Photoshopping People: Intro to Portrait Retouching | Marshall Rimmer | Skillshare

Photoshopping People: Intro to Portrait Retouching

Marshall Rimmer, Filmmaker

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9 Lessons (1h 10m)
    • 1. Welcome to the Class

      0:50
    • 2. Process the Raw Image

      7:52
    • 3. Correct the Color with Adjustment Layers

      8:52
    • 4. Sharpen the Image with Layer Masks

      7:27
    • 5. Smooth the Skin with Frequency Separation

      13:02
    • 6. Clean the Teeth with Opacity Tools

      4:17
    • 7. Shine the Eyes with the Sponge Tool

      7:44
    • 8. Brush the Hair with Liquify

      7:15
    • 9. Stylize the Picture with Color Balance

      12:26

About This Class

Retouching portraits is daunting. There are infinite ways you can adjust a picture. This class narrows it down to just the basics, helping you quickly beautify pictures of you or your friends without drowning in the depths of Photoshop.

In this class, you will learn how to accomplish the following:

  • Import photos with maximum color possibilities
  • Sharpen the image in a subtle manner
  • Correct color using levels, curves, and vibrancy
  • Beautify the skin
  • Accentuate the eyes
  • Whiten the teeth
  • Shine the hair
  • Create a natural vignette
  • Stylize the image

If you still don't have access to Photoshop, go here to download it at a discount.

Photography can be a very collaborative process. Save some money by using Fiverr to work with other creatives for only $5 per gig.

Transcripts

1. Welcome to the Class: thanks for taking this class on. How to photo shop people is a very basic approach to just doing really small things to take your pictures from very kind of boring, bland, normal, straight out of the camera pictures, too nice and pretty adjusting the skin, the face, the eyes, kind of overall levels, making really nice picture out of it. I basically go into color correction. How to change how toe make your picture a little bit more beautiful and then adding distinct styles to the image as well. I don't do any kind of fancy actions or a lot of hot keys or anything like that. This classes very straightforward. It's it's for beginners. It's for people that just want to make their pictures look a little better. So if you like this class, let's jump into it. 2. Process the Raw Image: All right. So let's jump into this baby. Let's open up our files. I just took some pictures of myself the other day that came in J peg and then raw as well. Ron takes a little time to process, so I, um, always like Teoh bringing the pictures in raw. This is just an introductory course. I know a lot of yells. Pictures will be in J peg. So feel free to just open him up in J Peg. What? I'm going to spend a little bit of time and showing you how to bring a raw file into photo shop, so always right, click and open up with photo shop. Okay, So what? This basically is, uh, is kind of preliminary study things that you can adjust to change your picture bringing into photoshopped. So what we're trying to do here is we're really just trying to make the picture as exact and as precise as possible. We're not doing any crazy effects or anything like that. So one thing to note is you always want to make sure that your depth is in 16 bits and not eight bits. That just allows you to manipulate the color a little bit more easily. And this option is just down here under the picture. In the depth of 16. The space there's a whole lot of options is very complicated. Obviously, we're not gonna dive into the all this right now. Kind of the main two schools of thought. People like the adobe RGB, and they also like pro photo RGB. You're fine with going with either of those. You're finally going a lot of these, honestly, but I usually stick with the pro photo. Uh, adobe RBG is Justus Fine as well. So pro photo, 16 bit. That seems pretty good. We want to make sure resolution is 300 not 72. And that looks pretty good there. So we're gonna start off. Um, the main things that we're doing here, we're not doing a lot. We just want to bring it in to make sure that we've we get as much information as possible . Ah, And to do that, we're usually gonna bring the highlights down and the shadows up a little bit. This just allows us to see a little bit more of our image, get a little bit more detail. Um, and so what we're looking at is kind of the the forehead right here. We want to make sure that we get as much definition in the forehead as possible, So let's just look at the extremes. There's highlights all the way down. There's highlights all the way up. So usually I want to bring in until you can start seeing a little bit more detail, the forehead, some dropping it down to about negative 60 there and then shadows. We'll look for kind of dark places in the hair to make sure that we get all the detail, the shadows, all the way up shows all the way down. So we want to see into the hair without making the image to washed out like that looks a little fine. Now, keep in mind that photo shop is all subjective. So the more you do this, the more you'll find out what you like, what you don't like, and the more you'll be able to kind of see in the nuances of, you know, a difference between plus 70 shadow and plus 65 shadow. Very minimal, but you do this enough times, you'll you'll be able to see the difference so shadows up. Highlights down the color temperature here is also a little bit cool for the lights that I took it in. I know that the color temperature was warmer. Unfortunately, this picture we're seeing a lot of skin tone. Right there is the face. There's the wood in the background, and then there's the shirt. That's all kind of a peach color, and so it's kind of compensated by the temperature here. I think we're just gonna bring it to maybe 49. Get a little bit of warmth more than it. Waas. I don't mess with anything else. For the most part, here, we can look somewhere, other settings. There's curves and and honestly will be able to adjust the curse once we dive in the photo shop. So this I'm really not doing that much. Now I might sharpen a little bit. There's sharpening at full and all the way down. And to tell you the truth, the sharpening here is pretty good is as faras um, the ways that you can actually sharpen within photo shop sometimes have a little bit of side effects, little bit of change so we can zoom in to the I don't really see. It's kind of grainy and stuff that we don't really care for, so that for you might come in. Maybe somewhere in there and again we can further just the, uh, the sharpness once were actually in photo shop. So zoom in and zoom out. You're just clicking and dragging to the right or dragon to the left. Great. So is there anything else that we want to do? And the Onley other thing that I typically do here now? I did say that this part of the process was mostly about getting the picture is correct as possible. We're not doing any kind of stylization, but I do like to add the vignette in this stage versus in photo shop just because it's a little bit smoother and there's not as much banding, which is basically seeing kind of the lines of the vignette. So I like having vignettes, but I like having them subtle. I like photo shop to a degree where people don't know that you've processed your picture through photo shop. You see something like this since clearly been altered, right? So there's a good rule in photo shop that's kind of called the 50% rule. And what that means is, once you see what you add in effect and you see how how goes on your image and you like it , just drop dead back to 50% of whatever you altered it to. So my 34 So I want to add go down to about 17 or so. So what? I'm there. This effect is so subtle that if you look at this image, you're not gonna think that I went through photo shop, not look at zero. And there's no vignette there. Somewhere around that negative 20 I've added something yet, and it's it's not very noticeable, but it really draws our eyes to the center of the image. They're usually feather these up a little bit, almost with the midpoint. That much we're basically doing, I'll show you the extreme, the midpoint here you can set how big that actual circle is, and feathering is how, why the effect ISS. So something like this. It's pretty nice Tween somewhere in there. Sure and again, we're not doing it for style as much as we're doing it just to kind of help draw the eye to the middle of the image. So once we've done that, that is pretty much everything I do in this part of the step. We're ready to bring into photo shop and begin altering, so let's hit open image and we'll get to it. 3. Correct the Color with Adjustment Layers: okay, we've brought our image into photo shop. Now the way that I approach photo shopping pictures is basically in three different steps. The first step is the color correction process. I'm just trying to get the picture as exact as possible, as precise as possible. I want to look like what my I saw when I took the picture. The second step is the beautification process. That's when I'm making the eyes pop. I'm making the teeth white of maybe making the skin a little bit smoother. Eso I'm adding beauty to the process, and then the final step is style. So that's any kind of, um, crazy colors. Or, you know, basically think oven instagram filter or anything like that. Vignettes is maybe some focus stuff, so I'm style izing up the picture after I've messed with the the beautification. So those were the basic three steps, so we'll start with the correction and something to note about. The correction is, especially if we've If we've opened up the raw file brought into Photoshopped, we've already done a little bit of that already in the last video. And so this this when you look at this picture straight out of the camera. It's a pretty clean photo. It's We haven't many gross mistakes with lighting or color, anything like that. So the things that I'm gonna do here may be extremely subtle in this picture. In your picture, they might be a little bit more noticeable. So I'm just gonna talk through these things, even if they don't look like they're making a difference. Just so you're aware of what you can and can't do during this correction process. Now, I'm also big in grouping and putting things in folders just to keep track of your process. Because it's it's very difficult. There's there could be a lot of layers in photo shop, and if you don't organize, it's gonna get really hairy really quickly. So I'm going to create a group just by clicking on this folder and changing the name here. I'm just gonna make this correction, and after I do that, what I should have done at the very beginning what you always want to do in all your photo shop projects, you always want to duplicate the layer. I'll just keep it back on copies, find you always want to duplicate the layer when you start just because if you make any kind of destructive actions, you change any of the actual picture. You always want to be able to go back to the original in case you don't like what you've done. So duplicating the layer is basically what I do on every single photo shopped project I ever touch. So that being said, let's jump into the correction of the correction. I usually do a bunch of adjustment layers now. Adjustment layers are layers that affect the entire image that don't, uh, that are not destructive, meaning they don't actually change the image itself. They just adjust things like the color and the contrast and things of that nature. So most of my correction is through adjustment layers. I also might do a level of sharpening that is not on adjustment layer. So I click on this little half circle here and I can look at the different adjustment layers. I can also add one by going through any of these and Photoshopped. There's 10,000 ways to do every single process, so whichever one you think you like the most, go ahead and do that. So I am this guy and I will start off. Usually start off by looking at the exposure. And we've done a pretty good job. You know, we brought it in. We drop down those highlights, we could look at the exposure. See if you want to change it all, I might take it down. Just a hair. Not too much again. We are. Ah, it's very subtle, cause we did a pretty good job taking the picture in yours. You might see more of a difference. And if you want to see what these layers have actually done by turning them on and off, you click on this eyeball and you can see the difference here is extremely subtle. But if we did do something like make it really bright, for whatever reason, we could turn on and off. And now I can definitely see the difference. Go back to that point eight point away. Okay, so from here, I might look at the levels now. The levels you have your input levels appear your output levels down here. This is an history, Graham curve. It shows you how the light is distributed throughout your image. And you can see that most of the image is below the 50% line here, and we're seeing not Aton up here. So what I might actually do so I might actually bring these levels down. And that will make the image a little bit more evenly distributed throughout. Its also feels like it's going to raise the exposure and change the contrast a little bit. Now, these thes adjustment layers you know, when you're doing photo shop here always doing this dance of of adjusting one layer, you might go back and adjust the other layer because of how the other one changed share was doing this dance. You're always going back and forth, adjusting different things. Extremely subtle difference there. Okay, so after levels and I don't with levels, I don't adjust the output too much. I might do this in the stylized Ah, step at the end. You know, if I raised these out this output, I could do some kind of faded film thing. Lowering the output just kind of darkens it up a little bit, but I usually don't touch those. I usually just mess with the, uh, input levels here. So after I do that, I I'm going to do these curves I'm going to do the exposure than levels incurs the way that layers work. Is there red top down. So whatever's on top is just first, then the next one and so forth. So with curves, there's a basic, uh, curve that people like called the S Curve with the S curve is is it kind of raises the highlights and lowers the shadows a little bit. Now it may seem like that's going against what we did at the very beginning. And even though it it mean, maybe technically is, uh, what we did, it's beginning to bring the highlights down. We actually gained mawr information. We actually gained more texture on more in the actual picture. And now we're just stretching it a little bit, and we're just bringing some contrast to the image. So at the beginning, the beginning step is we want to make sure that we've got everything possible and in this step is actually adding a little bit of contrast to make the face pop. So the best way to do the S curve is you click basically in the middle and the top part of the s you're bringing up now this s curve. It's not gonna look like a actual s like something like that is, that's bad. What it's going to do is it's really s curve kind of in name. So we bring up the mids just a little bit, just a little bit, and we grab the shadows here and bring them down. Just a hair that might be too much. But find whatever it is to your liking and adding a basic s curve give a little bit of contrast your image, make it pop. And then because of that, we might have to dance these levels back up. And that's looking pretty good now because we have all of our adjustment layers in this group. We can turn the group on and off and see what we've done so far. And this s curve. Honestly, the shadows might be a little dark, so I just want to make it a little bit more subtle. Okay. Very subtle. I might bring this again. You're always doing this dance. Okay, That's looking pretty good. And again, we're just trying to capture what came out of the camera. I don't mess with any kind of color balance. I leave that for the ending with style izing at the end. So this is pretty much the three adjustment layers that I dio and then I do some sharpening as well, and we'll do that in the next video. 4. Sharpen the Image with Layer Masks: Okay, so now that we've done the correction steps, we're going to do a little bit more correction with the's sharpness now, because we brought the photo in in raw, we did do a little bit of sharpening when we did. That's we can zoom in and see that it is a little bit sharpened here. So what I'm gonna do is gonna be very subtle. Yours might be a little bit more subtle, a little bit less subtle, just depending on your picture. So there's a multiple multiple ways. There's multiple ways of sharpening in Photoshopped. I'm gonna teach you three popular ones and then, you know, show you which one of those is my favorite. So the first way to sharpen things is a popular way at least back in the day. And that's the unsure mask. Now the unsure mask is not the best way to do it. But I will show you how to do that, and we will duplicate the background layer and we will call it the unsure AARP mask. And what we do is we can go up to our filters, sharpen, unsure AARP mask. We want to put on the eye to see what sharp and we're gonna play around with the's, the radius, the amount on the threshold until we find something that we think we like. That's looking pretty good there. So we hit okay and we'll zoom in and we could see on off on off. We think it's a little bit too much. We can adjust capacity and that will help a little bit on off. So the in short mask is not the best way to do it because it's it's a destructive layer. What that means is we're actually changing the picture self. We're not doing on adjustment layer like we were earlier. So I'm gonna trash theon sharp mask Another way we can do it. Ah, that's somewhat popular. Is thes smart Sharpen. It is very similar to the UN short mask. We're just going to call it smart sharp, and we're gonna go to our filters, sharpen smart, sharpen. Very, very similar. Look at the eye at just the amount The radius. This one, we can reduce the noise a little bit. Just go crazy. This is not what we're gonna dio, but just to show you what we can dio. And that is way too gross. Ah, obviously we're not trying to make it look great. I was just showing you how to make that layer. Now, the way that I like to sharpen is the high pass method. So to do that will duplicate are layer just like we did with the other ones. Will Kawhi pass and the filter is in other high pass. Now it's gonna look pretty crazy and weird, but stay with me. It turns all gray and we just way too high. We start seeing the colors through. That's not what we're doing now. This is a layer that's going to be used on top of another layer. So that's why it looks like it does. And I'll show you how to adjust the blend mode here in a second. So with the radius, we're just trying to go till we see start scenes and details. Something like that is nice and subtle. That's probably what we're going to go with. So once we've done the high pass, where I'm gonna put it in the correction folder Oops, I did this earlier. Okay? We'll put it in the correction folder and we change the blend mode and This is how Photoshopped reads each layer. So if we do overlay that high passes actually over laid on our background So now we go we can have it on and off, on and off And you can definitely see a difference now when I sharpen it there many details in my face that we do not really care for Right? So what we're going to do is we want the high pass to Onley affect the eyes and the hair, the hair pops. If you look at the hair, drink on and off it pops a little bit when it sharp and so to the eyes. And so what we do is we're gonna create a mask. So now that we have high pass highlighted would click the mask here and what we do is as long as this part of the mask is highlighted, we can hit, can command I and that will invert it. Or we can paint bucket black over the image. And what that does is that actually turns off this layer effectively until we paint white over it and then we'll start to see Onley parts of the layer. So when I paint over the eyes. The eyes in theory will get sharp and we can see that they dio a little smaller. Same with this, I hear. So now I can turn this on off and we see only the eyes are getting sharp and the skin is not getting all gross like it was earlier. Now I could do the same to the hair. We're just gonna brush hair a little bit here. If we want to see exactly what we're doing, we can turn off the background layer and we see that we've brushed the hair. So we are going to brush all this hair so it pops out for us and again we can see there. I'm feeling some of the gaps. That is all that were sharpening. I could sharpen the beard if you want to. Why not? I don't know if that's good idea or not. Ah, not the great not the greatest idea, but whatever. So that is how you sharpen. So this high pass is in our adjustment layer and our correction here, and we can see everything that we've done in the correction process, on and off, on and off. And you could tell the difference is subtle, but it definitely is nice. We've added a little bit of contrast. Uh, we've sharpened up some of the areas toe, help our gays look at them, and so that's always done with correction. And remember, we did do a lot of this process when we, ah brought it in from raw. So if you bring in a J peg from a camera, I assume the difference in your correction will be a lot more so this looks pretty good. So now that we've done the correction, we're gonna move on to the process that we typically associate with photo shop, which is the beauty process, and that's cleaning up the face and making it look nice. 5. Smooth the Skin with Frequency Separation: all right. Now we're ready to move on to the beautification process. So again, I am all about these groups or basically folders, and we're basically just gonna call it beauty. We'll put under correction. So get the correction first and then the beauty. So we're starting with skin. Skin is very important. Skin is most everyone's skin is not is clean and beautiful as they are in photos, especially men who are not wearing any makeup at the time. And there are many things to do with skin. I definitely recommend looking online and purchasing actions. Actions are basically, uh, automatic things that people have already already created that help part of the Photoshopped process. So for just five bucks here, five bucks there you can buy a couple skin actions that really help beautify the skin and make everything look really nice. But that being said, we're not going to get into that because there's so many actions all over the Internet. Just google it. But we're gonna do the very basic steps that will help your skin if you don't want to take the time and effort to looking into the actions, So the craziest skin thing that I know. And it's amazing how it's just Ah, amazing how we're gonna start over real quick area. Okay, so now that we've done the correction, we're ready to move on to the next step of the process, the beauty process. And I'm going to create a group or a folder here and call it beauty. We're gonna make it under correction, cause remember, it's top down and we're ready to go, so we're gonna jump into this skin Skin is very important and most people don't have skin. That's is pretty, as you see in photographs, especially men who aren't wearing makeup at the time. Skin might be blotchy, so we're going to just the skin right now. Now I recommend looking online at different actions. Actions are things that people have already created in photo shop, that multiple steps that will automatically help the skin. There's so many out there that are really good. They typically cost just about 5 10 bucks on they can. You can keep them for a lifetime, and they will always help your skin. That being said with the actions, I'm gonna teach you just a handful things. If you don't want to take the time and effort to look into that. We'll just do a few skin touch ups now. So the 1st 1 that is so important is just the spot healing brush tool. It is such a powerful tool, and I use it in just about every picture I take. Uh, so what we're gonna do, we're going to duplicate the background layer, because why not? And we're gonna call this, uh, how about clean Face? We're gonna zoom in by holding the command and pressing Plus, and the crazy thing about this spot healing is we just find little spots on the face and does all the work for us. It's really impressive. Now you don't wanna overdo this. And what I mean by overdo it, I guess, is you want to keep the face. Uh, you want to keep elements of the face that are there naturally, like this little freckle on my cheek here, I I don't really care to spot correct that. Even though it may look better, that is a freckle that's always on my face. And that's part of who I am. So I'm gonna keep that so same thing with, you know, maybe moles like if if the person who the picture is off once it removed Cool. If not, um, I recommend trying to keep people the way that they look when I photoshopped people, I'm all about capturing what's there and trying to create a natural look versus making something that's not really there in the first place. So this looks pretty good. And what's crazy is when we do this on and off, you can see on and off all those little dots that we have. I don I don't even have acne. That's just I guess I didn't wash my face that day insane. Okay, so that is a huge thing to do. The spot healing. And the second is going to be the skin tone itself and smoothing out the skin tone. Now, there are just, like, anything info shop. There's a 1,000,000 ways to do it. I'm gonna teach you a basic way and then briefly teach you something that's slightly more advanced. So now that we have our clean face here, uh, I'm going to do booklet duplicate clean face, and we're gonna call his clean face, uh, soft, and we're gonna do another duplication what we call a clean face detail. Okay, so you know what? I'm gonna put these in a group. Oops. Just so we can see them all. So if I highlight them all and then put them in a group, it automatically throws them in there. Uh, so I'm just gonna call this base. Okay? So we have a clean face, clean face off cleavage detail. Let's turn off detail. Let's focus on clean face soft right now. Now, if we go up here, two was a blur. Pick the Gaussian Blur here. We can soften our image up right now. What we want to do. Yes. We want to soften the image up just a little bit. We don't want things to start, Bill blending together, bleeding together like this. We want something just so the skin looks nice and smooth. Something like this is fine. Maybe. Yeah, maybe five or six. Now, if you'll notice the I still are a little bit sharp because we have the high pass on the eyes. So that's why those may look unchanged. So we've created this soft here. Now we're going to make a mask out of it. Make sure the layers highlighted. You make a mask. We had hit command, I So now the mask is gone and we just paint over. So this is this is kind of the quick and easy way to do it is you just do a soft blur, and then you mask over this skin here. So anything I paint white on the skin will show up. Now, when I do this, you will kind of tell we're losing a lot of detail here and almost looks a little to airbrush, doesn't it? So let's go ahead and just continue what we're doing. You can see. Yeah, you can see if you're really getting in there. My forehead now has no detail. My cheeks have no detail, my nose, no detail. And this, like a lot of things. And Photoshopped doesn't look great the second we do it. But once we adjust how, uh, the layers interpreted by Photoshopped it starts to look a lot better. So if you saw a picture like this at first glance, you think it looks nice. But then you kind of look at it for a little while and it looks really bizarre, right? If we go to our opacity of our layer. Ah, we couldn't just the overall opacity and we can make it a lot more subtle. So there's 100% there. We go down to something like 30% and suddenly we're still seeing some of the detail we go on and off, and we have smooth out with skin some. So that's the quick and easy way to smooth the skin. This is very subtle here. Now, the more advanced way that I'm briefly gonna teach you is something called frequency separation, which is a big, scary Photoshopped term. But that basically means is you can create one part of your image that has detail in it and one part of your image that has color information in it. So if you can smooth out the color information but keep the details of the skin, that's always gonna look really nice. So frequency separation is something that eyes good to know about, but it is it a little bit of an advanced concept. So we've already created this, uh right this soft face that here that we've masked over the skin. I'm just gonna take the mask off real quick delete layer mask and we get a little bit of all right, We put the blur on. So I'm gonna turn back on clean face detail that we had created earlier, and we're going to add a high pass to this And remember, just like the eyes. The high pass is just the detail. So something like that looks OK. We're going to change the blend mode to overlay, and now we have color on one. This is a very crude example Color on one and detail on the other. Now you know that high passes a little bit too extreme for me. So I am going to go back. And I went to our history and just went up to change that. I'm going to go back to high pass and make the detail little less and overlay. And there we go. That's better. So now this is virtually the same image we had before. But we have our detail on one and our color, more or less on the other. And I might actually make the blur a bit mawr just to emphasize the point. We go too much, and this is when we start seeing it looks very airbrushed as the exact thing we want to avoid. So I'm starting to see elements of airbrush maybe in here at 17 so we'll drop it down to about half. Okay? Cool. And so you use the clone stamp tool here, so we need to define it by hitting command and no option. Click. Sorry. Option. Now we have to find that we want to make sure we're on our color and not our detail. We hit option, and then we pick the color and now we can just smooth out the skin a little bit. So again, it's what's cool about this is we're not messing with any of these wrinkle details or anything like that. If we want to keep that and we can see on and off and really kind of smoothed out things really nice. Great. So that's looking pretty good on our skin. So if we want to see what we were before was this and now we've smooth skin. We've taken out some of those imperfections. That's great. 6. Clean the Teeth with Opacity Tools: Okay, Now that we've adjusted the skin, I'm going to jump in there and work on the teeth. So the way that I do the teeth is actually a destructive layer, even though I don't like to typically work that way. What? I found that it is kind of the most effective when it comes to your teeth. So I will take the clean face soft. Remember, that is thes softened version. That's the color information that we've created. And I am going to duplicate the layer. I'm just gonna calm teeth. Why not? Okay, So, teeth, we want this to be a layer mask because we only want the teeth here. But before we do that, we're gonna make it look pretty crazy, so I'm going to go to the adjustments now. This is not an adjustment layer. There's actually adjusting the, uh, layer of teeth itself. So I am going to do exposure. I'm gonna make those teeth. Were just looking at the teeth here. That's to right. We're just gonna make, um, something like that. We could be a little bit more than we want to be. It's OK. And now that I've done that, we're going to just warm or thing hue saturation. Sorry. Let's go to the vibrance. Little be a little bit easier. We're going to adjustments, vibrance, and we're bringing the virus down. And the saturation down this teeth would pretty white to me. Okay, so now that we've done that, we want a mask. It hit command. I was gonna invert that. And now we're just gonna jump in here and brush the teeth now, because the of the opacity I'm assuming it's gonna be pretty, pretty intense. Pretty intense here, Yanks. That's okay. This is one of those filters and photoshopped that once you get where you need to be, it looks OK. But in the meantime, looks pretty silly. There we go. Look at that. So now we're going to adjust our opacity, and we're gonna just bring it way down there So teeth that are too bright are always a sign of bad photo shop. I think that is kind of on the border. Right? So we do. Our 50% rule were at 33. Let's knock it down, toe 18. And something like that looks pretty natural. Looks like I have nice white teeth thing about teeth is that when you bring a picture in and you add some warmth, you want to make the skin looks good. It typically adds yellow to the teeth. So even if your teeth are white, I'm not saying my in our But even if your teeth are white, they typically do need some some cleaning up here. So this looks pretty good. We see on off and definitely a difference. Brighter and whiter. That's great on the teeth may maybe bring it down. Maybe bringing down here. Another thing about photo shop is things that may look good to you. Now you can walk away for 10 minutes, come back and and totally hate. So always feel free to use those adjustments, the opacity. And when you work in a non destructive manner, you can you can change those things infinitely. So so when you change one part of your image, you're balancing it out. You're doing that dance the whole time, so this looks pretty good to me now. I might hate it in 10 minutes, but looks pretty naturally. Think maybe a little less 7. Shine the Eyes with the Sponge Tool: okay and all right, so we're going to jump into the eyes now, which are such an important part of every photo, cause it's where you look the second you see the photo. Before we do that, I'm gonna put the teeth in the beauty folder here with belongs. Now it did go above and change some layers, but it's not really affecting anything. So that being said, we want the eyes thing with the eyes you definitely want. Make sure they're sharp. This photo had a bit of noise in it. Ah, so they're sharp because they can be. We want the color to pop, and we want the the eye itself over here to be a lot wider. So a few things you can dio is first, let's bring up the ah Iris itself. Iris pupil. The colored part. So we're going to duplicate are clean face soft. We're gonna call these eyes. One were put eyes one right here. Well, look at that. As one looks gross. So what? We're doing what we're doing with our eyes. One here is, um start over. Okay, so we're going to jump into the okay, So we're gonna jump into the eyes, the eyes air. Such an important part of every photograph is the first place you look and it says a lot about the person. So things with the eyes, we want to sharpen them up will want to brighten them up. Right now, this image had a little bit of noise in it. So the sharpening is pretty decently sharpened, but even over sharpen this thing a little bit. But the sharpness is good. So we're just gonna work on the brightness and the color there. So what we're gonna do, we're gonna duplicate our background layer here. We're just gonna call these eyes one, and let's go ahead and put eyes one up here. Now we're getting back all that nasty detail that we took out awesome. And with the eyes, we're going to do an adjustment and we're going to do the exposure. We're just looking at the eyes. Here is we adjust the exposure. That's too much. It's okay to go a little overboard, but you want to still make sure you get some of that color. Something like this is pretty good, and we're going to create a mask like we always do. We should put this in, beauty could be over and we're gonna click on the white box command I. And now oops. We're going to We want just this part to run a color on justice. Part brightens it. But we definitely lost a little bit of the color. Didn't way. So what we can do is we could go to this sponge guy here and we can saturate. We're saturate some of this here, get some of that natural color back in there. And you know what does actually make my eyes look prettier than there? So we're gonna find the balance of pretty and of reality. Ah, and that's probably somewhere in there. So I was like, That's a looks pretty good for the color of the eyes. Okay, so once we've done that to the center of her eyes, we want to whiten up the outside here. So we're going to duplicate background layer. We're gonna call this eyes too. Rep it eyes to in the beauty over here, it's just a simple background layer that we had. So what we're going to do is we are going to adjustments, exposure. So we're just looking at the white parts. The eyes write him up. That looks fine there. And then adjustments. Let's go vibrance. We want to make him nice and white. This might be a bit extreme, but we should be able to adjust the layers. And then finally, we're going to blur this, and I like the surface blur for the eyes because the blur does not bleed over the detail as much. So I just want it nice and smooth. That's looking pretty good. And now, once we've brightened them, whitened them and blurred. Um, we're gonna make this a mask, and we are going to paint over the mask with this very soft, very small, and look at that. So that's going to look way too extreme. But we're gonna bring it down real small. So another way we could have done this. We could have done this with a sponge tool, but I like the masks, the ability of their Oops, I don't want to plead onto eyelid. Okay, so that looks pretty terrible on robotic there. But if we had just the a pass ity, that's where the trick lies, and something like that's starting to look good, which means it's probably too much. So let's drop it down to 40. And hey, that looks pretty natural. I think maybe 35 cool. So there's the eyes. So, um, I'm gonna turn the beauty on and off licious focus on the eyes and we could see everything kind of brighten up little bit. Those teeth might be a little too much again. We're always doing the dance, always adjusting things. It's that that looks pretty good cool. 8. Brush the Hair with Liquify: a small dot but okay, um and that should be good. So let's talk about hair. Okay, so let's talk about hair for a second. Hair can be something that we ah, kind of get lost in. You could manipulate here in a lot of ways, especially if you're taking a photograph of a woman who has a lot larger hair. Uh, it could be a lot more opportunities to make it bigger, make it smaller. There's a lot more flyaways. There's a lot of things you can change. So we're gonna we're gonna discuss a few things about hair. I'm gonna show you guys a little little bit of the the liquefy tool, uh, that I usually steer away from, but with hair, it's it's a little bit better than it is. Typically, liquefies is the tool and Photoshopped that actually allows you to change the shape of of the body. And so it's a controversy, a controversial, uh, setting. But it is something that I feel like a long as you're honest with what you're doing. It's really a very helpful tool. So the first thing that I'm going to do is remove flyaways, flyways, air the little hairs that that pop up where you don't want them to pop up. I have a pretty short hair, so there's not a ton of flyaways, but you can see I have some beard flyaways, so I'm gonna clean that up a little bit. So how are we going to do that? We have our clean face. Soft. Uh, I don't want to duplicate that. Let's just go ahead and duplicate the background layer. So with a background layer, we're just gonna call this fly away and we're gonna bring fly away into the beauty folder here, Fly away We're gonna We're gonna make a little blur. Gonna do a blur Do the Gaussian galaxy in, Have you want to pronounce it? And just look at the fly away on the beard hair here. We're just gonna blur it until it's not even really there. Maybe something like that. Is that too much? Maybe some like that. Okay, we're gonna turn this to a mask like we always do. We're going to invert the mask like we always do. And we can just paint those beard hairs away. Pretty crazy. Same with over here. And this is extremely helpful. Tohave soft backgrounds. When you do this, he's flyways here only over sharp in this image. And if we want us, if we want to trim up the beer down here, we can. It's not really necessary. But better to shave, I guess. But yeah, we can definitely trim things down here like that. That looks good. Cool. So we've gotten rid of all those flyways we can see on off the hairs air. Definitely more prominent that way. Cool is that part looks great. Uh, I'll show you how to do the liquefy. Liquefy is in the filters. We wanna make sure that, uh, with liquefy I believe I believe you need to have the base ah selected. We'll find out. So we go to liquefy, and so this I'm just showing you an example. I'm not trying to make anything pretty, but you want this one highlighted over here, and you can This is how you shape things. If I wanted smaller hair, do keep my liquefy, You're going to start getting some side effects. But maybe I just want to bring it in here. Why not? Uh, my head looks maybe is better. Look, fight is a lot of things you can, uh, make parts of the body bigger. You could do all sorts of crazy stuff. Look by. So is it liquefies a pretty fun filter in general. Uh, but you definitely want to use it wisely and use it sparingly, not create anything like that. That's that's how liquefy works. I'm not gonna get into huge detail. But if if you know if your photo shopping a woman who has ah, large hair, it's a lot easier. Uh, the hair can become a little bit unruly and liquefied definitely helps to kind of put it back in this spot a little bit so we don't flyways. We've shown liquefy. There's also for men. Men start to lose their hair a little bit. It's a sad, sad truth on. And for that, I typically do the clone stamp. You could also dio Patch Tool Uh, but the clone stamp is typically what I like So option here and we can Let's see. Is this the one we want? We can start giving me a little bit fuller head of hair again. You start toe fall into some ethical issues here of of, uh, reality. I typically steer away from that. But if this is something that someone asked you to do, I just want you to be aware that's how you do it. I'm gonna turn it off because I I don't really think that looks like me when I put it on there. So that's that's another thing you could do clone stamp hair or, uh, receding hairlines. You have to liquefy and you have the flyways. And one last thing that we've already done with the hair. But just to retouch was with the correction. We did the high pass, we sharpened the hair, and that made it a little bit brighter. Very subtle, but it made a little bit brighter for us. So that is Ah, pretty much all you need to know about the hair. 9. Stylize the Picture with Color Balance: we might. Well, that could be part of the style. What may want to bring some vibrancy back in? Yeah, we didn't do that in the correction. So let's do one of those real quick vibrance after the lights before the sharpening. And we're just going Teoh at a little bit of color into the image, but not too much. Yeah. Cool. Okay, great. That isn't warmer. Image up looks pretty nice there. So let's go to the style. We're gonna create a group for these style. And when I say style Ah, a few things come to mind. I think of vignettes. I think of some selective focus. I think of some selective saturation, certain things like that. So let's start with the selective focus. Now, this picture itself has already done a pretty good job coming out of the camera where the face is in focus and everything else a little bit soft. But I'm gonna show you how to do this. The effect here will be very subtle because of the nature of this picture, but in your picture, it could definitely have a greater effect. So what I'm going to do is I'm going to the bottom base layer we have is our clean face layer. So I'm going to duplicate that. Where are you? I'm going to duplicate you and this is going to be are soft, then yet? And the way that this is going to work, I will keep this actually in the base layer, even though it is a styling just of the way, depending on the stylings to be above the base just based on how the information lands. So there's a soften yet. So we're gonna do we gonna tear a little last so we're gonna last so around the face doesn't need to be perfect, but it's good to have kind of the same distance from the face pretty much all around. Okay, so now we're going to right click and go to select and mask. And actually, you know, before we do that, hopes cancel. Before we do that, let's turn off these other layers. Great. So now we'll right click, select and mask. Cool. So we can see the mask a little bit better now. So what we want to do is we want to feather the mass. We're going to greatly feather this guy. Neighbors all right, just so we can see what we're dealing with here. Shift the edge. Maybe a little bit feathered a little bit more. We don't want any of this feathering to actually touch the face. Okay, if it kind of touches hair in the ear and the beard, some like this actually looks pretty good. So we're gonna hit. Okay, now we've selected that part of the face we're gonna right click again. We're going to do select inverse now that select everything but that area, the face. So now we're going to go to this nice little blur and we're going to look at my nose. We're going to look at the extremes, so as you can see, extremes and nothing. So this is all about the subtlety, all about the subtlety. We see it here. We think that looks nice. So that means we need to bring it back about half way. Why don't we go to, like, 4.5 5? Something like that. And again, it was started pretty good straight out of the camera. Uh, but now on my image, it will be more subtle than your image. Now we've done this to the soften yet. But if you notice that this clean face detail also that was our part of the image that was the detail. I believe what we can do is we can create. We can right click on this and say, Leah, Sorry, layer via cut. And now we've cut our clean face detail into two different layers. And so if we want to weaken, turn off the layer around the face because that actually conflicts with the Gaussian blur that we just put on. However, we will keep the face one there. So, did we overdo it? I don't know. I don't know if we over did that or not. It looks okay when it's small, but you come here on Lee, the faces and focus, we might have overdone it. Just a hair so we can do and go our history. Right before the Gaussian blur, we Reich Sorry, we go up to Gaussian Blur, and instead of doing five, we're gonna do 3.5. So we've done that. And now we need to redo the base, the layer via cuts and turn that off. And this looks a whole lot better so we can see This is everything we've done so far. And now that T shirt just blurred just a little bit. So it's looking pretty good. So that is how we do the focus blur. Now let's talk about We've already done a vignette. When we imported it, we could do a poor man's vignette. Um, by creating ah, blank layer here. This is like I said, those poor poor man's been yet. You want to go to this tool right here? Do ingredient. You want to make sure that it's black and transparent here, and I start from the outside and hold down shift. So it's a perfect line. Hold on shift. It goes in 45 degrees and boom, we're doing vignettes, and this is not subtle at all. But just you wait Now we could even do maybe, like a coming down from the side like that. Okay, that looks, uh, hopes. Okay, great. So there's Irvine yet has highly stylized I don't like it when it's obvious. So I'm going to do something like this and hey, that's have been yet. But you know what? It's not over the top and obnoxious, and I don't focus on the fact that there's a vignette. Um, I'm gonna go to my correction. Uh, exposure at an adjustment looks a little bright to me. Okay, great. So now that we have done the and yet here, we're gonna do another stylized thing. We're gonna mess with the color we're gonna make kind of a cohesive filter. I'm gonna, uh I'm gonna be inspired by Michael Bay movies where all the darks are blue in Scion and all the whites are orange. I'm not gonna be his extremes. He does, though. So, for what I'm gonna do, I'm going to do an adjustment layer, and this is going to be the color balance. We want to do this above the vignette because we wanted to affect the vignette. So what we're doing, we're going into the shadows or making the shadows all blue and scion and we're going to make the mid tones more Orrin G in the highlights, I think, or yellow highlights your little orange as well. I guess now that is extreme. But you know what? If I play with the capacity, I can actually make the image look pretty natural and have a nice look to it. I think we've overdone or mid tones. So now we're trying to find something just a little bit more natural. But something like that looks pretty good. So here's no style. And now we're adding a style, so cooling the shadows, forming everything else. Place it a little bit of that color contrast that makes her eyes like it. And you know what? We've done a pretty good job with his image, so let's just look it. I'm going to the entire adjustments on and off. Here's what we started with after we touched up even a little bit. Bring it in. And here's where he ended with Wow. And another style that we can do is the faded film look. And to do that, we can go to our levels that we had done before. And this is a style that we're doing. So those output that we talked about, we could make a nice little faded film look, So depending on what you want, just have to be careful. Some of the adjustments that we've done our on our above this so it doesn't affect those. So to tell the truth, this style may have to be even above the correction. Let's go both the correction. Let's just go very top. You could do a faded film thing. That kind of washes it out a little bit. Some people like it. Some people don't This style that you could actually put at the top the color balance if you wanted to put it above it would actually affect that as well. So something like that, That's great. We've done a really good job. Let's look at, um, piece by piece, the basic correction. Making sure that we do The vibrance is well, we forgot that we added that in a little later on this style. So the correction and then we beauty up the face. When that included this skin on the face, we did the forehead. Make sure to do the little bit under the eyes as well, if you want, and then add adding style. So I think we've done a really good job here. Thank you for taking this class, and I do teach a handful of other classes on cameras themselves, lighting and things like that s so feel free to check those out