Photoshop Retouching Masterclass | Creative Video Library | Skillshare

Photoshop Retouching Masterclass

Creative Video Library

Photoshop Retouching Masterclass

Creative Video Library

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16 Lessons (4h 24m)
    • 1. Final Video Presentation

      1:11
    • 2. What does the course cover?

      2:58
    • 3. Tablet VS Mouse - Hardware and what you need to know before getting started

      2:59
    • 4. Opacity and Flow - Photoshop brush settings for professional retouching

      4:01
    • 5. 8 bit vs 16 bit Images - Everything you need to know about image depth & quality

      2:48
    • 6. Introduction of Dodge and Burn

      3:42
    • 7. Comparison of Different Dodge and Burn Techniques

      8:07
    • 8. Micro & Macro Dodge and Burn

      2:47
    • 9. 7.Retouching Guidelines & Considerations

      3:41
    • 10. Frequency Separation Techniques - Compare the old and the new techniques

      10:18
    • 11. Luminosity Masks - an Advanced method of selecting parts of the image

      10:33
    • 12. Exporting an Image using RAW image editing software

      2:35
    • 13. Cleaning Workflow and image preparation

      11:46
    • 14. Complete Deep Retouching of a Classical Portrait

      81:22
    • 15. Complete Deep Retouching of an Artistic Beauty image

      107:26
    • 16. BONUS Lecture: Black and White Image Processing

      7:33
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About This Class

Do you want to learn an Advance Retouching Workflow from a Professional Expert? Are you ready to upgrade your skills and improve your work to the next level and find bigger clients? Then this Masterclass will help you improve your work to the top level of Photoshop Retouching.

Your instructor on this journey will be Samuel Zlatarev - an award winning portrait and beauty photographer and a High End Retoucher published by FStoppers, 1X, Dark Beauty Magazine, Elegant Magazine and other dozens of  creative content distributors around the world.


Samuel has an experience as a professional commercial retoucher and he was involved in projects for some of the biggest companies in the World like Mercedes, Audi, Adidas, FC Bayern, OTTO, Heine, Peter Hahn, Lacoste and others - companies worth billion of dollars in total and he is going to share his knowledge of Portrait and Beauty Retouching with you to apply it in your work.

This course will help you achieve results worthy of Global Quality Standards of Retouching by teaching you everything you need to know about Portrait and Beauty Retouching to improve your skills and become top specialist in your creative field and win bigger clients or start your company and start living your dream as an artist.

This course will lay down a solid understanding about the techniques used by the people working for some of the biggest retouching companies and will show you not only how to use the techniques but also the philosophy behind the techniques and why to do the things in a certain way to create a much greater visual impact.

The Photoshop Retouching Masterclass contains lessons from every stage of the retouching process and begins with the fundamentals and everything we need to get started and then we will gradually move towards full advance retouching on two completely different images from start to finish, where you will learn the full advanced retouching workflow to apply it in your work.

We will go through various retouching techniques, compare them and find out why some of the methods others teach you don't always work. Everything you will learn is the real process used by Samuel on his images to create the WOW Effect.
You will learn different techniques methods of work to deal with the problems, that every professional faces in his career.


You will also also get a BONUS lecture with the help of which you will learn how to create Black and White images and get results that cannot be done with any of the automatic tools or menus built into Photoshop.

We will talk about different types of images, compare different retouching techniques, compare different methods of splitting images in texture and color and working them separately, we will also look an advanced ways of selecting various parts of the images, talk about ways of manually create contrast in the images and much more.

We are very exited to share everything with you today, so let's get started right away with the first lecture.

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Transcripts

1. Final Video Presentation: 2. What does the course cover?: hi and a very warm welcome to the photo shop retouching masterclass, the course with which you will learn the experts secrets and my complete retouching, workflow and how I retouch portrait and beauty images to achieve award winning results. I'm Samuel and I'm a published professional portrait and beauty photographer and the high end retouch er I've learned everything about retouching during my seven years in one of the biggest retouching companies where I learned tricks and techniques of retouching that I applied in my work. This'll program will not only show you how to retouch your images like professional experts , but also why to do things in a certain way. Great images have different types of retouching processes, and I'm going to teach you how to do it and apply it in your work to create a much greater visual impact. The course contains lessons from every stage of retouching and begins with the things we need to get started and then will gradually move towards full advanced retouching. We'll go through the various skin retouching techniques, compare them and find out why most of the methods others teach you don't really work. I'll show you my own method of work that I've developed to achieve results worthy of global quality standards. With this video course, you'll receive special bonuses that will facilitate your working process and help you better results faster. You confined your download link to get started. Now you'll also get the raw images for free to work with them and practice to get faster results, so make sure you download everything you need. Right now, you'll get to know not only the theory about the workflow, but you'll see me working with two completely different images from start to finish and show you different techniques to deal with the problems that every professional faces in his career. One of these photos is a beautiful, classic portrait of a girl, and the other will be an artistic beauty image, both images shot in a studio by me. You'll also find a bonus lecture that will show you how to make your images black and white to achieve the wow. With that, you can use this technique to get results that you can achieve with any automatic tool built into photo shop. You'll see which raw image processing software I use and why we'll talk about different types of images, compare different dodge and burn techniques and share my special dodge and burn method. We'll go through the comparison of different methods of splitting the photo and working with texture and color separately, and all show you different techniques of using frequency separation and its applicability. We'll look at advanced techniques for selecting parts of the image. Talk about ways to manually create contrast in the image and get you results you can't achieve with any of the present tools in photo shop. I'm very excited to be here with you today, so let's get started with the first lecture. 3. Tablet VS Mouse - Hardware and what you need to know before getting started: drawing tablets are often associated with graphic artist's and illustrator's. A comparison between the mouse and drawing tablet in processing and retouching photos leads to the one and only question well, using amounts for processing pictures bring me the same results is using a tablet, and the answer is absolutely no. One of the main reasons for this is that with a mouse, you won't be able to use the pressure sensitivity option, which will be active with a drawing tablet and could be incredible, useful in so many ways. When you have to work around edges or corners and you have to use less lines, it's much harder to do that with a mouse, regardless of whether you're using the pressure sensitivity option or not. The other main reason why I find using a tablet will facilitate your work is that it's somehow much more natural. Toe hold a pen. If you don't believe me, just try it for yourself and write one sentence with the digital pen and then try one with a computer mouse. I tried to work with a drawing tablet for the first time a few years ago, and I remember how awkward it waas how I grabbed the pen in my hand and I couldn't even make one straight line. I needed some time to get used to it and start using it properly. Now, though, they have nothing in common for me. After you get used to the tablet, things will become much easier for you, and I'm sure you won't feel like going back to the mouse for this type of work at all. When it comes to a drawing, tablet size is a matter of personal preference. It all depends on whether you want and feel more comfortable with the larger or smaller tablet. What's the shape, etcetera? But if I have to recommend a brand that would be walk on, I'm using the welcome into his pro small, which is the smallest in this class of drawing tablet, and I'm more than happy with it. I've been using it for several years already, and I have absolutely no complaints. I'll use a tablet for the following videos because for me, that's the far easier way to do it and the fastest option and the results won't be the same with a mouse to regardless of the model 4. Opacity and Flow - Photoshop brush settings for professional retouching: Let's talk about opacity and flow options of the brush to make it clear when, where and what we use them for and why I'll go ahead and explain to you the difference between one and the other. However small that differences, it's important when processing photos with these options. Whenever you decide to use the brush or any of the other tools that have these options, they will be visible and accessible to you at the top of the toolbar of the tool of your choice. At first glance, these options are one in the same thing and react in a similar way. But this isn't the case at all. And in this video I'll try to explain how different they really are and how to use them properly. Let's choose the brush from the toolbar or press Beaky on our keyboard. The tools shortcut. After choosing it, you will see various settings such as mode, opacity and flow, which appear a the top of the options bar. Each option is independent of the other i e. There is no need to model one when using the other. Opacity is the basic control setting that gives the maximum amount of color, which can be painted with any touch, regardless of any other option. In simpler terms, this option actually controls how transparent your stroke is. Let's see how this option works. We choose our color and will now draw something with the opacity set at 100%. And look what happens. What I get is 100% opaque. Now, though, if I decide to change my opacity option to 25% and draw something with it, you can see that this time the result is Onley opaque to some extent, and we can see through it now that I've chosen this value. If I crossed the same point without lifting my finger from the mouse button or the pen from the tablet, you can see that the maximum opacity in any one spot I can reach is this 25% threshold. If I want to add more color, I'll have to drop the mouse, click on my mouth or remove the pen from the tablet. Click again and continue drawing in the same place I can then stack them 25% plus 25% plus 25% etcetera to get a color in color overlay summing it up with this option, you can't go beyond your selected value unless you lift the pin from your tablet or your mouse with flow. Things are a little different with this setting. I don't need to lift the pen from the tablet or my finger from the mouse because it overlaps every time the brush passes over an area that it has already passed over. Once let me show you how this option works. I'll return opacity to 100% and reduced flow to 25 each time I go over the same place I had 25% plus 25% plus 25% until I receive a max of 100% color. We'll need these options to work in a little while and they'll help us achieve some amazing retouching and photo processing results. Practice with them, see which option you like and which one is easiest to work with for you 5. 8 bit vs 16 bit Images - Everything you need to know about image depth & quality: an eight minute image contains 256 color levels, or shades per primary color, which are red, green and blue. So we take 256 times, 256 times, 256 colors totaling approximately 16.7 million colors Available in an image. The 16 bit image contains 65,536 levels of color gradation for each of the three primary colors. That means 65,563 cubed, which equals 281 trillion colors in a single image. That's 281 with 12 zeros behind it. This is important not so much because of the colors themselves, but because the human eye can only perceive up to about 10 million colors. The bit depth is important not because of the perception of the colors themselves, but because of the smooth gradation of the colors in the image, especially when it needs to go through some sort of editing and finishing. Here's the same image in both eight bits and 16 bits, and it's undergone the same kind of processing for each version you can see there are some lines here. When that happens, it's called banding, and it means you've reached the limits of your file. So every time you see banding, you should know you've gone too far in processing your photo. Unfortunately, it's not always possible to shoot in perfect conditions and sometimes on a bright day outside with too much light. For example, if we take a picture and then decide to darken it, it's this type of banding that is common. To avoid such problems, it's advisable to shoot high quality file formats, namely raw files, so that when you open it through your raw file processor, you can choose how many bits to save the image to. You can always go from 16 bits to eight bits, but if you open up the image in eight bids, you can never upgrade the image quality to 16 bits. After that, 6. Introduction of Dodge and Burn: before we get into some serious photo work, I want to take some time and clear up any questions and ambiguities about how to use dodge and burn in our workflow and give you a good understanding of what they are. Where did the names dodge and burn come from? Dodge and Burn were used in photography as a technique during the printing process to manipulate the exposure of a selected area on a photographic print altering Onley. This selected part of the image leaving the rest of the photo intact. This was done by blocking the light from reaching the image, and this was done entirely by hand, with different materials of different shapes and sizes. With the advent of digital photography and especially since Photoshopped becoming the industry standard, software dodge and burn abilities became available to the masses. To put it simply, dodge means that parts of the photo are highlighted and burn means that parts you choose will be damned. I e going from light to dark and vice versa. This is done manually, and whether you are lighting or Deming an area, you are implementing this old but extremely effective technique for manipulating light. The most useful thing about this technique is that everything is done in a nondestructive way, keeping the photo and textures intact. What does this mean when you remove something with the healing brush? For example, In addition, toe light and you change the colors and textures and an image. These air destructive changes because it replaces existing information with another texture or color, and it cannot be restored. Dodge and burn leaves the texture intact and Onley changes the light, making it one of the most powerful working methods, and this is the right place to show you how to do it. However, let's first talk about where and how we can use this method other than just changing small areas in the photo on the skin. You can change the overall exposure of a photo by flattening certain and pre selected areas that cannot be corrected during the shooting process. Such is dimming the light areas of an object or showing details from the shadows while shooting. This is commonly done to get the attention of the viewer of the picture because, as we all know, the eye is drawn like a magnet to the lightest parts of the picture. Using this method, you can easily select the path or object that the onlooker will notice when viewing your work. Also using this method, you can easily create a visual collision and enhance the contrast between light and dark areas, making the image much more impactful for viewers. You can use it by selecting which parts of the photo to manually manipulate without affecting the rest of the image. There is no other tool in photo shop that can achieve such precise results. All you need is a little patience, some skill in your imagination, and you can achieve amazing results. 7. Comparison of Different Dodge and Burn Techniques: before we get into the real work of Dodge and burn, I want to take the time and talk about the different methods and tools for dodge and burn. I'll talk about the whole range of methods and tools for work and modifications. Some I'll just mention, while with others, I'll show you how to use them to get professional level work for unique results. The first method involves working with the tools found on the photo shop toolbar. The Dodge Tool is ready to use on the left in the toolbar and looks like this. Its role is to shed light on parts of the picture, the downside being that it's difficult to work with. And it's controls air uncomfortable because it can be difficult to judge just how strong its effect will be and what will be sufficient for our purposes. The burn tools in the same group is the Dodge. Its purpose is to obscure everything you use it on. But as with dodge, this tool has controls and options that are inconvenient to work with, and you can have a hard time getting the results you want. And it will certainly take you a lot of time, the sponge tool aims to enhance or remove some of the color of the selected area of the image. It's in the Dodge and burn group of tools, and there's a good reason why this tool is there. It's because that when using these tools and other dodge and burn techniques, if used excessively color distortion may occur in the area where we're working. The sponge tool helps to correct these side effects, but I'll introduce you to better working methods that will solve this problem in a much easier and more accessible way. Speaking of other methods, it's time to talk about a brush that combines all the existing tools in itself, and from now on, this will be the tool that I will use. The second method, which is quite popular among beginners, is to use a black and white brush on a layer that is filled with 50% gray and with soft lights selected in blending options in general. For this layer toe work, it doesn't need to be filled with any color, but we use Graito, actually see what we've drawn and where it was used. The purpose of the white is to lighten the dark areas, and the black brush aims to darken the light areas of the photo. In general, this method of working was very popular years ago among beginners because MAWR more people used it in the free YouTube retouching tutorials. But over time and the thousands of photos I've worked on, I found that it's disadvantage was that first, the effects of it become mawr drawn on, and the photos begin to look like a picture rather than a photo. And the realism of the photo blurs and becomes a kind of digitally drawn object rather than a photograph. The second is that it's much more difficult when masks air not added to these layers to achieve the flexibility to add a remove certain areas. Using masks on this type of layer has limitations, and that, in and of itself is a problem because our goal is to have 100% flexibility and control over our work. There are other problems that we won't worry about right now and focus on the more important work methods for us. The third method is to use curves or levels adjustment layers. It's a matter of personal preference, which you will use, and what works best for you in this case will use curves, which is the right one to achieve our goals. This method of work is, in my opinion, best suited for artists who want flexibility and control in their work. It has two options that you can use. The first is to manually draw the curve in order to lighten or darken, so that it can modify the spot we want to change. The problem with this method is that we can't always reach the same force of pulling curves and adding lighter darkness. And often there's a discrepancy of strength between the light and dark layers, which in turn has the potential to change some of the colors and creates for us extra work to fix the newly created problem. For this reason, because I've already experienced it, I use and strongly recommend the method of working with automatic curves, namely the Dodge adjustment layer on screen and burn on multiply. This way, the program always knows when to add as much like to. The images were working with minimizing the potential for color distortion and as a result , to distinguish between the light and dark parts of the image. This option lets you review what we've done so far by looking at which parts of the image we processed after we finish our work. And if we want to virtually present what we have done. We can do this by creating a black background at the bottom, exclude all other layers that contain masks and transfer their masks to newly created layers of dense colors to show only where the brushes past. This way we can shore work and how much detail in precision we used to get these results. Another important feature of mass players is that you can always blur them. Ask if needed. You just have to double click the adjustment layer settings toe open the settings window, then click on the mask and you will automatically be shown the mass settings where you can change the density and softness of the mass to remove the lines in it and a number of other settings that give you a lot of flexibility When working with adjustment layers. Let's take a minute on how we can actually use this tool to manipulate and construct a three d object we will make and draw ball with the light source to achieve a three dimensional effect using Onley This method. This is an excellent example of what dodging burn conduce. Oh, for this step will use the circle marquee tool to create an ordinary sphere to make it a three d object. Of course, there must be a light source in various shades of shadows. Choosing that are light comes from this direction means that the shadows will fall in the opposite direction. The object should be quite pronounced. Therefore, with the help of this retouch technique, we can at the same time create depth and expressiveness of the image. Whether it's a portrait, a landscape or a photograph of a product, it works in every case. This method of operation allows us to add light and shade to the places we feel most appropriate for greater definition and sharpness. Later, I'll show you how you can use it on our work photos. I very much hope that you will enjoy your upgraded photo shop, Skill said after taking part in this course, and with a little practice, you will have the opportunity to make any types of changes to your photos and ones that you can be proud off 8. Micro & Macro Dodge and Burn: Now that it's clear what the Dodge and burn technique is, let's take a look at common terminology to avoid future confusion or difficulty. There are two main groups that deal with Dodge and burn. Though these air unofficial groups, these air the micro and macro dodge and burn or global and pixel level of dodge and burn global dodge and Burn, otherwise known as contouring, refers to anything that is processed more globally. For example, if it's a portrait fashion and beauty photography, it's about contouring clothes and body parts like cheekbones, nose, mouth, etcetera, pixel level, dodge and burn. Refers to more detailed skin and poor processing, the skin hair or whatever the small detail we need to get close in to see and work on it with global dodge and burn the strokes air not as precise, and their purpose is more for shaping and more general and movement. While it picks a level dodge and burn, the work is individual to each part of the image we decide to process, and the movements are more refined, and they've resembled dots and small lines on the skin used to remove blemishes and lines rather than shaping large areas like global dodge and burn. The difference between the portrait and beauty photography is that portrait's are allowed to, and it's even desirable to leave. Little specks on the model skin toe look as realistic as possible, while in beauty photography, everything must be polished and it should look perfect. Blemishes and flaws on the skin are unacceptable when the model has to advertise a beauty product for our example, we don't consider our models freckles as flaws. And that's why, in our retouching work, it will be slightly harder to retain and keep the existing freckles natural because we consider them as an advantage with which we will use to achieve amazing results. But just keep in mind that in beauty photography, everything must be perfect, and we will do everything to achieve stunning results. 9. 7.Retouching Guidelines & Considerations: There is a standard in this industry that has been built over the years by its professionals, a standard that is not easy to achieve if you don't have the necessary skills and preparation. But if everything is broken down into small work processes, once the problem has been identified and understood, then things will be much easier for you. I want to help you understand what to look for, the things you should do and not do as a professional and everything that needs to meet industry quality standards at beauty. They strive to be different with their image processing going beyond the normal portrait, image processing and working to be more natural. Normal portrait photography image processing tries to emphasize the personality and emotions of the person in front of the camera with beauty. The main idea is that the model or their personality is not emphasized, and there's an emphasis on what the model is showing on what is being advertised or the products that are being sold. The retouching of beauty images is different from portrait photography, with its inherent UN realism where everything is perfect as much as possible. This kind of work recreates the idea of a world that is inherently unrealistic, not to the point of artificial and false, but rather a combination of illusion and reality in which everything is flawless and authentic and at the same time made to look nevertheless true, possible and permissible When selling beauty products or services, you must make sure that everything is perfect because it's important for the makeup and hair dresser to show their work in the best possible way. This way of working is essential and strives to preserve the details that exist as well as possible. The reason is when taking photos, we can only get so far, and the retouch allows us to go even further with our results and refined the idea even better to preserve and enhance what the makeup artists wanted to achieve with his or her work techniques or products, so that they can be advertised in the best possible way. Once we have outlined our expectations for what results we want to achieve, let's see what problems we have to resolve to reach our ultimate goal. There's another possibility, namely, that beauty wasn't created for the purpose of selling something some product, but for when makeup artists and hair dressers just need to express themselves as artists and tell a story. In such cases. This is called editorial shots, such as for magazines, for the purpose of advertising the artists themselves and not so much a product. In other words, it's acceptable toe have a different perception into different vision, such as this example personally, the photos I most like to work with our this type there shot with sharper lighting, such as with a beauty dish or regular reflector, because they enhance the makeup and texture of the skin, allowing us as artists toe work with more detail and reach optimal results. 10. Frequency Separation Techniques - Compare the old and the new techniques: you probably know off, or at least have heard off frequency separation, a technique that was very popular and turned mainstream a few years ago and is still quite popular with many artists. However, it turned out that quite a few people knew very little about this theory behind the method in its application. For those who don't know, frequency separation is a technique by which we split the photo into two parts so that we can add it the image in two separate and independent copies. If we're working on a portrait in one copy, we retain the information about the texture. Details. Such a skin, whore's skin lines, hair strands, etcetera and in the other copy. It contains information about colors, tones, shadows and light and dark areas. The idea behind this separation is the great flexibility that this method gives us to do this. The copy containing the colors and the tone information must be blurred to remove the details and leave on lee, the colors visible. So if you only look at this copy, you can recognize the image, but it won't contain any fine details, and in the other copy, it's the other way around. we preserve the details, but without recognisable colors and tones. The very first and already outdated technique of this separation method, which is still widely used, involves the use of a filter, which makes it useless in most cases. Over the years, our community has reached the conclusion that it cannot be applied because there is one major drawback. Therefore, this work technique had to be rethought and improved so that it could be applied in those cases in which it was considered impossible. Before, I'll show you the new mode of operation. But in order to see its advantages, we must first look at the old technique and compare them. To do this will duplicate the layer twice. We'll turn off the top layer to see what's going on on the bottom layer. Wife applied to filter that should remove all the details of the picture. The old method involves using the Gaussian Blur filter, which is found in filter blur. Call Sandler. We choose a value that removes the details but keeps the image clear. We'll save only the colors in this layer. After selecting the values toe work with the click OK, we then show the top layer in which will keep on lee the texture. Details. Removing the colors, which we already have on the bottom layer to do this will use a menu in photo shop, which will help us with this part, and it is located an image and apply image. Apply image is designed to blend layers or channels in an image and create different combinations, and that's exactly what we'll do now Here. We need to tell Photoshopped that from our source, which is our original image, we need to subtract the blurred image with the color and then to apply the leftover texture to the high layer we have now selected. It's pretty easy to understand, and the only thing which could mislead you are these numbers, which don't seem to mean anything. At first glance, scale is a multiplier that multiplies the difference between the two layers and in the offset option. We choose 1 28 which is an average number because in photo shop, zero means pitch black and 2 55 is the maximum number of color that's pure white air. Go. The middle number of 1 28 will give us 50% gray. And why gray. You'll find out in just a few seconds. Note that we're currently working on an opened eight bit image, and we used these settings in the apply image for an eight bit image. If you're working on a 16 bit image, you have to change a few things. For example, the blending effect you have to choose for 16 bit image is not subtract as it's currently selected, But instead of that, you have to choose ad from the blending option for the offset option. You should choose zero rather than 1 28 for the scale option. You should leave it as too and not change anything. And the last thing you have to do is select this check box for the invert option in the apply image menu settings. What you see right now is the difference that remains after we've removed the colors from the photo. This is the texture that is contained in the photo, and now, after creating a very strange looking photo on which you will see mostly small details, we click OK, we make the layer 50% gray because the last step is to choose a blending effect that will tell Photoshopped to ignore all the great parts of the photo and create a color copy. In order to achieve this, we will use linear light from the blending effects of the layers. Now in combination with the two layers, we already have an original image. Note that if you're working on a 16 bit image, you have to choose linear light for the blending option of the layer as it's for the eight bid image. For this step, nothing changes. Let's group them together to make the work environment more orderly. Awesome. As I said, the idea of frequency separation is that on one layer you can exclusively work with the colors of the image without changing the texture. And on the other, you can make changes to the texture without changing the colors and overall color transitions, arm or smooth and invisible, just like dodge and burn, but much faster saving time. When working in small areas here, I need to give you important information. In order to work in either of these two layers with the stamp tool or the healing brush, you need to select the current layer option in the tools sample drop down option to avoid problems because if we do not use these tools with current layer option in the tools sample , drop down option, something completely different will happen, which will ruin the whole process. This technique is great, but the problem I have when using this method arises when I get near an edge. For example, let's see how we can eliminate those little hairs in this part that in principle I would normally not removed because they give the image greater realism for the purposes of explanation. In this case, I'll remove them because we used a blur filter that scatters pixels and does not preserve the edges. When we worked near those edges, you can't really use it. This is very relevant when I work on product photos, landscapes and other similar projects which contained mawr edges and borders between light and dark. You may not find too many problems with portrait or beauty images, but with other photographs. This method is near useless. There are cases of important projects where I'm needed toe work near the edges and couldn't get what I want as a result for this very reason. Therefore, they use another method that is many times better and more sophisticated and does the exact same thing. Except it doesn't change the edges. I'll begin by deleting everything I've done so far. Then I will duplicate the background image twice, as in our previous example, and I'll turn off the second layer. And instead of using Gaussian Blur filter, which blurs everything plus the edges, I'll use the median filter found in filter noise median. You can see that it retains more of the edges, which we want to preserve. Now let's try to do the same thing we did earlier. As you can see, I was much more successful in making changes to the part I had problems with, which was basically useless before. If you want to be as flexible as possible in your work, you can do like I do and create a new empty layer between the high and low layers with the blending options set to normal and work on it rather than the low layer and the second empty layer said on color, blending option to work and change the colors on it rather than the low layer. That way, you'll keep your two layers intact, giving you full control over your workflow. However, you should use the healing brush and the stamp tool on the blank layer, with options set to current and below, or all layers because the layers empty and you have to get information from the layers beneath it. I rarely use the frequency separation technique because I work on my pictures with the Dodge and burn technique. It may be slower as a process, but the results I get are always more realistic. However, when I use the frequency separation technique, I want full control over my work flow, and I don't trust the old fashioned methods of splitting and blurring a photo, okay? 11. Luminosity Masks - an Advanced method of selecting parts of the image: what are luminosity masks? We have many different ways to make selections in photo shop, but this method is different because we will not use any ready made tools. But we will use advanced techniques to create masks or simply put tone based selections in the image that allow us to change specific parts of the photo. These elections target only the brightest, medium or darkest tones, allowing you to make adjustments that you think are only needed in those areas. There are three types of luminosity masks. They are light, medium and dark. However, all three types can be further refined so that you can create detailed selections. Luminosity masks are not on any list or menu in photo shop and must be created manually by making selections based on RGB channels. Why and when should you use them? While luminosity masks are considered in advanced technique that requires some understanding of how Photoshopped works. Before you even think about using them, you should at least understand how masks and layers work. Once you have that understanding, you're ready to begin to look at this more advanced technique. If you have any difficulties or misunderstandings at the basic level, such as how those masks and layers work. You can find all of this in my Photoshopped beginner course. Having said that, it should be mentioned that luminosity masks are an incredibly powerful tool that can take your post processing to the next level. I hope you understand me correctly. Just using this technique will have no visual impact on your image. With it, you need to make adjustments to the active selections from these masks with tools like levels or curves, color Mallon's Dodge and Burn and more. I use luminosity masks in one way or the other. For most of my images, they're not always necessary are required, but they are extremely useful. How are these light masks created? See these two circles? When I click here, I can select the area that is brightest in the image. In this way, we will have different masks so that we can make selection based on light. While it may sound a little confusing, you'll quickly realize how easy it is for you to create your first luminosity mask. Creating light and dark masks is quite easy, but for mid range ones, it becomes a little more complicated. I'm going to help you clear up any confusion, though let's start by creating light masks in the image. There are several different ways to create these selections, but I'll stick to the easiest and most common technique. There are things you will learn as you add to your bag of tricks to use as needed. Luminosity masts are created from the image channels that contain all colors. All you need to know about channels at this point is that they're divided into red, green and blue. If you are in an RGB color space, each of these channels contains the color information for the image. For example, red contains red green. Contains screen and blue indicates blue. The combination of all of them RGB gives us our light in the image. The most common RGB channel is the one from which will start creating our masks. Clicking on RGB will make a selection on the bright parts of the photo, then click on the Create Channel selection button and you'll see our new channel named Alfa One. I'll rename this Channel two Bright Channel one by which we can select anything that is white or light. If by chance your masks looks different from mine and is inverted. Then you should click here for the quick mask button and select masked areas. Everything should be fine now. If everything is fine and looks like mine at first, don't worry about this step now. The first mask we created has to be made more precise to enable selection of the light sections. Click on Bright Channel one while holding down the control or command key. If you're on Mac, then hold down Shift Control and Ault or Shift Command and Altan Mac and Left Click Bright Channel one. You see how your selection has changed again, saved this election by clicking the channel creation button and rename it. As I have comparing the two channels, we can see that the second channel is darker than the previous one. This means that the second channel is a much more detailed mask in the selection of light sections than the first. In order to continue to improve our masks, we continue with the same steps, so we start from the middle and moved to the lightest parts of the image press control and click on this channel to select its highlights, then holds controlled and shift and click on the second channel, then save this selection by pressing this button to create a new channel. You can see that each created channel is getting darker and darker as the light parts become stronger and crisper. This is because with the creation of more channels were able to refine and select the brighter parts of the image mawr and more accurately, excluding the dark and neutral parts from the selection. Let's do this a few more times to have a total of six Alfa channels. Now, when we have created these light selections, let's move on to creating selections for the darker parts. We start again from the main RGB channel press control plus left collect. As I mentioned, we selected the light parts before. Now we need to select the dark ones. So to do that, we need to reverse the selection. This will select everything but the light parts. To do this, go to the select menu and choose inverse, then save this election as a channel. Now, when you enter the channel, you will notice that the white parts of our image have been removed and the black parts have been preserved renamed the channel just like the others. So we know what those channels are and to make it more tidy and organized. Let's refine this selection Once you've activated your channel selection named Dark Channel one, you should have an active selection. If you don't click on the channel with control, then hold control shift in Ault and left click on that channel Dark Channel one. Your selection will change. Save the new selection as another channel, just a with the light channels. We're refining our selection more and more, but this time from the dark part so that we can get all the pixels necessary from the image . Let's do this a few more times, just like we did with the light channels we need form or to make six light and six stark selections. Now that we've created masks with which we can select the light and dark parts, we need to create channels with which to select the mid range parts of our image. So far, we've excluded from the channels themselves to create these light and dark selections. We will now take away some of the overall image with the help of the selections. We've just created to create a selection of the med tones. To do this press control in aid to select everything or go to the select menu and choose all to select the whole image. Now go to the very first channel we created Bright Channel One and Press and Hold Control and Ault and click once on Bright Channel One. Now we've removed the light sections of that channel. Now go to dark Channel One, which is the first selection of darks and subtract the darks from the current selection controls and click. If a notification appears, just click. OK, now we have the first selection of mid owns in our image. If you click on it, you will see that the light and dark parts are dark ie only the averages air visible. Let's continue until we create some or medium ones. Repeat the steps you just followed and save the selections. Now that we have all the light, medium and dark selections we need, we can use them to start modifying our image. Keep in mind that we've just been creating Onley the masks and we haven't made any changes to the image these air just selections that you can use later to use them. We can work directly on the image as a selection or we can add them as a mask on our adjustment layers. This is exactly what I'll do now. I'll choose which part of the image I want to adjust in this case, the light selection and create a curves adjustment layer making changes to the light areas . As I wish. These techniques are also used when working on other types of photography. Photoshopped luminosity masks can do amazing things. When you want to create death, contrast or three dimensional vision of what you're processing, they are ideal. Take some time to learn this technique to see how easy it is, and it will help you accurately achieve results that no automatic tool and Photoshopped can achieve. 12. Exporting an Image using RAW image editing software: something we need to pay attention to when working with photos is which program we used to open our raw files because it makes a pretty big difference. It's an indication of how the information will be read. I personally prefer and recommend the use of capture one pro because it's a cut above the rest and the ever increasing choice of the everyday professional photographer. The first thing I do when I open a photo and capture one pro it may be a different raw image. Processing software for you is to give the photo a look at whether it's in focus, whether it's to darker light. And if there's anything which I want to fix right now with this software, if I find it necessary, I make any changes to the image so that I prepare it for the actual workflow afterwards. After designing that I'm ready for processing, the next thing I do is save the image to a 16 bit depth file by going toe export variants and choosing the settings to export the image. In this case, these air the format and profile. The format is exported as a 16 bit PSD and the profile I chose is Adobe 1998. 16 bits gives us the flexibility to work with so we can be sure we won't have any problems switching from light to dark tones or any color problems in the image. If you want to save more space on your computer, save the image at eight bits. Whether you save it is tiff or PSD is up to you. The main difference between PSD and TIFF is based on the size limit. The PSD file limit is two gigabytes and tiff can handle more than two gigabytes. I personally always choose PSD because the files in PSD are lighter and more accessible, especially when it shared via the cloud. Then I select export once the photo is saved. With the profile I selected, I'm ready to open it with photo shop. 13. Cleaning Workflow and image preparation: Now let's turn our attention to open panels and windows in photo shop. What windows and panels you will have open boils down to personal preference and how your workspace will look like is your own choice. But in general, in our work, we don't need dozens of panels and windows that are standing by waiting but are rarely used . I personally have just a few open panels, but with the help of which I have nearly everything I need in my work. What I need are the layer panel, the info panel, history channels, paths and actions. I keep them minimized so that I can use the rest of the work environment for the photos that are open on the desktop. Because the bigger they are, the more we can focus on the details. The first thing I do with the picture already open is to analyze it and decide what I like about it and what I want to keep what I don't like and I want to remove, I'm eliminating things that seem redundant to me and distractions. I don't start by focusing on the details and close up. On the contrary, I try to get an overall. Look at it from afar to see what I need to keep and what to eliminate. After I look at it when it's open in photo shop, I'll create a new, clean, blank layer where all mark everything I want to remove. The reason I create an empty layer instead of duplicating the background is that by creating an entire copy of the background, I'll increase the size of the file. And because the files that we work on sometimes reach a size of two gigabytes, we want to keep them as light as possible. Whether we call them corrections or action. Plans were creating an empty layer that will use toe work from so we can remember what we've marked as tasks. I marked the corrections I want and then create a help group that creates other temporary adjustment layers to see what's not noticeable. At a first glance, help group contains several layers a black and white layer that will make our photo black and white, and we'll remove all colors so that we can see only the textures and not be distracted by the colors in the image. This black and white adjustment layer is without additional settings, so we don't need to add anything to it. I have seen people tune up the layer to their liking with some settings and effects to see the details of the photos more. But this isn't the right way to do it. Because adjusting the settings of the black and white adjustment layer you are modifying the colors in the image, and we're trying to correct and see better to the texture. And the light in the image, rather than its colors will make the texture more visible with other tools, like curves, adjustment layers Ted on screen and multiply blending options in a few seconds. The second layer we're going to create is the curves that we set to screen and so that the dark parts of the image can stand out more and we'll rename it to screen to know exactly what it does. Namely, it lights things up. The next layer will create again with curves, but this time it will be on multiply too dark in the image so we can see and work on the bright areas of the photo. The idea of this type of work is to distinguish all processes on separate layers so that there's no surprises. And if something goes wrong in later stages, we have everything separated to the last step. So if need be, you only have to rework part of the picture, not the whole image. For example, I don't do everything on a single layer, such as the base cleaning, liquefy, etcetera. Everything should be separated to minimize the possibility of errors that may occur. The second reason for the distinction and arrangement of this method of operation is that this way things are much neater and to maintain a clean and fresh working environment, you wouldn't be very happy to open a document you worked on a year ago and have to take 15 minutes to figure out which layer toe work on if everything in the project is scrambled and untidy. Once we're done with the help group, we can continue with the next steps of the work process. I'm cleaning the face with the healing brush or spot healing brush. I personally don't use the patch tool for such work, as it often leaves hard boundaries in places where textures air changing. I used the healing and spot healing brush at hardness of 50% because over time I came to the conclusion that these values air best for similar tasks when working on portrait or beauty images. Because if the hardness is too little, it can create very soft edges on the skin, and textural differences may appear, braiding the illusion that there are stains on the skin. Of course, it's not a rule, and it's good to experiment and see which level suit you're working mode and picture the most. The next thing after we've created the help group to help us see better the details of the image and a blank layer on which we marked our desired corrections. We should create another empty layer on which will carry out the basic cleaning. I'll rename it healing. I'll use the spot healing brush. And if I see that the auto tool is not doing very well, I'll switch to the healing brush with which I can choose the places from which I can get a clean texture to replace the existing one without relying on the software to do it for me, change the size of the tool with the large brackets or by holding down all with right mouse button and moving left or right to resize it and up and down to change the hardness. On this stage of the retouching process, we will focus on the removal of the big flaws of the texture of the image, not on the lighting differences of the skin. We'll fix them later with dodge and burn. It's of great importance to know that when working on an empty layer, you should activate the check box. Sample all layers if you're using the spot healing brush tool and you should select type. I personally use content aware, which means that when you enable this option, photo shop will take automatic textures around the place you want to replace to get the best results there. If you use the manual selection to a where you want to replace the healing brush, you must select sampled from the source option and from the sample drop down, select current and below, or all layers toe work on an empty layer because otherwise Photoshopped won't understand where to take from because the layer is empty This way, you guarantee flex building your work, and there will be no problems to say. Both the original image, the background and a separate layer with corrections made when I worked near edges such as on this eyebrow, I use the manual tool to manually select the places from which I get the texture, and I try to do it in the best possible way. For example, I'll select from this place and continue the line like that. Also, I'm trying to get textures from clean places with similar textures and replace the things I don't like. For example, I won't take from her eyebrow and put it on the forehead, but rather take from this place and place it like this. The fate option is very convenient when we want to keep part of the last effect that we have applied. For example, adjustment layers can be created as effects and you can reduce their percentages afterwards , effects that are not applied. A separate layers can be faded, that is, you apply a fade command and you can choose to keep only 50% of the effect strength. For example, let's say that I've removed this here, but then I think it seems too much like an effect and not realistic. In that case, I can faded on a scale. Therefore, they keep it on a percentage. For example, in this case, 50% of the effect of the last brushstroke. You can faded a 0% as if you remove the effect or upto 100% as if you didn't change anything with this command. Another thing. You can see me do it. Zoom in and out to check the picture from all distances to look at it and see if there's something that will impress me in which I want to remove or fix. Sometimes for my convenience, I rotate the picture left to right to make it easier for the movement of the hand and to not have to do both horizontal and vertical movements, as well as to be able to make straighter lines. This option is available by pressing the R key on your keyboard, or you can use the tool that rotates the canvas. You can find it right here underhand. To use this option, you need to activate open CL in the settings. This option should be active by default, but if not, it can be found by going to the Edit Menu preferences performance and then on advanced settings you will find use open C l. After turning it on, you should be able to rotate. Please know that if it was inactive and you have activated it, you may need to restart the program toe. Have the change go into effect to reset the view, press, escape or click reset view. It's just a rotation of the campus. Don't worry, it wont change your picture. This option on Lee simplifies the way you work and helps you work more efficiently. It's very important how much time you devote to this step to eliminate major flaws. The more precise this phase of the processing is carried out, the more beautiful the end result will be, and the easier than next steps will be. If you want to check your work so far, press ault and click on the eye of the layer to turn off all other layers and leave visible on lee, the one you choose. You can see the work we've done so far and get an idea of how the picture is improving. Now that you've seen what the cleaning processes we should pay special attention to dodge and burn toe. Understand how to use them properly. Okay, 14. Complete Deep Retouching of a Classical Portrait: well, now this video will continue from where we left off in the modification and cleaning process. All process this photo from start to finish and see what constitutes a workflow for this type of image and what the individual work flows entail and how to combine everything we've learned so far to produce amazing results as before, I'll make a note of all the things that impress me and what I want removed so that we can emphasize the things we like and remove the ones we don't like. We'll remove and adjust this part here, which looks like a blotch, because it's too light and shouldn't be that light in that area of her hair. We'll remove and adjust this part here around the mouth and this part of the chin. As you can see, there's a discrepancy between the light in the dark and the light spots looked like a blotch will correct the lips. We will definitely remove this part of the model's hair that draws my eyes and does nothing to make the image look better. We'll adjust the shape of the body, the hair in this part. We will correct this part here under her eyes. I will begin the healing process using the automatic tool, and if I see that it's not working well enough, I'll switch to a healing brush, the tool with which I can manually choose where to get the textures from. It's very important for this process to give it the necessary time, which is different depending on different pictures, so that you can eliminate as many flaws as possible, depending on how much time we spend on this process will subsequently have less to do with dodge and burn and dodge and Burn takes up a good deal of our time in our workflow because with it we work on a micro level with small areas, though that's exactly what makes our photo look really good. It's important to look at the photo from close up and from afar to compare and make sure that we won't miss something by looking at texture alone, because when we look closely, we see mostly texture, and when we look at something from afar, we see light and dark shades, color and contrast. That way we see better where we should dodge and where we should burn the image. I'll continue to create the dodge and burn layers that I mentioned earlier, which will make the light part starker and the darker parts in the image lighter so that weakened balance and even out those micro parts of the skin. I'll rename the group Dodge and burn to tidy it up and continue by selecting the burn layer and start blending the light and areas of the model skin. Most people almost always start this process with the dodging or, in other words, with the bright ning. But I'll start with the burning I e. Make the areas I choose darker and then, if necessary, continue with the process with dodging and lighten up what is too dark to even out the skin . Over time, I found that this is one of the small things that is better to begin with the burning process and then later lighten up the areas that you want, because if we start with the brightening first, then the skin will become to artificial and it will look blatantly worked on for this type of portrait photo, the idea of which is toe have a natural looking classic portrait. Our work won't be as much as it would with beauty photos and shouldn't take more than an hour or so to process. It's not a lot of work, but we need to pay enough attention to every small detail in order for the result to be really good. The idea of this photo and of our whole vision we've created at my workshop is of naked makeup, IAEA's. If the model is without makeup and their makeup artist has not emphasized the makeup and the performance of the hairdresser. But rather than model themselves, which really gives quite nice results, the whole idea here is what the model will give us as an expression. And as for an emotion, in my opinion, we did a pretty good job with this classic portrait. We were really able to show what the person standing in front of the camera truly is. And the interesting thing about these pictures is that everyone interprets and may perceive the photos differently, depending on what the vision he or she has. As an artist, you can see the in the help group. I have several layers of screen and one of multiply. I used these brightening layers toe open up the shadow areas and see better, darker parts of the image. And I can see what's going on there. And it just even the darkest parts, because even if they aren't visible, they still need to be adjusted to a lesser extent in order to avoid color distortion and for the shadows to be blended well, I deliberately chose these Frankel model shots because these photos are much harder to work with. With these shots, we have to take into account not only the light we have in the image, but also the texture of the skin. The model has a lot of freckles, and due to this, our work will be much more difficult for this. As I said, we won't look at the image and close up, but we'll try to look at it from a far away as possible so we can see what the dark and light areas in the image actually represent and correct them again. When we're looking at the image in close up, we working with mostly texture and looking at the image from afar is when we worked with the light in the image with this type of portrait. As I said, it's permissible toe have more flaws because this will make her image Seymour authentic and true. And we want our image to be a natural is possible here. We won't try to have the model look perfect from every point of view. The work of the makeup artist hairdresser in the person behind the camera is not emphasized . We want to emphasize the work with the model, the expression she or he will give us. I think this part of the image around the models. Chin needs some more work to make it look even better. And after that I'll rotate the photo using our on the keyboard to brighten up this side of her lips that I want to make even smoother. When I dodge, I'm trying to work between the freckles and brighten the part of the skin between them, so I don't lighten them up, but on Lee the distance between them. When I'm working on the burn layer in darkening the skin of the model with freckles, I don't try to go between them too much because even if they get darker, it's not a problem does. Then they'll be even more visible, indistinct, which is good. I think I'll have to work a little more on this site later, but for now it seems good. I'll continue by turning off the help group and then slightly increase the shadow under the lower lip, which will add even more depth to this part that seems OK to me. Note that under the eyes, I don't remove it 100% and I keep what we have in the photo fairly close to the original. Otherwise, if I'm removed everything, it would make our photo look fake. Notice that I worked very gently and carefully under the eyes, so I don't remove it 100% from what the model has. Underneath this, the idea is not to be removed, but to be blended between light and dark. I'm enhancing the line of her eyelid by contouring it so it can stand out. I rotate the picture to make it easier for me to move the hand, because when I rotated this way, I only have to make vertical movements and not vertical and horizontal ones. This way is much more natural for your hand movement. This is one of the reasons I recommend using a tablet. It's definitely a much easier way of working, and the other positive effect is that it speeds up the workflow. I'll brighten up this part here. I'll fade it once again. If the model didn't have so many freckles, I would most likely be working with a continuously activated help group. But since the model has a lot of wriggles and with a black and white assist group activated , it's much harder to tell if it's a blotch, a shadow or freckle. And for that reason quite honestly, I often turn off and on that help group to compare it with and without it, whether it's a color or texture weren't some stain that needs to be removed. I think in this photo I'll change the colors a little bit later because looking at it, I think that if the image contains more red colors rather than yellow and adjust the color balance, it'll look better. But this is something I'll do at the end of the retouching process. Working with colors is a process which I leave in the end of the retouching process, because if I have to modify the colors first and then retouch, there's a chance to distort the colors. Then I'll have to correct the color difference due to the retouch. I want to make the shape of the nose a little rounder. And for that I'll use burn to do the same as with the three d sphere we mentioned earlier in the same way of the shape of the nose for the model. All also correct that light part in the hair, which is noticeable in distracting when viewed from afar. This group of several hairs stands out too much, so I'll correct it. I personally think it looks much better. I'll shed some light on that as well. Over time, you'll be able to notice more and more what's not apparent. And at first glance, I'll use the shortcut. Control s from time to time and save the image so that in case something happens, I still have the backup. The next thing I'm going to do is make a copy of everything I've created so far by pressing control. All shift any, then I'll sharpen it. The filter all uses on sharp mask. This will be my help. Copy that way. All had a lot of sharp to the image, so I can better see the differences on the model skin and then create a new working group from Dodge and burn and work on top of our help layer, which I just did doing that I don't need to zoom too much, preventing the image from overcorrection. And after choosing from where to start, I'll continue on this layer with the burning process again brightest part That scene, when looking at the picture from afar, is this side of the models lips, which, although I've worked on it, still needs some work. My brush headings air 20% opacity and 1% flow. I'll rotate the picture again and continue to work on the part where I'll blend the small differences. Changes to transitions must be slow and deliberate. Don't look for a way to change them in one go, because it's a process that's a combination of many small movements. To make the change realistic, I could get a similar result were frequency separation. But in this case we're limited here in its use because the model has freckles and we'd like to keep them and not lose them, which is something that would probably happen if we used frequency separation Quite often I work at one place, then I go to another and then return to the first place again. The reason for this is that when looking at the same area for a long time, the eye gets used to it and it becomes increasingly difficult to tell what the difference is. Therefore, it's good to work in different places and return back to them and, if necessary, to repeat this cycle. It's also good to rest on an hourly basis. So is not to overburden the eye or get used to looking at the picture. Because then it's more likely that we've become unable to distinguish the adjustments and differences we've made by looking at the image for too long. A time after I finished working on the areas I want to fix of this layer I created all delete it. I'll reduce the opacity of the Dodge and Burn group by 40 or 50% because this group was intended on Lee for the texture enhanced layer with the sharpening filter, which helped me to see the small light differences on the model skin and because I deleted it. This effect of this dodge and burn group will be too strong, and that's the reason to reduce it's opacity. We want to keep things natural. This little hack can be used when you have difficulty seeing flaws in your photo and can be used in both portrait and other genres of photography. This is a hack that I've come up with over the years, and I've never met anyone else who uses it. I'll say this effect. Let's adjust this part under the eyes a little. So far I've worked on the burn layer and after darkening just a little bit more also like the Dodge layer. And I'll start here by removing these light spots that I think look different from the area around them. I'll fade the last brushstroke once again after that, all again, select the darkening layer and make a few improvements with which a lot line very slightly . This line, which separates the model's face from the neck, thus creating depth and expressiveness. I won't make major changes because once I finished the basic process, I'll take the time to contour. But for now, I'll just enhance the models cheekbone by adding some light and some small shadow below that to simulate the rial cheekbone structure all faded a bit once more. You see, compared to the original, it looks much better. Notice how, with the help of Light alone, I was able to make the nose a little bit rounder and how I managed to make it really go into the shadow, just like I did with the three D sphere we worked on earlier. I'm also working on the edges of her face because the ideas ago from light to dark and even darker so it fades into the shadows and that way create drama into the portrait image, using the contrast between the light and shadows. This can't be achieved using automatic tools because it won't look the same way, so we have to do it manually. I'll pay a bit more attention to this section. I raised a pastie to 20% from 10 toe work a little faster because it 10% you have to go over the same place several times while with opacity a 20%. It'll probably only take once or twice without passing a 10%. It'll take me maybe 456 times is long and really extend our process without much improvement. I'll use burn on this part to make the transitions from light to dark parts even smoother, then all dark in the area under her right eye. A little bit more. Then I will fade the last brushstroke to 5%. Don't our content just a little bit more? Next I'll select the Dodge Layer to balance the darks I have now made. I'll activate the second layer, which is on screen in the help group, to lighten the image a bit more to reveal the darker parts so I can see better in the shadow area and remove this line, which is very pronounced and too intrusive. I'll make the last touch of 10% and then choose a darkening layer and dark in the places that look too bright. After removing the dark line a bounce, the differences, it's starting to look better. I'll compare my work with the original to see what I've done so far. Then I'll make a copy and save the photo continuing. All adjust that part around the flower fencing in the place and using feather to make the edges softer in this election that there is an option that I use quite often to make selection borders softer and use the stamp tool to take content from a clean place and inserted in the missing area. And I use the stamp for this part because it not only adds color but texture, plenty of area to choose from and replace for similar tasks that don't have a lot of texture on top and where the areas monochrome. I can also use a brush of the selected color, but the stamp adds pre existing colors to the image, making it a better choice for similar tasks. I'll use the noise filters. I get close enough to see what's going on and try to simulate the already existing noise in the image, and I'm going to faded at between 40 to 50%. In fact, even 35% looks good and I'll put it on luminosity. That way there won't be added additional color by this applied effect. This technique guarantees 100% preventing color shift from any effect from what you use it . Now I'm going to make a new layer set on the color blending option to add some color on this place. To me, it looks much better already. Now I want to look at what to remove afterwards, and so to avoid changing the workflow. All continue with Dodge and burn. Starting in this section, I'm going to create a new dodge and burn group to continue working on the model skin. Because the effect was too intense, I reduced it by a bit. This will also faded at 10%. Maybe all faded a little more. Let's check out what I've done so far. I think this part of the head needs a little more work, but I can't see it well enough, so I'll use the help group as it lightens the dark areas so I can continue my work there. Now all zoom out and work more globally with a larger brush to obscure the part under her eye and very little that part under her lips. I'll probably reduce this to 70%. Then I'll merge them together in a single layer by pressing control E now all slightly brighten the light parts. I'll add a sample point on the image, then also had a dot into the curves mid tones, and then I'll darken in Tibet and I'll use the curves channels toe. Add a little red, maybe a little yellow, and this whole fact, we'll keep it at 35%. Let me remove the sample point I made in compare the last two layers so I can see what are the differences from the applied effects. Now I need to look at the image and see what to look for and what to do next. And the thing that draws my eyes and annoys me is the hair of the model from the party of the Flowers. I'll select and duplicate Onley this part of the image, so I don't need to copy the whole layer that the file isn't too heavy. Then I'll use multiply on this layer to darken it at a black mask to start revealing Onley where I want to darken the image. But you can see that since I only copied one piece of the whole image, I can't reveal everything because I start seeing the edges of this piece. Therefore, I have to work on Lee on this part that I'm sure I won't reveal its edges, and if I reveal any, I have to brush them with a black brush to hide them. all darken it a bit more. I'll also be careful not to darken the flowers. Maybe it would have been a better idea to duplicate the whole picture, so I don't worry about any edges that could be left by the effect. But I want to keep the file size small because I'm pretty sure I'll reach the files. Limit size I see here is something I want to fix. And to do this I'll raise the brush hardness to 50% to keep the flowers intact. A little here, but I want to obscure it just to bed. I'll brush out this part where there might be some edges left from the layer, which I worked on. I'll duplicate the whole layer and set it on multiply, also dark in the part above the head to give a smoother transition of the darker parts. But I think it may be a good idea to dark in this part here, so I can make the model fade into the shadows a bit more. Now emerge them all together to keep everything organized. So definitely not having this strand keeps her eyes from being distracted, and we can focus on the model also remove these flying hairs, and the last brushstroke all faded at 50%. I'll bring them together and create a new group of dodge and burn as I'm currently correcting the lips. These air obviously problems with the camera sensor or some dust that I'll remove before using dodge and burn on the lips. I'll use the help group to better see what's going on in the dark parts, using a small brush to adjust what isn't seen. At the first glance, I want to see what it looks like from afar to judge what to leave and want to remove working with the lips. And here's a subtle point. In most cases, the lips have to be as natural as possible, and we don't always have to have a perfect texture on them. Sometimes the lips can be cracked and we can't leave it, but we can't fix it because it looks weird. So we work very carefully on the lip area, which is sometimes easier to adjust with frequency separation to remove that part of the texture that doesn't look right. Luckily, this is not the case, and we don't have too much work on our models lips. I'll rotate the photo again so I can see and work easily on this part of the site of the lips. I'll work some more in the dark part of the image under her right eye. I'll fix this part, too, because I would like to darken the light going to the inside of the lips, and I'll modify this section here a little bit more as well. This is the reason we say dodge and burn is a nondestructive process because, as you can see, we were able to preserve the texture part as well. We didn't change it. Allah, just that part of the lower lip, a little more. It's important that the hardness of the brush is about 50% and I'm going to make the upper lip a bit brighter. I'll set the effect of 8%. - The shadows must transition very smoothly from light to dark. I'll pay some more attention to this part and adjust it a little bit more, and when I'm ready, all merged them together in one layer. Now use the liquefy filter to adjust her back so it looks better, making sure not to modify the background, too much. I'll very carefully pushed the edges of the body to produce a smoother arc. You can see on right what's the pressure, and in this case, it's below 50% and more specifically, at 32 I changed the brush eyes with the large brackets, the keys to the right of the P key on the keyboard. I'll change the shape of the jaw very slightly and again very slightly. The nose. I'll also gently touch the chin and save it here, the differences before and after. In fact, I'll also change the shape of the head a little, making it a little rounder, so it doesn't have a strange shape up in the shadow. I'll pull this part slightly to the right and will push this part from above slightly and carefully down maybe, from above here. Maybe that's it here. Okay, I'm going to turn on the health group so I can see better. What's in this dark part of the image? I'll remove this area here under the lip, but just a hair. I'll faded a little. Maybe this part just again and percentage. Let's see what we've done so far. I'm gonna make a new group for Dodge and Burn, and we'll do the contouring of the photo Right now. I'll turn off one of the layers with the screen, blending options so it's not too light and start by contouring the part above the lips First, all enhanced the shadows a little bit more to create some more depth. I'll do the same thing on the lips, both the upper and the lower lips on the nose. I'll use a very small brush to enhance what is already dark to create more death in contrast, different than what we get from sharpening the image with sharp filter or any of the other sharpening techniques. I'll repeat the shape of the I and, as before, all want to slightly lift the upper eyelid. And so it doesn't start looking fake. I'll use a larger brush very carefully, trying not to change the shape of the eyebrow. Okay, now let me continue. By outlining those lines that will create more depth, I'll use both. A small in a larger brush also slightly outlined. The eye on the inside. I'll begin by darkening the dark parts first and seeing what happens as an effect and will subsequently add light to the light parts of the iris of the eye. I'll do just a little bit to start, and then if I want, I can add more. To make the effects stronger, I press Q to activate the quick mask option to see what I did and where the effect has been applied. Also, strengthen the eyebrow little. Then I'll work on the glare in this. I also intensify these dark parts and the light parts of the I. I recommend using less light in your eyes so it looks more natural. I'll rotate the picture and work on that inner part of the eye, starting with the enhancement delights and trying not to overdo the results that I will achieve. I'll also enhance the reflection of the studio light in her eye and reduce the effect of 25%. - I'll also increase the light of the lower eyelid in general. I repeat what is light with Dodge and what is dark with burn. I've worked on the dark parts of the lips now work on the light parts of the models lips, starting with the brightening of the upper lip and in all likelihood will soon move on to the darkening, But first I'll go ahead and enhance the light parts. I'll remove this line a little here. I'll also enhanced the light and shadows on her right eye, as I did on her left eye. I'll dark in the eyebrow a little bit more. Contouring is usually the final stage of the image process. I'll also outlined the shoulder, but I'll make both horizontal and vertical lines that we will fade by a few percentage points, thus making the texture of the image a little different and not so repetitive. And then I'll make some circular motions. I'll use a large brush. When I'm ready, I'll use the small brush again to work on this part around the models lips a bit more. All also enhanced the light portions of the nose, and in the same way, I'll enhance the light portions in the hair of the model. Again, I worked with a smaller brush, just simulate the true light of the small individual hairs in the model's hair. If something seems to me to be too much of an effect, I can always faded a bit. There should also be given enough attention as the skin because if the hair is not retouched and the hair is not lightened or darkened, it will be different, and one will be noticeable more than the other. So it may need some small touches, but we still need to add light and contour to the hair in the same way I'll use burn to darken individual parts of the hair of the model. So is to create a contrast between light and dark. - I'll do the same thing with this partner under the eyebrow and above the eyelid to make that part more visible, trying not to overdo it. And if that still happens, I'll eventually be able to scale it back a few percentage points. I'll rotate the image one more time to make it easier with this arc here and add some more light at the bottom below the mouth of the model. Wow, it looks good to me using also and click on the masks. You can see how the mass look after the working process. So far, I've achieved this as a result. This is everything I've done so far. This is before, and this is after before after. To be honest, it seems to be too much as an effect, so all dial down some of what I just did. Now I want to make these two lips a little more red and for this purpose, all use a mask. For this part, I'll use the brush below 50% hardness to know that these parts will flow well and there will be no boundaries that I'll have to work with and fix later. I'll also add that part to the mask. I'll make the brush a little stronger to work with the leaves. I'll use the color balance. And in the highlights, I'll add some yellow and cyan, and I'll add some warm tone to the mid tones by adding some red and yellow colors. The shadows all had some blue and Zion to make them a bit cooler that way. In the highlights, I'm adding warm colors and I'm also adding some cooler tones in the shadows to create a color contrast to the image, and I'll fade the effect at 30%. I'm going to use curves to darken the flowers ever so slightly. I'll make them some more colorful and red and keep this effect at 80% I'll fix them. Ask with the harder brush, excluding the area of the tulips to make it more precise, which was previously missed. I'll add some more white to the mask with the soft Russia's well. Most likely, you will not have much work with dodge and burn with these smaller areas because changing the colors in an image is one of the last phases which are made before the image is finalized will reduce some of the red in the flowers, adding science with the color balance so they don't look so red. Next, I'll lighten up the eyes using shadows and highlights, and we will use this to work on Lee on the eyes. I'll use a fairly soft rush so it doesn't leave any edges from the effect, and even the size of the brush is slightly larger than usual. We'll check and see what I've done so far. What strikes me, however, is that the contouring of the inner part of the eye is too strong and therefore all dial back some of the effects. I added to them. I'll first remove this area of the inner part of the eye because the effect shouldn't be so strong there and because the true power is in the small details and sometimes weaker effects are much more impactful. I'll dial it back a little more. I'll just keep a bit. Now I'll save it all and keep it in just one layer. This eyelashes too thick and big, so I'll make it less visible by removing it with the help of a spot healing brush and then fading at a percentage. In addition, I'll draw a few eyelashes, though not with absolute black. I'll use the eyelash color already existing in the photo to draw eyelashes. It's advisable to use a tablet because the movement of the hand is much like the shape of the eyelashes. And with a mouse, it'll be much harder for you to create realistic results. And I'll use less noise and will try to simulate that which already exists in the image. I'll keep it at 50%. I'll activate the layer with the notes I've made to see if there's something I missed that I'd like to change. Let me see what I've noted. I'll take this part of the image and create a new layer. In fact, I'll remove those spots in the model's eyes before that. In this case, I'll use the stamp tool on an empty layer. When I'm done, I'll add some noise to match the already existing noise in the image and faded on 30 to 35% with the luminosity option selected. Now, I can merge it with the layer below. Also like this part, I want to correct and duplicated on a new layer and used the unsure mask filter with the amount 35 and 35 radius, thus creating a strong pixel contrast on the small areas to enhance the texture and the contrast of the individual pixels between the light and dark areas. But all Adam ask and apply this effect on Lee on a low percentage on her eye. I'll merge this in one layer and I'll use unsure mask again. But this time the amount 100 radius, too. I'll use the history brush toe work on Lee on this part of the eye. I almost never use a sharpening filter on a model skin because it may look strange, sharpened Onley where you want to attract the viewer's gaze. The next thing I would do is use the luminosity masks we talked about earlier, and with their help, we can make more contrast in the image also like this mask and used the adjustments layer on screen. Then I'll create an inverted selection from the same mask. How to do that? Create a selection of this mask holding control and click on the masto. Activate a selection. Next. I'll invert this election so I can select the darker parts by going to select in verse, which will invert my selection. And I'll add another adjustment layer on multiply too dark in the dark areas. More you can see now that the file has reached the two gigabyte limit. As I said earlier, PSD files can reach up to two gigabytes. And since this file has already reached this limit, if I want to keep what we've worked on so far, we need to save it in a separate file. In fact, let's do that now. When you save the new file, it will again be two gigabytes. I save everything I've worked on so far, and now I'll delete this part, which includes the very first steps I made. Doing so allows me to free up space in the working file. This way I'll have everything I worked on so far in the first file and everything from here on out in the second. Let's continue with working process. Since I want my lights to be a little brighter, I'll duplicate the layer and add some of the lights Onley in certain places. With the help of the mask, I'll use a soft brush. All added in this part of the flowers and in the hair. I'll make some small movements with a large brush so I can add contouring because, as I said, contouring includes larger and rougher movements, and in larger areas I'll merge everything I've done so far in a new layer with the help of control shift all tinny to create emerged copy of the visible layers on a new individual layer. Now I'll show you a method with which you can see if the images to saturated with color create a new layer. Vibrance and saturation race saturation toe 100% lower vibrance tu minus 100 that which remains as a residue, is an area which is oversaturated, an excess of color. It may give you problems later especially if you're planning to print the image, I'll show you how you can fix this oversaturated problem, which you may have. What we can do for the moment is go through the channels of the image, which includes red, green and blue, and choose the channel, which is the brightest in this case. This is the Red Channel. Select the whole channel with control A to select everything, Then copy this channel with control. See pasted on a new layer with control V. You'll now have a black and white layer on which we have to create a black mask. I keep this black and white copy of the channel between the original image and the vibrance adjustment layer and using the white brush, reveal from that layer on these areas, which are too saturated with color, trying to create a little more balance between the light in the dark, the colorful and the not so colorful parts of the image. I have the opacity set to 10% and float 2% because the change must be very slight. I'll reduce this at the models eyebrow and on her head. Again. I'll use a bigger brush to cover larger areas because I'm using quite low settings of opacity and flow. I'll try to keep the blue of the eyes. I'll remove this at the brow and the top of the models head. I'll remove the color in both the shoulder and the chin of the model, and after I do that all turn off the vibrance adjustment layer and you can see what we've done so far in the places I've worked on. It'll stay black and white, so in this area we will need to darken it slightly. I'll add yellow, some magenta and some red in combination, and it will dark in that part of the image, trying to simulate colors already existing in the picture, and you can see how much better our picture is and how much more balanced it has become. The other thing I will do with the help of color balance is to add some more colors to the highlights. I'll add some sigh in magenta and yellow. The other way, even do this, is to try to select the parts that are too saturated with color using color range, trying to select the colors which are too saturated in dark and removing the colors, which are bright and yellow and less saturated Using the color ranges. Options. I'm going to create a new dodge and burn group to continue to serve in this election because the infections too intense, so reduced, decided it modify to obscure the heart under her eye and very little. I just select under her lower range on a new layer, and now I can probably relate to 70%. Then I'll merge them together in a single layer, all selected by holding down control. Click on that literally reduced. I can Adam after sandy, layer on a large them together in a single layer. By pressing control E. I'll add a sample point on the image that I'll try to simulate the already existing colors in the hair, and since this is too strong as an effect, keep it at a very low percentage and will make a combination of the two layers. This layer will be even on a lower percentage, 10% opacity and 5% fell, which will make it almost imperceptible but still an existing effect. I'm going to create a new dodge and burn group to continue working on the model skin. We'll group them as they should be grouped together to create an overall organization in the working file and use a brush with the hardness of 50% to reinforce slightly under the eyes and create a new empty layer which will put on color using the stamp tool on an empty layer set on color. You don't add texture, but only colors, which are existing in the image, because the layer can only contain colors because of its blending options selected, this is way better than to select a solid color and paint directly on the skin with a brush because with the brush, you can select Onley one solid color but with the stamp. As I said, you copy already existing colors from the image. Both methods work. Just try, which can help you achieve better results in your case and everything I've done so far all group, so I can see it all. I'm going to create a new empty layer on the color blending option and try to select similar colors, which already exists from around this part of the image. To blend them nicely. I'm selecting the existing colors with the Ault and using the brush at very low percentage to add some more colors very gently. And the other thing I'm going to do is to select that area of the photo, duplicate this selected part of the image. Then I'll strengthen the reds in the image I'll put on a black mask. And that way I'll reveal Onley where it seems necessary to remove these yellow areas around her chin in her mouth carefully so I can remove any existing edges. Because, as you saw, I duplicated on Lee a small part of the image. And if I revealed too much, I may end up with edges and color differences, and we don't want that currently were only removing some of the yellow that's in the area around the mouth. So at first glance it looks to read, but in the end will violence that part and bring it all together in one layer, then all create a new layer of color and add a little more red under the eyes. Don't use a brush you stamped to add color, which already exists in the photo, and then I'll combine these two layers into one. The next thing I'll do is to create another group of dodge and burn using a brush with hardness. 50% and I will enhance these freckles. Unnerve the eyes in the model because, as you can see as a result of the retouching process, we've lost some of the details of her. Freckles will fix that now not to look like it's been touched up, but to recreate the I already existing original details. That's the main reason, as I said earlier, that the frequency separation technique is not a great choice for that photograph, because freckles can easily blend with the other parts of the skin and you lose them as an effect. I'll try to simulate the already existing freckles as much as I can by gently darkening the spots. I think, where they can exist or by repeating over the blended freckles. We use opacity of 40% and flow at 2%. I'll increase thes here on that area, some more here and a bit more here. I'll add a little bit more here as well, and it seems nice to me already, and that which I have at the moment done with the fax, will go down a little percentage maybe I'll back off some of the effects using the very soft black brush. Quite often, the small, almost imperceptible effects have a very large impact on the viewer and that which I've done so far, I'll leave it 40 to 50% in this case, 48%. That's it for this part. I'll go back a few steps and turn off the Dodge and Burn group to see the results I have achieved so far. I'll compare the effects from afar. Maybe I'll raise the layer percentage just a tiny bit. Or maybe it will be a better idea toe hide the mask and raise the percentage and brush out everything that seems too strong, as in effect to me, because I want to balance and keep the freckles under her eye stronger and everything which is closer to the eyelid less visible. And the next thing I'll do is to crop the image. I'll use the marquee tool to select the area I want to preserve. In other words, I'll crop that part of the image. I don't want to keep and choose a value ratio of 3 to 4. I choose how will look while respecting this rule of thirds and will use the crop tool to crop otherwise, if automatic, it'll cut out some parts which I don't want to cut. At the mome 15. Complete Deep Retouching of an Artistic Beauty image: with the second photo, I aim to show you that the process I use is similar for all the pictures I work on in order not to just tell you theory in individual videos, but to see my work process several times, as if we were side by side in working together so as to maximize the information's impact. While the previous photo was more natural in its presentation, because the idea of classic portrait is to be exactly such. This image differs not only in its appearance but also in the lighting it was shot with. The classic portrait was shot with a large Octa box to create a soft light and smooth transitions from light areas. Two dark ones. While here we use the beauty dish, which gives us an idea of more solid lighting to make textures more visible, as well as the small details on the skin. All begin the work process again by looking at the image and noting the corrections we want to make for this purpose, I'll make an empty layer on which I'll note what I want to be removed and what I want to be corrected. I'll choose a red color that's easy to see and will make the brush firmer. I'm going to start here, then pay attention to this area under the eyes. Then I plan to pay attention to these features of the neck as well as on the side of the mouth. Also underneath her right eye, these flying hairs that are on the blouse, this area in the head. Here's the problem with the eyebrow and as well as this area of the nose. I want to look for something else that impresses me of the first lands. Maybe I'll also pay some attention to the shape of the model's face, as well as to see incorrect this area in the eyebrow the model, and to correct these small flaws in the area of the temple. This to I'll also pay attention to the chin texture as well as to the area of the lips, which should be molded a bit. Also the side of the lips. And I'll certainly pay attention to this area with the hair and here of the model because it doesn't look good at all where the hair falls on top of the year. Maybe this area of makeup also here The other thing that impresses me is this area of the hair. Then I'll start working, create a clean, blank layer that I'll rename healing. And I'll save the picture to know that everything I've done so far has been preserved. The first thing I'll do is to correct larger changes, namely, I'll use another picture from which I'll take a near as they were shot from unequal distance. And the size of the aspect ratio is similar, so it will be much easier to make this correction. The thing I'm going to hide it with is a mask and find the area I want to add. I'll start from the top with a firmer brush without having to consider if there will be any lines that I can then fix easily. I'll soften the brushes for this inner area of the year, and I'll add the rest of the lower area. I'll soften the edges along with hair, so the look as if they're behind the ear. I'll gently rotate the picture to make it easier for hand movement. They don't add or remove, depending on how well the hair and the ear pattern are flowing. I'll use a brush of medium hardness so it doesn't look like a stamp and subsequently also, often the brush to make the border areas better. I'll look a little more at what I could do to improve what I've just created. I see here the edges they could get even better. Let's use a brush with an opacity of 50% for this inner area of the year, and I'll use a few moves to make it better. I'm gonna make a comparison with the original to see the difference to compare if I like it . I think it needs a little bit more. I can add this top to make it overlap of little better, and the result will be more realistic. Once I'm ready, I'm going to create an empty layer, and I'm going to merge these two to remove the mask I had a while ago. Then I'll create a layer of multiply which will help me dark in the image in order to better see the bright areas and to make the details more visible, our creative black and white layer. I'll set this to multiply. I'll set this to screen and use the blaming option to screen to create more contrast, I'll group them into one group and rename it as a help group that will help me darken or brighten up the areas that are less visible. I'll use the spotty healing brush the automatic tool with the help of which I can remove problems, and I'll begin to clean the skin of the model. I'll use a medium hard brush, and it will be slightly larger than what will be removed. With just a few moves. I'll try to remove those little black dots that air the traces of makeup of the model that was used for this vision. I won't spend too much time on this area, but I'll definitely pay attention to each one of these shortcomings. I'll remove them from the side of the year and moved to the bottom of the face and look for other things that I consider to be flaws. I'll rotate the picture and moved to the area of the flying hairs, which are good to be removed as they don't add anything to help the image look better. I'm going to remove that mole underneath her blouse and then I'll focus on this area and remove the other wispy hairs on the model. I'm going to do it a few more times because here the edge didn't quite come all the way off the first time. And after I'm going to remove that hair down there, I'll then pay attention to this area here in her neck. And I'll try to keep the texture. Israel is possible without having to change or add anything. Using the clone stamp, I'm using a brush of medium hardness. The automatic tool isn't doing well enough with this area. It's all choose the healing brush by choosing my own places to stamp from. I'll continue with this area here between the hair on the model and I'll remove at what at first glance seems not to be good enough for this mole. All use clone stamp because even the healing brushes a hand tool failed to cope well enough . I'm going to use the manual tool again and continue working on this area. I'm going to make a few streaks and lines to help the hair flow and then moved to the area of the ear that I just added, and I'll choose the automatic tool to remove that hair closest to the air. You can see that the automatic tool manages to do quite well with this area, and that's why we like what it does when the automatic tool fails to cope with any area. I used the manual tool to manually select the places from which I get the texture. In this way, we change between three instruments the automatic, the healing brush and the clone stamp to make sure we can handle every area of it. No matter what challenge it is, the last stroke will be 25%. I'll continue to remove the hairs from the year of the model, but after I leave the edge, I will try to continue drawing down it with the clone stamp very carefully, with capacity of 50% and flow of 50% before and after. I'll then pay attention to this area carefully, beginning to remove the smaller areas until I get to this bigger spot, which all removed by continuing the makeup lines, then with a smaller brush, all remove the other things that make an impression. At first glance, all very carefully choose the place from which to take, and in this way will make the result look more realistic. If the automatic tool can't cope with this area, all zoom out to look from afar and see if there's anything that makes an impression on me and that I notice in this area for the makeup of model. So we'll continue our lines and I'll blend in this way. I'm going to take a look at from afar and turn on the help group so I can see flaws better and move it up to the top. To make my working environment mawr tidy, I'll create a group of dodge and burn and save the image and everything I've done so far well, First, select the darkening layer and a brush with capacity of 30% and flow on 2%. I'll rotate the picture to make it easier for the hand movements and begin with the darkening of these areas of the skin texture, which are too visible and too bright. I use very small moves to make it easier and to have control over my work and from time to time, all remove the hell player so I can pay attention and see what I've done so far, comparing it with the original, and I'll use a slightly larger brush for this area. Then I'll continue working on the models eyebrow, in which I notice there's also an area that needs to be darkened under her right eye with a medium brush. I'll get to this area and pay attention to the nose of the model and then here to her right cheek, now on to her temple and gently with a few moves at a brush with capacity of 30% and flow on 1%. All gently brush this area of the sides of the models lips. This brush will have a slightly larger diameter than the area I'm working with when opacity of 30% and hardness of 50%. Since our model has so many freckles, we're not obligated to comply with the distance between them. As I said in the work on the first image, even if we have to work from further with a larger brush, freckles, if they become darker, are not a problem, because in this way will strengthen them and make them more visible, which is good. However, if we work between the freckles and we dim the bright areas with a small brush between the distance of the freckles. Then the skin will become too flat. I will continue to darken the contours of the model's face so that partly weaken, fade it just a little bit more into the dark. I'll use the healing brush again and on the healing layer will remove this area of the eyebrow. Next, I'll draw attention to the other smaller hairs. That may not look so good. I'm not going to try to make that eyebrow perfect, because that's not the point. I'm going to pay attention to these little dots. I'll proceed with the removal and correction of this area of the eyebrow by removing these flying hairs. So one by one will remove those hairs and then, if necessary, they can be redrawn. But they'll be made more symmetrically. It's gonna be at 75%. Now I'm going to do it again at 50%. I'm currently using the manual selection tool because in these areas the automatic tool has a chance of not replacing them with enough texture, and that means it will slow down the working process. I'm going to take a little more here and have this area Maybe I'll remove the one at the top as well as this one, and you can see the after I remove these hairs, something like a whole is forming. To fix this, I'll take the brush and choose a color that already exists in the image, and I'll try to paint some hairs to simulate real ones. I'll use the hardness of 80% for the brush, and I'll add a few strokes in this direction. Then I'll flip the picture to make a few lines in the opposite direction. I'll choose a darker color in a lighter color so that they can be different. And so the features and lines I'm creating won't be all exactly similar due to the fact I'm not so happy with what I just did. Now I'll delete it with the help of the eraser In try one more time, I'll try to approach the shape, apartness and color of the rial hairs of her eyebrow on the image. This last touch up will make it 50%. Okay, it looks much better and a lot more realistic. The next thing I'm going to do is add noise to simulate that which we have in the image. I'm going to choose 1% and the effect will be 70%. I'll move on by choosing the darkening layer and for the brush opacity a 30% and floated 2% then all dark in this area under the eye of the model. So I can make those lines which are too bright and attract attention more than needed, darker because when they're visible, they form a high contrast and create the feeling of bags under the eyes, which is something we don't want. I'll continue by darkening the light areas, and here I'll repeat as much as I need to until I get the perfect blend of light and dark. Then I can even out the skin flawlessly. I'll go to the brain ing layer, and if it seems to me that there's something that needs to be lightened, all fade it. I'll do everything gradually, so it's not to overdo it with effects and so that I don't have to fix what I just did. I'll turn off the help group and rotate the picture so it's much more comfortable on my hand. You see, when I worked methodically and lightly, the result is much better. And I'll continue with frightening these areas, which normally should be bright because they're in the light area of the cheekbones texture . I'll select the darkening layer and continue my work in the same way, turning the photos so it suits me. I'll continue darkening these areas. I'm new the I. We'll work in this area to improve the shape of the nose of the model, then reduce the hardness of the brush to 50% because I think the 80% is too strong an effect. In this case, we'll rotate the pictures so that it's comfortable for hand movements. All select the Dodge Layer to brighten up these dark lines. The last stroke will be a 20%. I'll turn on the health group to see if there's something that I notice, and I'll see what I've marked for corrections in this area, because what I've done so far has distorted the colors in the area under the eyes. The next thing I'll do is create a blank layer, and I'll use the color blending option. I'll rename it to color and use a stamp so I can replace the colors that have just been distorted by dodge and burn. I'll use a very small brush to choose from the colors next to it. I'll make sure they aren't to enhanced in this area. As you can see, I've worked with a small brush between the freckles, and it reduced their prominence, which in turn, unfortunately, managed to make the area under the eyes a bit flatter. We'll fix it later. For now, I'll choose a white brush again, and I'll begin to dark in this area, which needs to be dark in some more. I'll rotate the picture and choose the brightening layer set at 20%. All faded at 20%. I'll rotate the picture again so I can work easily on this part of the models. I I'll turn on the help group to see the details better, and then I'll continue working on this side of the models, eyes and more. I'll use a slightly larger brush to make the blending even smoother. I'll select the brightening layer and continue working under the models. I a bit more. Now I'm going to compare the result with what I've done so far, I'll choose the darkening layer by continuing my work under her right eye in the same way we have to darken the light areas which are too bright and attract attention. As you can see here, there are colored distortions as well, because of the dodge and burn. But we'll fix that later, before and after what we've done so far, ill fated 15% and continue with this area being the hair of the model, where there are lighter areas which are much more visible even without the help group, I subsequently intend to darken this image, so the highlight effect of the makeup can stand out even more. - I'll continue in this area of the neck of the model darkening. First the lines which are too bright. I'll remove the darkening layer in the help group and continue with the darkening of the light areas I'm using. A brush was sending several pastie 30% and flow 2% trying to make a single pass in any place. No more than twice. I'll turn on both of writing layer and the darkening layer to create greater contrast and to better see the details and what should be removed. Also like the burn layer to work with the light areas again. Then I'll choose Dodge so I can compensate and remove those dark lines. The brush settings air currently 20% of passivity and 2% flow. Ill fated 20% maybe even at 10%. I'll continue with very light movements using the brightening layer. No, they here in the same way as the models neck. There's some color distortion, and it has to be corrected, and we'll do that later. I'll continue my work on her left cheek and then I'll continue under her left eye and nose . Now I'll create a hell player and sharpen it with on Sharp Mask, the settings being 70 and 70. And I'll create a new dodge and burn group to work on this help layer that reinforces the textures and helps me better see flaws. I use the help group to make it easier to remove the colors in the image and then turn off the screen layer so it's not too bright. I'll use a slightly larger brush and begin to dark in these areas, which at first glance look very bright. If something seems to me to be too dark in the bright areas, I'll lighten end up using a brush with 15% capacity in 2% flow. I again choose the darkening layer, then the brightening. If necessary, I'll change it and change the zoom to work with both the light and darkening layers. It's advisable to work with the photo sometimes as it will be seen by the viewer, because if we look at it too closely and it will subsequently be viewed from afar, the results may look fake. I'm going to use a little bit bigger brush for this area. The hardness will be at 50%. I'll turn off the help group and delete the Hell Player, the group of Dodge and Burn, which is on at the moment. I'll leave it 40%. I'll use a brush with 50% opacity and 20% flow and all dark in this area in the year to make it smoother. I'll use this brush here, and I'll bright in these areas in the light to stand out. If necessary, I will use the burn again. When I'm ready with the darkening, I'll choose the brightening layer again to make the light areas look really bright. - I move the layers, so I'm going to go back one step. I'm going to lighten up some more of the upper ear. I'll remove the help group to remove the black and white layer. And compared to what I've done so far, I'll save what I've done so far and continue darkening this area under the eye. I'll use a brush with an opacity of 50% and 2% flow when necessary. All rotate the picture to make it easier on the movement of the hand. The next thing will work on will be the lips of the model. I'll use the help group again, but this time I'll lower the opacity of the darkening layer to 50% toe. Open up the shadows a bit and to better see what's going on in the dark areas. Interesting. How long it took me to realize that I was actually working on the multiply layers, and I'm not doing anything as an effect. So I'm going to have to repeat this one more time. I did this area here on them, the light birds of this area, and we'll need to lighten this dark line that attracts the eye and doesn't do anything for the picture. Then all bright in the lines, in the bright areas of the lips in the model, and we'll fade a 10%. I'm changing the flow option of the brush from 2 to 3% to get the changes I want faster, while dark in this area of the upper lip, remove the hell player and continue to work with the darkening layer. I'm going to contour the angles of the left very slightly so I can outline the boundaries. Now take a look from afar and compare the differences from before and after. I'm going to dark in that area of the bottom of the models lips. I'll make a copy of everything I've done so far and look for the all the things I want to remove. All dim the image a tiny bit by using curves a lot, a little green, a little sigh in and will remove a bit of red and add a little blue to make the whole white balance a little colder. All use curves once more, selecting the light and I'll add a little blue. I'll create a point on the face of the models to choose this area of the picture for curves , and I'll remove a little red at a little green and a little blue to make the color Seymour riel. Then I'll use color range and try to select the freckles of the model by trying to use one of the automatic channels. But I see that they're not doing a very good job. Therefore, I will try to select them manually. Also, like this color here and this one and this one, and I'll remove this one and this one. In general, I add the colors of freckles and remove them from all other colors. I select from this and removed from others. I do it from different places because the photo has different colors in different places. My press cute to see what I have selected so far, and what I get is a result I'll keep is a new channel with an Alfa mask. I use feather at 0.1% once more. Then I'll create a new empty layer and will select soft light blending option, and I'll fill it with 50% gray and then we'll bring this layer back to normal so I can see what I've done and what I have as a result, I'm going to use curves to try to dim the freckles I just made before. But from what I get is a result. I only like it in a few places. I'm going to make them a little darker and not so red. All fade. What I have so far, 85% and, after all, merges layers all you shadowing highlights to see if there's any dark areas that need to be brightened. The next thing I'm going to pay attention to in this area is where there's a lack of color . You can see that beneath the pattern and the neck of the model, it looks grey and dirty. I can fix it by putting this area into a new layer in using curves. I'll add some magenta by removing green. Add some red by moving sigh in, and lastly, I'll add some yellow by removing blue. I use a black mass to hide what I've done so far, and I'll use a soft brush to reveal Onley where I want the effect to be applied. I'm gonna add from here in here. The brush settings I work with are 60% opacity and 50% flow a lot a little bit more in this area. I'll try to work on the areas to the side, and then I'll use a black soft brush, so I'll remove anything that's unnecessary now. It looks a bit better, a lot more realistic. Yet there's more to be done. I managed to better balance this area under the cheekbones of the model, once again used curves. But this time I'll select the light areas and add a little red, a little magenta and a little yellow Onley in the light areas and do exactly the opposite. In the dark areas of the picture, I will add a point to select these colors in the curves, and to do that I'll hold control. Then I'll click where I want to select the colors from, and I'll use preview to check my progress, hold down control and create one more point here around the chain of the model. What I did was add yellow, red and magenta in the light in the dark areas. I do exactly the opposite because working with curves, you modify the curve and by adding or removing a color from the lights, for example, you also add or remove a color to the mid tones as well. Because I added colors into the mid tones, I had to do the opposite in the light areas to compensate here all you selective color and in the Red Channel, I'll remove a little magenta minus 10 in Scion minus 10 and I'll click. OK, we'll leave this effect at 25%. Then I'll use color balance to add some blue color into the mid tones to make it cooler. And in the highlights, I'll remove a little red and in the shadows. I'll add a little blue to make them a bit colder as well, so we can have contrast between the lights, which are warmer in the shadows, which are colder in the middle. Also add a little magenta and a little red and removed the science. What I did was make a contrast between light and dark, as in the dark, I added a little blue, and I added a bit of red in the mid tone areas. What I did was called color contrast. It might be a bit like an effect, but it affects the whole vision of the picture and all that this color balance will make it at a fate of 50%. I want to take a look around and figure out what the next thing I'll do is I'll create a black and white layer, set it on, multiply and leave it at 50% capacity and 55% fill so I can create more contrast in the image. It's dark in the whole thing and turned to kind of more of a caramel color. In fact, this looks too strong, so I'll reduce the opacity to 20% and fill to 22%. Then I'll merge it together in a single layer. I'll use curves again. This time, I'll create a point in this area of the face of the model, and we'll add a little bit of science and a little blue. Also like the Alfa Channel I created earlier with the freckles that we made using the color range, we're going to bring them to a new layer by setting them on multiply. So I condemn everything and strengthen the effect Well, because I don't like what it looks like. I'm gonna add a mask and pull out on Lee where I want the effect to be stronger and as the last touch make it 15%. When I'm ready, all merge them with the layer underneath it. I'll use curves again so I can select the bright areas, adding a little red in a little yellow. I'll make a point in this area so I can remove some blue remove sigh in to make it warmer, and this is what I get as an effect. When I'm ready, I'll hit. Okay, this is what I do so I can make the image more colorful and slightly more intense. The other thing I'll do is use vibrant 80% and a saturation of minus 10 or minus 20 making the colors more dense and saturated. This effect is very suitable when you want to make colors seem much fuller. Using you and saturation in the Red Channel, I'll increase the saturation and remove some light to make it darker. Thus will have a much fuller red color in the image. I'll use color balance once again, and in the highlights I'll remove some blue and cyan and in the mid tones, all removed from green to make them a bit warmer and click OK then I'll use collar range to select the red areas in the image, and I'll use Feather ie softening the selection by two pixels. I'm going to use the gray layer underneath it to see what I've got. I'll use curves once more this time. Also, like the area of the neck of the model. All add red and yellow so I can make the neck as close as possible in color to the face of the model, because you can see that they differ. The next thing I'm going to do is create a new empty layer said. It's blending option to color an ad in existing color and brush on this part of the image to balance it a bit. We'll add some in the area under the cheekbones of the model and under the chin, all at it with a brush at 50% opacity and 50% flow. Next, I'll choose a different color to blend any color differences in the same place. Then I'm going to use the eraser to erase. If there's something I have added here, the next thing that impresses me is that on the side of the temple, in the left eye. There's too much red. Also knock off some of the colors in this area so they don't look too saturated. To do this, I'll use a regular brush with same color selected from the highlights. Then I'll brush with the same color here to balance the colors just a little bit, and I'll say this effect of 5%. I'm going to use him or red here and keep it at 5% at the moment. What I see is a result is something that difference from what I want as a final result. So this area will undergo a little more correction, but we can do that a bit later. Now all merge all these layers and use vibrance to make the colors more vibrant and full. And to do that, I'm going to add 80. Too much vibrance would cause the photo look artificial, so we'll only use on these areas. In our case, that will be the area that looks great and not so saturated with color under her cheek. When I'm ready all merger with the layers underneath it, I'm going to set up a blank layer and select the blending option of colors so I can choose a black color from her blouse and remove any color I effect in those areas. And if I were to accidentally pain on her skin in the same way, all remove the red in the shadows and keep this entire effect at 7%. When I'm ready, all merge it with the layer underneath. Then I'll use hue and saturation. I'll move the yellow towards the red color and also raise its saturation to make the color more intense. However it 50 it seems too much like an effect toe. All bring it down to 24 move the yellow to minus 57 which will make it even more redder. We'll leave the entire effect at 35% so I balance and remove some of the yellow shades in the photo. The next thing I'm going to do is use a luminosity mask to adjust some of the highlights in the image. We'll attach the selected mass to an adjustment layer, which I will set the screen. This is so I can reinforce the bright areas on the image in order not to choose another mask, I'll use this one again in control, click on it to select what I just created. I'll invert the mask and create another layer, but this time said on multiply, and thus I select everything else except for these bright areas in the image. The combination of these two layers will give me stronger contrast, and the color in the image will become a bit more caramel. Since the effect of the dimming is too strong, I'll leave it at only 22% of fast E in 22%. Phil. The effect of lightning the light areas is also too strong. That's why I will leave that at 30% opacity and 33% fell. Then I'll create another Dodge and burn group. I use the brush settings at 30% opacity and 2% flow. I'm going to start working under the right eye of the model so I can better balance the remaining difference in Allah, just a bright areas in this area. I noticed that the brush I'm using is with blending option on divide, so I'll change it to normal. I'll choose the darkening layer again, and with very light motions, I'll try to contour the border of the face all rotate the image. So it's easier on my hand to move. And I'll create depth with the help of Dodge and burn, because what I did seems to me to be to worked on. I'll use a mask and remove some of the effect by using a brush, a 20% opacity and 20% flow when comparing it to the original. I think it looks much better. I'm going to dark in this area of the models, knows a bit more, so I can create even more death. I'll do the same thing with the lips. As with my last touches, it will be a 10%. I'm adding a little more to this area. I'll create a new layer of color, and with his help, I'll change the color in this area of the eyebrow, the model, which stands out a different and bluer than everything else around it. I'll use a brush to choose the color that already exists in the image, and I'll put it on a percentage in this case that 71% in merge it with the layer below it. I'll look again at what I've done so far and what I want to change, and I want to change the color over the upper lip of the model. All therefore, create a blank layer of color once again and use a color. You guessed it that already exists in the image, and I'll gently brush it on. We'll use color balance in the light areas as I remove the red and added blue in this way, I'll remove the red in the bright areas of the image, also like the eyes and use shadow and highlights to see if I could brighten up the dark areas make the eyes more visible since I obtained nothing. As a result, the shadow on highlights tools obviously unusable for this purpose. For this reason, all select the blue, which you can see is too much in the white area of the eye and brighten it so it can look more realistic on this layer. All Adam ask, and I'll reveal only when I want this effect to be applied this way, I'll make it to be more natural and riel and not so blue as I tried to make the I as realistic as possible, comparing it to what I've done so far. I see I need to select the eyes once more and make a new layer. What I'm going to do now is bright in this area with the help of levels. By adding light into the mid domes and into the bright areas and all. I had a black mask to help me restrict a bit what I just did now, where I want the eyes to be lighter and crisp. For this purpose, I'll use a brush at 50% capacity and 40% flow when ready Homer gist layer with layer underneath. By pressing control any I'll use opposite vibrance, which will make the colors in the photo much fuller. For this purpose, I'll use 50% vibrant and minus 5 to 6% saturation. This is called opposite vibrance, thus adding vibrance and removing saturation. This way you keep the colors riel, but much more saturated something you cannot achieve. If you use only saturation, we'll fade this effective 50%. The next thing I'm going to do is use the curves and add points on the face of the model, and I'll remove some of the red in the bright areas of the image and all fade this effect of 40%. Next, I'll select a light, luminosity, mask and feather the selection with two pixels. Before that all created Dodge and Burn Group again toe. Help me with making contrast in small areas at a micro level using luminosity. Master help. I create the group for dodge and burn. I'll choose the luminosity mask, which I chose a little while ago. Make a selection. Soften the selection by 0.1 pixels so that it isn't too much. We'll use a brush with the hardness of 50% and start adding light Onley in the bright areas . At first I'll use a large brush, but later all choose a small brush to simulate what we already have in the photo. You see, when I have a light mask has a selection. The lines can be rough from motion. The brush settings I use are 30% opacity and 20% flow. Also like the same luminosity mask by holding control and clicking on it. Then I'll choose select inverse, and I'll use the same brush. But this time I'll use on the darkening layer, and I'll contour the image using a bigger and rougher brush so I can create the illusion of depth. It's going to be at 5%. I'll fade it once again at 5% and continue my work by merging together everything I've done so far. With the layers underneath, you can see the in the beginning. Our photo is much more yellow, and now, with these color adjustments, I think the photo looks much better. I'll do another comparison from a distance, and the next suggest mint, which I think we need to do is use the levels. Brighten and sharpen the lighter areas in the mid tones. Enhanced the dark tones some or two. And let's leave the whole effect at 40%. When using levels, start moving the highlights while holding ALD. Everything should be black. When you overdo the effect, you'll start to see bright areas is little dots. This means that these air points that have already just started to burn in the light areas , and it's a good idea to take a few steps back before it begins to happen, or at least reduce it by a few percentage points. This could be used to check to make sure you don't burn light or dark areas in this case, I'll keep it at 35%. I'll look at what else I want to correct in the picture, and I want to raise the eyelid of this. I I'll use a relatively small brush at 32 I'll very carefully begin to lift only the upper area of the island. The next thing I'm going to do is lift up and brush up the shape of the jaw with very light movements, and a large brush will change this area of the shape so there's more balanced and the lines or smoother. This needs to be a little change in the area of the chin. In the nose of the model will use a very small brush. I'll raise the eyebrow very carefully, and when I'm ready, I'll click. OK, I'll use color balance in the light, adding a little more science and adding a little green to remove the magenta. We'll keep this 85%. I'll create a new group for Dodge and burn all turn on my health group to better see the details. I use a brush again with opacity 40% and flow a 2%. I'll start by darkening the dark areas in the eyes so that I can generate greater three D and death in the eyes of the model. I'll remove the darkening layer so I can better see what's going on. So it's not so dark and we'll continue working on the same area. The picture. I repeat what's already dark and will eventually lighten up in those areas that are bright . I'm going to do the same thing with the other I all dark in the dark areas of the eye and lighting the bright areas so I can create greater contrast. In death, I'll go back to the other eye with a white brush on dodged with 20% opacity and 10% flow, I'll move away and rotate the picture to make it easier for the movement of the hand and the same thing. I'll use in the eyes of the model with a smaller brush to create death at the bottom and tops of the island. Now use a very small brush in the eye of the model again so that I can create death below the lower eyelid. I'm going to reinforce that line underneath the eye, then also like Dodge and in the same way. I'll begin with the breaking of the eyelids, a small brush start contouring at a micro level under the eyebrow of the model to create some more death and contour. The bride areas. Well, that's a more light to the outer area of the eye. I'm going to do the same thing again on the other I. I'll continue to strengthen the light and dark in the dark ones. I'll create a similar thing on the lips to be able to create depth in this area, as well as on the eyebrows of the model to make them more crisp and expressive. All strengthen this area underneath the eyes and the signs of the eyes, and I want to look at it from afar and see what the results are. And because in places my effects strength seems too strong for what I want. I'll use a black brush with a pastie, 50% inflow, 50% to remove some of the effect I just created. If any of my lines appear to stronger too sharp, I can always use a blur filter. In this case, it'll be Gaussian blur. I can blow the mass of the lines in the mask aren't so strong. There are places where I want to remove some or of the effect, so use a black brushing in and remove some of what I added. The other option is when I want to add a blur in the mask. I can use the feather settings this way. I can always return to it and correct it later. That's what I'm going to do with Dodge Adjustment Layer. The next thing I'll be using is a white brush and Brighton under the eye, with 30% opacity and 1% flow all dark in this area, in the hair and the boundaries between the skin and the hair. To make the boundary smoother in this area, I'm going to use a bigger brush and also works, Um, or in that area, a light in some areas of the neck. And then we'll move on to contouring the year so that it's symmetrical, has a similar texture and color, as well as make some similar light levels concurrent with the other areas of the image. Because of some areas, air to visible and others are untouched. It'll be obvious, and we'll look strange. That's why I want to lighten the light in this area as all dark in the dark spots. Afterwards, I'll concentrate my work here on the light areas because they will thus create greater dynamic when combined with the dark layers. - Here , I'll use a slightly larger brush and finally set this affected 8%. Maybe she needs a little work in this area. The location of the neck of the model definitely doesn't look good, and eventually I'll have to continue my work in this area. I'm going to make a slight change in the eyebrows own. I want to look at what I've done so far. I'll rotate the picture and select the darkening layer and with its help, darkened these micro areas on the lip of the model. I'll choose the brightening layer and remove the dark lines in the lips. I think it's beginning to look much better before and after all, dark in the dark areas in the eye and lighting the bright areas to make the contrast even stronger and sharper. Also, like the I and choose Gaussian blur in the darkening layer so I could make the lions a little bit more scattered. We'll keep that effect at 40%. Finally emerged this group of the layer underneath it. I'll use the selection tool and also liked Onley this area around the eye and use liquefy. With the help of this filter, I'll slightly lift the upper area of the eye, namely the island texture, to make the line smoother. And I'll use a brush it 32 and now compare my current state with the original because the effect seems too much. I'll delete it and try again, this time making the effect much more inconspicuous. I think it looks much better. I'll use liquefy once again to bring back some of what I just worked on to make it look even mawr imperceptible. 16. BONUS Lecture: Black and White Image Processing: Okay, This is a bonus video to show you how photos are made to be black and white and how you can make yours have a striking effect on the viewer. It's not just adding black and white layer and removing all the colors. Let's see how it works. The first thing I'll do is go to the channels with shortcuts, control in one control into or control and three, and find the channel that contains the most information about the models. Freckles. In this case, it's the Green Channel. I'll select the Green Channel with control a and control, see and make a new blank layer and paste it with control V. I'll then increase the contrast in the image with curves and for this all dark in the middle. This is before and after. This is to be able to hide some of the background that was too visible. When I'm ready, I'll click. OK, then I'll use one of the luminosity masks I have so far and selected to make a mask on the adjustment layer said it to multiply that way. All dim sum of the lights that I think are too strong. I want to limit the effects on Lee to the top of the face. And I have already used one mask and can't add a 2nd 1 because layers can't hold more than one. When I'm happy with what I see, I'll put this layer in a group and will put a black mask on that group with a white brush. I'll pick out on Lee those places where I want the effect to be applied. Some of our touches will be lower than 100% opacity. When I'm ready, all merge it with the layer below. I'll select one of the luminosity masks one more time, and I'll invert this elections because I've selected light ones reverting this election, I'll select the dark parts of the image. I'm going to add an adjustment layer of multiply, which will darken the image and make the light parts much clearer. Well, since the effect is too strong, I'll drop it in its percentage. In this case, it will be 10%. Once I'm happy with what I have as a result, all merge it with the layer below. I'm going to create a new dodge and burn group with the help of which all outlines certain parts of the image and create additional depth. I'll start with the outer contours of the face and hair. I'll also pay attention to the light parts, working with the brush of 30% opacity and 2% flow. Additionally, I'll also create depth in the air, go through the light sections of the hair with a relatively hard brush and add some more light to that part of the neck of the model. If I think the effect is too much in some places, I'll just delete some of the places where I want the effect to be less. I'll remove some of the places I added this effect to earlier and will now use the Dodge adjustment layer on this part of the models eyes to further enhance the brightest parts so that I can create even more death. I'll do the same thing with the year. I'll add both light and darkness and increase the contrast a bit in the small areas. The micro zones. The next thing I'll do is select the adjustment layer and will use an even smaller brush for brightening with capacity of 40% and flow a 20% I'll make some of regular lines that simulate hair and thus a lighten or darken those parts where I want to add light and contrast when I'm ready. Oh, merge it with the layer below. The next thing I'll do is create a special adjustment layer, which will help me see the invisible things in the photo. This layers called solar and all added to the actions in this tutorial so that you can use it to help see things that are not visible at a first glance. This can be used on many occasions. Now I'm going to use it to see what's happening in the dark parts of the image. And if there are any flying hairs or edges I want to remove when I see some, I just remove it with the healing brush. But this spot here, I'll also use Clone Stamp for these places. I'll use the healing brush or the clone stamp to manually select the places from which I take and replace a little more at the top of the picture. And when I'm ready, I turn off the solar layer. I'll compare it to the original to see what I've done so far and activate the black and white layer to see what I've created from this color image. When I'm ready, I'll save the photo. I hope you found it interesting, enjoyable and learned something new. Go ahead and drop me a line. Or let me know if I was helpful. What else? I could contribute and share with you. See you soon and keep photo shopping.