. So again, if you also not familiar, hard to work with the pen tool so that you just an anchor point next anchor point. And then I'm continuing, doing anchor points all the way. Also have a look at our free throw toils page. We've created an awesome to Tora. They're teaching your heart to work with this. So ditch the anchor point and I'll just take another anchor point that will drag on another anchor point and another one. And when you go, do you do this a bit deeper here? Now the anchor point until to appear. Then it's halfway the the angle, actually, someone to take another anchor point of you. Keep on holding and move this out a little bit and distract this and up and down will obviously determine how far on a boot do that curve in an art will also determine how far that couple go. So somebody over here okay, then as well, now continuing with the path year. What's a little bit further and I'm doing this now, not super, super precise. Take a bit more time. When you do this, it's a little bit further here can a bit more until up to here, then appear and just combining that again upwards a little bit. And when I do a little bit of a longer step now, something like that, the longer as well, that more next anchor point of here next point of there and again combining that. Okay of here? Yeah. And basically, just going to completely go around the screen can a bit further and going a little bit of the biggest steps. And now, also last path. Last anchor point. Just completing that whole path can. Now we have completely the screen, but I don't want to cut out the complete screen. I would leave a little bit of a gap, like half a millimeter, because if you have a look on the iPhone, there's always, like, a little bit of a gap in between. And that looks just a bit better as well on the whole final result. So again we have the path I'm gonna press people a pen to write, like, make a selection. Zero feathering, please. You don't want to have that edge, feather. Just completely hard. Okay? And now I want to do is transformed this selection just a little bit smaller. So again, M for marking tool right leg. And we have to say, here, transform selection Very important that you say transform selection. Otherwise you're going to transformed the whole black screen. So transformed the selection. And now I can literally hold shift again and just make this tiny little bit smaller. Something like that. When Except that for now will suppress V for the move tool. They're actually still marking tool. And now what? The courts is up and a little bit to the side to the right. A little bit more can somewhere over here, that should work for the start. Okay. Now, before I continue on the whole iPhone screen, I want to save this. I don't want to do the whole process again. So again in for marking tool Right click. And I'm going to say you're safe selection in here. I'm just going to write your screen, OK? Hit. Okay. And now have saved this selection. Is what? So in case I miss up, I can just call it up really quickly. Again. Let's select now, just our area here. So, basically, you can also now move around with the selection. Maybe get a nice angle up. But I'm pretty happy so far with the overall background here from the image again, What I'm gonna do is basically just create a mask. It first of all, so just hit hold old and select the mosque. I can again that will do the opposite. So we should have inverse the whole selection beforehand this time? A little bit easier. Just press command I on the mosque. So we inverting the whole process command I and as you guys can see Boom, We are ready. Relieved. There. Just with the opposite. Okay, let's zoom art again. And that looks for a start. Really good already, but we still missing kind of the whole process from the iPhone. Okay, Someone had put in a little video here showing you guys also how I got to the graphic from the iPhone and in the next episode. Also, you're the next lesson. I'll show you guys hard to add the whole graphics on top, off to the phone. Okay. So, literally, What you do is you take your iPhone that your friends are front whoever's iPhone and you opened camera, and once you're in the camera mood. You're going to hold it against a black surface or maybe just onto a table, so it's completely dark. So your whole camera from the phone goes dark then as well try to push the zoom button. So you actually zooming. And while it's in the zoom function or basically in the focusing function, you press the home and the lock button together, which will obviously not take a screenshot off your phone. So, basically of your iPhone screen, this iPhone screen is now completely dark, and we can use that to our advantage, basically meaning that we can change the blending options and further shop to scream. And this will then again be completely visible. Or the light areas which are visible now on the iPhone screen and all the dark areas will disappear, so we don't need to design all of that. Okay, so I've got the whole phone and whole image now in my phone's library. I'll just send it by a full quality to myself. And in the next lesson, I'll show you guys are hard to import and also hard to edit this into your phone shot. 12. Lesson 11 Adding Iphone Graphics: Okay, So in the last lesson, I've showed you guys also hard to add the iPhone screen. And how are we taking a screenshot from off iPhone camera? Now, in this lesson, I'm just gonna press f here, get out of the full screen murder I free sent myself. Just this fern shot here off my iPhones. As you guys can see, pretty high quality. And the whole background is pretty dark and black. Awesome. Narcan. Just use this on a new blending options and put that onto the phone as well. I've looked here just for this center of focusing point. That was important for me. And obviously, a lot more graphics we have, the better it is. Okay, so I've got that ready on my desktop, literally. Just dragging photo PNG into photo shop. Got that? Also in photo shop. So in the second, can this year's world on a drag a little bit away and also going to move this background shot here? Maybe we can just double tap on that. Rename that someone to write your iPhone graphic. Maybe. Okay. So basically going to take iPhone graphic, move that over and just drop it right into here, So it's a little bit too small stool, but it will be good enough for this whole project. Okay, Going to delete again this full. I don't eat that. Don't save f again. Full screen mode. Okay, let's also put this. Nah, maybe just in another separate groups. So you guys really know what's happening in this PSD far? First of all, I'm just gonna press. Come on, G already credit a new group and renamed this again to iPhone graphic as well. Okay, I found graphic. There we go. Going to select our lay here and also press. Come on, t. And first of all, going to rotate this so all the way into this position. And also, yeah, maybe even we Before I even rotated this, I should have actually done and switched this to a new blending options. But let's try it like this. I'm gonna hold shift and make a little bit bigger. Some were like this. OK? And also gonna move a little bit over on its Maybe you rotate a little bit too much someone to rotate that little bit back. This is obviously not but of a playing thing again. Hold the anchor point here. Shift Make this again, but more bigger and again. It can be bleeding. Also, a little bit over. Doesn't matter. Okay, I'm gonna take the center point on again, moving Liberte over. And I'm actually, actually, I think it's good. Ready. I'm gonna just accept this year from the top that referenda again. And it's high quality, so it's not too bad. The quality will be pretty good. Can win oppressive heat for the move to on Move this all over a little bit higher as well. And somewhere here, that's kind off working for me. Okay, So the next that I'm going to do now is just go over here on the normal. I'm going to switch this back to just screen on directly. We already see all the areas that are normally just hating. So as you guys can see, all the black areas have gone, everything that's bride will show up. Let's also try lights and four change. Yeah, lighten works actually bit better because now it's not darkening or actually not brightening the image of his Well, let's switch back to screen. It just gives up another bit of a popular on the background image, which I don't want, so basically Latin works a little better. Okay, great. So also, it depends now on which shot you have in the background. Then also, more detail shines through. But so far, I'm pretty happy with this as well. Over here, I can see there's a bit of a mess up here. I need to fix that as well. But we can work with that in a moment. Again. I'm gonna press V for move, tool, and just let you see if I want to space this a little bit differently. Not really. I'm actually pretty happy. Yeah, with this next step that I want to do is also if you have a look on your iPhone. If you actually taking a phone shot, I'm gonna put in a small video here. If you actually taking a fern. There's a little bit of ah, black graphic right behind this block and also right behind this. So just we want to add a bit more real nous to this. So we need to do this also on the shot here. So again, what I'm gonna do is create a new empty layer. Also moved that all the way down. And first of all, we're going to press P for pen tool again. And I'm going to just similar but closely here, and we're going to just create a bit of a selection here. So basically meaning a path, I'm gonna start roughly over here. Let's take maybe just a guidelines is somewhere over here, actually. Include the whole dot So something like that I can actually were work now with this guideline because it's obviously skew, as you guys concede doesn't look that good, but I can use one guideline for the top anchor point and another one for the bottom part. So let's just take another anchor point and place this some way over here. So I think something like that that should work. Let's pray press p for the pencil somewhere of here. And yeah, maybe over here it's still not working too good with the help line. So I'm actually gonna work without help lines again, view clear guides, and I'm just starting somewhere over here. And then I'm just going to roughly have a look. Yeah, that's a bit too skewed. I need to also wrote a little bit further away from here giving a but more bleed. So again, somewhere of here, skew again. Just come on there to step back and again. Pen tool. Nope. Again. Come on. That and somewhere like that. That could kind off work. Looks the nicest. Right? Maybe a little bit further. Still, that's a bit too far. Yes, something like that. Okay, I'm gonna zoom in a little closer again, people pento and literally just go around this whole area here, okay? And just roughly, very roughly, now as well. Going around in the black areas on trying to just get a complete black graphic in the background. Okay. Also completing the path by the lost anchor point. Moving out again, people, the pencil. Right leg. Make a selection. Zero feathering, please. Okay. And for the marking tool right leg. And we're gonna fill this up with black contents. So every year, black contents. Okay, Come on. D. And they were really have on ice graphic behind him. Now, what we still need to do is distract capacity all the way to maybe just 30%. Look here, 30. I'm gonna have a look now at the screen, and this looks kind of great ready so again, before and after, let's room or start a little bit here so we can actually see the whole effect of this. And it has already more real nous to the whole image again. So before and often. Okay, let's do exactly the same step here on the left side. People, the pain tool and literally. Mostly, I'm just going to try to create a little line over here. So again in the black area and maybe somewhere of here, let's have Look, that's not too strides. Maybe looked more. That looks actually pretty good. Yeah, I'm actually gonna leave it just like that. Okay, let's do a little bit in here. P for the pen tool and just that's fill this up. Yeah, going all the way around on creating a little bit of a graphic there, Carrie. Great. Like that on filling up the last anchor point again. Zoom on so we can actually see the effect people. The pencil right leg filled this whole sexual make a selection. First of all, zero feathering. Okay, Now the marking tool again to impressing em on the keyboard again. Right? Click and fill this again with black for a color now once I hit, OK, you will see that it looks directly like this because it's obviously still on the same layer, right? So if I had black over here, come on D. It's directly on the same layer with the same A pass iti and now also control birth. These layers here left right those graphics with the same adjustments. So I think 30% looks kind of good. Yeah, and gives a good touch to this as well. What I still want to do. It's just similar but less in here. And let's have a look if we can fix this top area here a little bit for this graphic so again, I'm gonna make a duplicate of that. Come on, J and switch the original one back to normal. Okay? And maybe obviously got our normal selection here. Let's zoom in on the closer the hold space bar again and also create a hidden moss. So basically holding alter, hide this complete mosque before the brush again. Make this a bit smaller here. My brushes, super super bakes and make my brush a bit smaller. Okay. And also hold control also, let's go up and down Make the hardness super hard. And with white, full grown color 100% capacity, we can literally just brush in this area here from the whole ball. So again, be for brush. X switch again. Allegedly just going to hide this area here. Can I think it would be even easier if I just create a path around this? So again, zooming but closer people a pinto and she just wait, This is going to be even more easier if we do this with the market tool. So again, escape all of this hit right click here. Elliptical marquee tool. And I'm just gonna hold shift nine order to create a even Ron selection. So again, something like this Hold shift. If I'm not holding shift this will. This will happen. Hold shift. The equally expanding This. OK, go a little bit over. Great. And this is actually looking already good enough. I'm gonna actually steal little bit of this. Maybe you can actually do this a bit bigger. Marking tool, right? Lick transforms election hold shift. Who bit bigger? The Yeah, that's right. Except that moving into the point where you want to be okay. And this time We were being clever about this again. Right? Click Select Inverse. So now we obviously painting on the outside again, select the mosque, be for the brush and weaken literally. Just super. Quickly hide all of this. Come on, D get out of the selection. Zoom out again. Yeah, and that's so far. Great. OK, and it still looks a little bit too light for me. Maybe I can just put another adjustment layer on top of this back to adjustments here, and we're also gonna switch here. Just two A levels adjustment layer open that hold also that only clips again, in effect, only the lay underneath of it. And we can maybe just trying to work with a dark sliders here that's talking that completely. We take the white sliders that will darken it up. Kind of creating a white dot Here. Okay, let's take the midpoint. Sliders. Nope. Keeping it it. Now we just need to clean this up again. Again. I want to zoom in over here and again, be for the brush, and I'm literally brushing all of this away. We can also create again with marking tool, just elliptical shape here, like little ice balls. Okay. Be for brush. He raising that. OK, that's a little too far. Come on, D a step back. Take with marking, tool. Just the selection here, Okay? And move that over a bit before the brush and raised that. Okay. And also here again B for the brush. A little bit too far again. So again, Go. Come on. Set a step back on. Just take this in a little bit. B for brush this time. Still over. Too far out again. A step back marking tool B for the brush. Something like that. Okay, come on, D get out off the selection and still be too strong. I'm gonna take this. The overall capacity just still bit done something like that. 40% and is still a bit of a gap here. It's only to clean that up of it. We're painting with the moss, remember? So I'm switching again with white foreground color, and it's cleaning up the age here. Okay. Before the brush x foreground color. Clean this up and we're finally done. OK, so do this a little bit more carefully. It's a little bit dirty. I just showed it to you guys. Really quickly now, so I would spend a bit more time doing this as well. OK, but so overall, we have our whole graphics here on top. Now, I didn't need to sit for ages and create a lot these graphics, but yeah, maybe to, like, 50%. It would be better to create these graphic from scratch because they would be high quality and better. But it will take you way, way longer to create this and also will be kind of a mission to put them all in the same directions and same areas. So getting for me and was easier to just take a screenshot, put that on top. And we really have the same effect that we kind of get from the whole iPhone. Yeah, that's also awful are just for the iPhone graphics. And the next lesson we're gonna do now last final color adjustment. And then we are almost done 13. Lesson 12 Final Color & Adjusmtnets: So for our lost less. Now we still going to add just a last color grading on top of everything and do a final crop. Yeah, And then we are done with the whole prototype villas. Well, all right, so let's get right into it. First of all, what I want to do is fill up my complete image here just with a new layer again. And I'm actually going to write here would dispute it directly into the group. And just right here, Final color grade. So you guys also know we what is in this PST file? Once again, So again, in here, I'm just going to write your colorful okay. And with command or basically actually marking tool reacting in a marking two women press command a windows users again control a and on the filters right click filled us up with a complete orange color. So again, under contents area with this, I'm going to select color and of here went to select like a really nice deep, deep orange. So something like this also maybe not too deep, maybe also the but more orangey punchy orange. Okay. And going to select that on our complete layer has been filled up then come on, d get out of the selection. First of all, I want to switch this now back to color, all the way down to color again a pass ity all the way up. Sorry. All the way down. And this time just around 4 to 5% again before and after. Let's have look, we can push that a bit further before and after before an often is getting really orangey. So maybe not too far. 6% again. I don't apply this again on top off this image. So again, I'm gonna press in for marking to right leg and say Ehlert selection this time. That's why we also save this and for the channel. I'm going to say the screen over here, okay? And we directly have on I screen up so on colorful. I'm just gonna hit backspace now and delete this whole franchise out. So the colors also match a little bit better again. Now for the next step that I want to do is just here for the top. Add a bit of a more of a yellow kind of spill on top of this. So again be for the brush and also create a new layer. As you has concede. Now I'm just going to write him. Maybe yellow, maybe color spill or something. Okay. Spill that. We go and also be for the brush again. I'm a press control all to just see how strong that will affect. Everything has been just getting to the right murder on the feathering. Put zero again controlled Be for the brush again controlled Move up for that completely and my brush year kind off this size as well, Which is here around 1000 and 500 pixels. Almost. Okay. Make it a bit smaller there, then as well. I'm also going to select a different color again. Maybe also deeper orange here. Too much, maybe lighter yellow. Okay. They also make my breasts bigger on. Did she just going to make one huge brushstroke of here? Kind of letting the lights below, but over this. Okay. And this is also limit of a playing thing. This will you need to do once or twice and see how good this will be affected and how good this works on your image. Now again, I'm also gonna take the passage away, Don, Maybe a little bit further. Just like to Yeah, 15 18%. Somewhere around there might be a little bit too stronger. A little bit further and again. 12. Okay, great. Something like that. Yeah, that looks actually not too bad. All right, so for the next step now, also, I want to add a little bit of a Fleer again on top. So just bringing all of the's plates together to one and also making that everything kind of list looks Morial. So again, I'm gonna cry. Take the move tool here, and just put somewhere over here I could maybe put my centerpoint for my flare. So this time, kind of creating some help lines over here should be my center point for the flare. Then as well, let's go over here and described the new just Millet's created Grady int again and as well in the great and picker here from the top, we just going to select the right radiant again. You can also see our color dots here and the color spaces that we've used on one hit okay and say under style, say radio. And that is well, reverse this and first of all going to move my flare into the right position somewhere here , I'm going to make this little bigger. So this time, maybe around 100 50% 155 that's all. Good line with Les. And no, that's on already and what it's going to hit, okay, and first of all, switch this to screen. So let's have a little bit of a test here. Yeah, and it kind of works already. So then I can also take away the guidelines here. That's some way what's going to be, but it's a little bit too strong, so I'm just going to take down the passage. It'll, but I actually love that. It's so strong in the center, but I don't love that. It's so strong on the outside. So let's play with this a bit, something like this. So that's a little bit of a flare effect on top. I really love that. It's actually it's still a bit too bright in the center. Let's keep it there rather with the past 200%. But I'm going to go here to the mosque and just work with the mosque a little bit. So be for the brush control old Let's have a look that are brushes completely feather to zero hardness. And as well, I'm just gonna work with 10% capacity. Very important are black, foreground color. And I'm literally just going here on the phone and once in the fern, bringing it back a little bit of a detail from the guy. So that will now render okay, our first step and again once more, which is taking it again. Little bit art. Okay, on a little bit further again, but more from the center part again. So again, here's the before and after. So we can actually do this little bit stronger than I'm going to take it Up to 30% enter the same process again, just over here, over the screen. Nice. And now we're getting a bit more detail back. So that's actually what I want a little bit more here, just from the guy. And also but more contrast. Great. A little bit more. And this is also a very, very tricky process. You have to be careful with this. When you do this, you can't do too much If you do to overdo, then it's all fake again. I'm gonna go one or two steps back again, but more bright, it looks actually little better. There's a bottle of it again. And also take the main opacity just on a little bit. Also be for the brush again, super feathered. And I'm just gonna go over here from the top and raising it a bit here and lobaton here. Okay, that would move from the top. And again, Haven't look before and after before and after before and after again once more from the top here. Okay, before and after. Great. Now next step that I'm still going to do is just go back to adjustments and another curves level to adjustment lay here. Let's just make a bit of space that we can actually see. And I'm just darkening the oval image a little bit too much, giving the midpoint a little bit of a pop again. And also my dark sliders here, taking them up a little bit. This is obviously just a bit of playing here. Okay. And other curves just for some touches, dear. Just a bit more contrast overall. OK, great, then as well, let's have a look. If we can just create another adjustment layer just with hue and saturation as well. And we're just going to take our oranges or the yellows, actually, just up a bit. So we just making this boosting the orange a little bit, Okay? Before and after before and after. Just literally. A little bit more Redd's. Maybe like a tiny but plus two before and after. Okay, now most in the press command. All shift E master shortcut. Merge all of the's layers again together to one final base plate. Yeah, and have our final image over here. Okay, it's a double tap on that. Also going to rename this now, just two final. Okay, so again, here's our final results. Now again, Whole, complete before and after. As you guys can see, he is even Maurin there before and after before and after this Also really quickly. Now, normally, I spend a bit more time when I do this as well. Last said that I was still do that was pressed Z for cropping, and I basically just cropped the whole image to some way over here and maybe a little bit over here just to focus everything a little bit in someone except this now and crop. This is well for you guys. OK, so that's done for the cropping part Now lost that. I'm going to just go back to the move tool on. Just show you guys once more again with the help lines here. You can actually also set this to this and obviously play a little bit with your help blinds and see where you want to crop this If you want to crop this further as well now as well, I'm But this is basically all I've done so far for my images. Well, maybe I've just added another. Another curves adjustment layer on top or one or two flares and little bit of dust plays here. But so far, that's basically all also I've done so, yeah, again, I'm gonna go just to view clear the guides and also go switch here back just to crop again . So you guys can actually I'm just going to save this nice appears default like this. So you guys can find your way around in the PSD file and see exactly where is what in this whole PSD farm. Our idea. So thanks again, guys for watching. And thanks again for being here with me for the last 23 hours year retouching this. I hope you guys learned loads of new retouching techniques, work flows and also ideas about life control in how I work with images like these. So thanks again hope to see you in some of our other free to told and other pro tutorials. Thank you guys. And see you next time. Bye bye.