Professional Beauty Retouching - Start to Finish | Marcin Mikus | Skillshare

Professional Beauty Retouching - Start to Finish

Marcin Mikus, Retoucher and Photoshop Instructor

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7 Lessons (1h 23m)
    • 1. Introduction to The Class

      3:44
    • 2. Raw Processing in Capture One

      9:19
    • 3. Raw Processing in Camera Raw

      6:00
    • 4. Clean up

      14:02
    • 5. Dodge & Burn

      24:08
    • 6. Contrasts and Colors

      15:49
    • 7. Final Touches

      10:14
16 students are watching this class

About This Class

In this retouching class I am going to show You how to do professional beauty retouching from start to finish. Thanks to this class you will be able to move your retouching into new level and finaly start working like a professional retoucher.

What you will get in this class:

1. You will learn how to do raw processing in Capture One, as well as in Camera Raw.

2. You will learn how to do professional cleaning up on beauty image - and how to use certain retouching tools.

3. How to do professional dodge & burn retouching.

4. How to work with contrasts and colors selectively to make images stands out!

5. How to do finall touch ups to make sure your image looks perfect.

And just to make this class even better, I am sharing with you high quality raw image as well as my custom made actions, so you can follow all process from start to finish together with me.

Transcripts

1. Introduction to The Class : Hi and welcome. My name is marching because I am professional retouching, professional fashion and beauty retouch er as well as Photoshopped educator. And today I'm really happy because I want to introduce you This start to finish beauty retouching which means I'm going to show you whole my process how I work on the beauty image from very start from the row conversion to finish what's really great I'm sharing review this image So you kind of follow all off my steps as Jewish or maybe do some changes It all depends to you So I want to show you the image I started way if this was the raw image and as you can see on the the end this image looks like this after all process So I'm going toe walk quickly Do some walk through and this process to your so you will know what we're going to work with So you can be sure you want tohave this class with you So this was the raw image and I did row conversion in a capture one which, after raw converter and I tried to adjust some colors a little bit more work with and complete mental colors toe make the background more suitable for her skin tone. So staying in a position like blue background yellow skin tones, you know, this works really great together, and this image gives me this opportunity to work this way. If you don't have captured one, don't where I'm also shall we knew how to do rock conversion in camera. So you will find something for yourself, for sure. And now I want to show you this editing process very quickly. At first, of course I did basically enough. So removing all of the sports and wanted her from the face on That will be our first step when we jump after row conversion in tow, photo shop. And after this one off, most absorbing part when it's about the beauty retouching. Of course, I'm not talking about dodging and burning, which is super important about working with the skin, man. Destructively, this is before that in Bern, and this is after you can see the difference is massive on the signatory cannibalism. This in, uh thus that's just clean up. And then that and burn process after doctrine, burn process. I'm working selectively on contrast as you can see to make this image stand out to give more perspective and my mosque are very selective so we can find out how I really work with the masks toe set up the perfect contrast for the image off course, working with Tom's so much in the town, setting them and better for the meat to get this final look. I'm heading toe. As you can see, I was working more on the background and her skin tones and off course, Andy and final touches. So how I want my image. Look at the end after are the Soma more fixes on the top over here that I missed before, which supposed to be done before? But this is what are you get in in this class. I believe it's super valuable because it's not too long and you get all of the process and all of the information you need to do a professional retouching. This was the image before, once again, this is the final. So become good re toucher today and get this class 2. Raw Processing in Capture One: this is one off, my favorite said. I was working. One of my favorite beauty said. I have been working, and this image is quite specific expression off this image. The expression of the model is a little bit different than you would expect from Ah, this orders. It's quite unusual, but this is what I really like and what what I do also like this is just the perfect frame you want to have for the beauty Mitch possible. I might crop this later for a little different, but will do this at the end. Let's have a look how perfect the model face is exposed over here. So that's why I really work toe work on this image. And, of course, I will be doing the rope processing in a capture 11 of my favorite raw processing software , if not my favorite and I will start were from this exposure panel, so I wouldn't be changing exporter and brightness because I believe it's really perfect on this image, so there's no need toe change such a detail, but I just want to land down a little bit of the highlights. It won't change much of this image but I'm actually improving the highlights later and for the shop. So I feel it's quite good idea to knock this down a little bit. If we know that we're going to improve this later and second of all, we're going to bring more details out of the highlights, so it will be easier for us to retouch and then maybe shadows. But what I see off the shadows here that I'm not that strong. So from shadows, maybe just few points, so a little bit over here, I can see all of the details. But there's no need to drank them a lot because there's no dark shadows on this image. So I really like the way it is. So I want to be actually bringing in more of the shadows. The image looks well as it is after I finished with this exposure primal and sorting out the highlights and shadows for my row image, I would jump into the local adjustments. I always jump into local adjustments if I need this, but for this image I won't be creating new layers for local adjustments. I will be just working with this color editor and in advance panel what I want to go. I want to peak some universal background color. Maybe here I'm going toe. Choose fuel samples? A. So you can see it's between 240 after 200 eighties. I want to really just something quite universal. Maybe around here, this purple color and what I want to get. Because as you can see, we have huge for the bag on 260. Let me try to the skin Tone is perfect 35 which means the perfect. It's a perfect background for this image would be 215 maybe to have 20 around that toe out . 25. So what? He says to me, I would like to actually try to lying down in the hue for this image, not fully and improve some of them saturation. So I'm getting in today's, and this is closer to what I want. Let's speak one more and also knocked down the you. But better be careful because, as you can see, we can actually, with the separation, do a lot of discoloration. So I want to be careful with saturation. I prefer to do this may be in for the shop eso this Bagram got actually a little bluish. Don't want to go to high. It's still not exactly the amount of the heel that I would wish toe, but it doesn't really matter. It will be sorted, I believe. And now, if it looks already a little bit nicer with the background color, I would go to the color bands. And I love this color balance in a capture one, because it gives you really perfect opportunity to work separately for shadows and highlights. So for this image, I could really nicely go with the blue shadows. As you can see, it's really strong. And for highlights I would go opposite with like you 35 could be. Probably. It's like 91 80. So if here's 90 to 35 will be have you around here? I believe so. You go with this. Ah, yeah, we got a little bit off the artificial color, so I think it's just too much off the blue shadow a little less than this and a little less off. They're like that. This is really the color I love. I would go back toe advanced Clara editor and I would like to trying to do a little bit more with this disintegrated Terry, over here. I believe I started this right now, your little beat out and this looks really like the perfect image I want to start working with. I'm just afraid that the color balance I said could be too strong. But it's not really that strong. Strongly believe that this is just perfect start to work with. I don't want to go darker with it. Even darker. Looks nice, but let's go with what? We decided to go with the perfect match. I think this is the perfect much for for the meat. He goes here, changed the Zen after I change this. I don't like this as much as I pledge toe so around this. Okay, now I got to back to the color. I really like. I just need to the unequal beat More work on this, uh, areas That seems to be a little disintegrated, but this is not that great idea, because I'm affected the shadows over here, so I think that would be OK on this. So yeah, this is pretty much done. The other think I could work a little bit is a skin tone. I'm going toe use eye dropper for the skin toner. It's perfect around 35 so we can actually much They're here if we want to change the here. Inter More reddish or more yellow is, though I believe few is just perfect something it actually I like to go with. Tiny drove unless off the saturation. And that would be my starting point. A real off, um, where it is on the moment. So this is the role conversion I would be doing on the road conversion. I would go toe. I want to do a little less off the blue color. I have time in for the shop to work with blue color. I don't want to do everything now in a capture one. So that will be a little soften. And that will be my starting point in for the shop. So there's to go to photo shop. I'm going toe output and as a destination course, I need to find the destination where I'm working on this, that this will be like for me retouching course, Misha and said as an output for their and this will be image name. Usually I keep output for their as Ah, separate from my raw images to easier distinguish. But I'm set in TIF file, so I will be able to distinguish raw from teeth. And after this I created a separate file. But yet said our said destination folder the best is to create your separate destination of order for processed images. I have to say that even if I don't have it here and the output naming the best is to keep the same image name so later after you finish retouching. And you said over two people, you will not get confusion. Which image is weak because you have image names. So you know this is the same image that you were working as a rope. So then hit process and it will process in 30. Fine. Will you ready to start working in photo shop? 3. Raw Processing in Camera Raw: I know many off you doesn't have capture oneness. I want to show you the example the same row conversion using just camera instead of capture one. You can see that this is already processed image that I just did in capture one. But we can't do try to do similar process in a Camaro, which will be a little bit more difficult because in camera the images half a little bit more washed out color. So it's not as strong as in capture one. But I resolve this quickly by just bringing up more of the vibrance to the image and this resolve the part off the issue off course. Then the same things like I'm taking down the highlights as I did the same before. And I'm bringing up a little bit of the shadows, which may be about the highlights and shadows control. I like it more in camera, actually. So OK, I did this a few steps in basic panel. Well, way we can see the difference. We can see it will be much is your to retouch the highlights over here right now. So let's move to depart. How to adjust the background a little bit more. My favorite panel for it is huge saturation, Lou Millions. I can Manno Mannelly. I'm just the Hugh. But the difference with the capture one I can choose exactly the color I'm working with in capture one, and I cannot do this really in a Camero that creates some difficulties, as you can see. But after few tries, I come out work of purples and blues. Over here, I will be getting probably closer with it. So this is worth to try. And here it was more difficult to adjust. But we can try to do this so I'm going to work with purples and blues the same about the saturation saturated blues. Maybe saturate the purple some little bit more and before and after we get in this bluish color. Actually, it's not a strong can. Maybe we want do color balance as we did this in a capture one. But it's not a problem, because color bars is something you can always do in the father shop. And luminess, I wondered on darkening probably will not work. So okay, this was the first step was sort of date. The color bars we could replace, probably by working with shadows over here, As you can see, with split turning and it does sort off help you a little bit. Help us a little bit, but I'm just afraid it could give us a little bit off. The are tough show results on the skin, so I would give up this. I wear a as I like to work with this in. Ah, capture one. I'm not so convinced in working two days with camera rope. It's okay. We are at this point. And we didn't get as far as we want to. But don't worry. I'm going toe open this image as ah object. So press shift, open this as an object. And in photo shop, we will have open. They're not image but the object. So if I want to do more and it in what I would do, I will just say maybe create a sort off stump because I want to start from zero right now. So I'm going to create a stamp command option. Albany, come into this since I have to duplicate this first. So remember, if want toe, apply the changes into this image On the scent eggs. You have you always have to heat right and shoes. New Smart of Judea copy. But we want to have totally new image, so I'm just going to copy the image, not smart object. And then I'm going to create a storm, and I'm going to call this as a BG because I will want to work with background color a little bit more. So that's why I call this as a BG. And then I'm going to. He tried and course. I want to convert this into a smart object, and I will try to do a little bit more work in a camera. But make sure before they step you finished all of the other settings, like shadows highlights because now we want to just work with Backer and then Hilter going to tomorrow. And I was trying to push a little bit more. Ah, from the colors off my backgrounds. It's working, working a little beat. We were getting there and I would stop at this point. It's not really as much as I want, Uh, let's hit, okay, but it's It's near where we want at later. It will be much easier for us. Let's say, working with color balance, as you can see, will be able to easily. I'm just the color for the background us. We like it. So you see in this a few simple steps. It's Ah really worth sometimes to work with in camera. Don't worry, because you cannot achieve similar results, no matter in which conversion row conversion software you will be working with. 4. Clean up: Finally, we're in a photo shop. So let's start our retouching. I'm not really fully happy with them. That saturation on being into it's a really strongly saturated. And if I would see this before, probably capture on, I would take down more of the saturation from the skin tone. But what? I'm going to do this in photo shop. I don't want to go back and then off course, It would be easier to do this in a capture one, but it will not be problem. And I will show you this, uh when we will get to the point off the color, correction and color grading off this image. And as a first step, of course, we need to clean up the image. So let me create a new layer at first and I'm creating new layer because I always want to clean up the region on destructively. If I want do this, unfortunately I will be destroying the image. There will be not the way back. So I always work on the empty layer and I'm always using a healing, rational and Khan stamp. And you see this image is a little bit challenging or even not a little bit when we look from the distance is okay when you zoom in and when we have spots, it will be okay to clean the month. I hope you can see the coarser in the right way. The fantasia Ah, change it. I believe it is the mark issue, though. But anyway, I can clean some small spots. But as you can see, the face off the model is quite Harry eso It's a little bit difficult and we will have to be really creative. So what? I would go probably and will work a lot with crown stamp with a soft edged brush A. So like you can see a museum hardness at zero and it will probably more likely look this way. As you can see, I will be forced toe actually, um landed down some of the skin texture and later on and there will be process off recovering off this and skin texture if we will do this this way. But as you can see here, I will really want toe go a little bit more of this tojust smooth this out. So I will have to be careful. But this is something Well I need to do. But of course, before I get there, I will be just pressed out most of that rights but to clean up the image. So that will be the first part because we have some of this parts. Um, over here. So that's the does the main step I'm doing. I hope you can see that as I mentioned the course. All right? Just or and not on the course or that shows when I press out, because when I release it should be a scene as our around circle, like normal, cynical us. I going to clean up the image. Why I'm using the healing brush because he didn't brush. Copy the texture, but it doesn't copy the color it adjust the color that exists around the spot. When it's about con stamp, it caught people off texture and color. So, obviously, for the small sports, the healing brush will be much better because you want to entrust the color that exists around the area. You do right. Then they want toe copy there. Right. So this image will have a lot of cleaning up it. I already started. Let me try to show you how I will work with this Harry Areas here I would be God verse softly we've constand past. You can see just as much as you can And yeah, the texture might be different. But then we will be forced to recover if we destroy the texture. But do you prefer to, like, recover texture than half later? They image, uh, we said, like her is nothing wrong about it. Shouldn't be so visible on the beauty image. So I'm just like selfie covering this past week. I see. Also, the hair down over here, uh, will be a little bit more difficult. We could also try to change blending more to darken. So we will have a little bit more of the control in just a sec currency, just darkening to her. So this will be very long process. I'm repeating myself, but it just might feeling doesn't make me happy. Off course, they find that I have a lot of work to do that's try to over this. Oh, so yeah, I would go a lot with their chrome stamp. Even over here we have the sports, but they believe Cranston, but they find this area is quite sneaky. and sort out this a little better than feeling brush because it's too difficult area. It also depends on the model face like a different model face. Sometimes you are blessed by working on the model that has just perfect face without hair. We felt spots with beautiful soft skin texture small course, but sometimes way have very beautiful model. Uh, if the skin that is so not the skin but the nature off this mother will go a little bit more difficult. And that's where the real beauty is hiding. Actually, in this capacity curious. So remember all of this small parts. As you can see, I'm I'm actually sorting out Differ around the nose. I will be sorted out her around the face over here with it crossed on press Well, not fully just like about McEntee is down. And, uh, and getting the right shape something like this. Then this really fast, as you can see, could be probably sorted if you advise to the model with this sort of nature. If you photograph for to do this before shooting. But it also the peasant camera, which is great. This was really great camera, great photographers. So this image is so detailed we couldn't have like this. I probably not smoke out everything fully because I want this toe still keep the natural look, but there will be some changes. For sure it cannot stay as strong as it is off course. I'm talking out with her. I usually don't work that much with Cranston. Depends on damage. And this image obviously forced me to do this. And also, when we have two strong fours, working with self gadget brush can help you to smooth out the pores. Many people I would say No, it's wrong way of working. You cannot smooth out the skin off course you can. No one said you cannot. This is like the pence on your customer and your own preference. So, like if someone tell you, um that you have to work with hard edged brash, always don't really listen to them. You don't have to work with hard edged brush off course. You cannot drew in the skin texture. It has to look the way you want to look. Graham. It has to look the way that your customer wants it to look. Um, but you have rights. You have perfect rights to use self budget bus. So someone tell you different countries in your work, you just need to achieve certain results. Okay, I'm going to speed up this. Be diverse. So unless you can see here I have a few of the small her. I'm going to move this by just all right. She breast just like this. So what I'm going to do, we're going to speed up this video? Are people meet right now to do more cleaning up So we will talk after this. Um uh, after I finish cleaning up process. Also, if you have very solid veins inside, I and you don't want them would recommend you to change branded month to lighten and paint over the vein if you wanted to disappear. Or like, in a natural way off course, eso You see her? A simple, um process. So, yeah, What I'm going to do now, I'm going to speed up the video. I'm not going to remove the small over here. It's quite nice and characteristic. I'm just going to speed up and clean this image, using a feeling wrathful and crown stop to I 5. Dodge & Burn: I feel like you are not really sorted with the clean up. The few things I don't like, It's ah, dispatcher overhears two sharp. Maybe I tried to smooth this out and maybe I will trying to do this with touching burn because this is what we're headed now, as you can see this before and after this images rather clean right now. And there will be maybe few changes over the time that we need to do. I feel like here, Maybe I can this down a little bit too much because this I Brown was sort off her nature. So I actually changed this a little bit. I'm not sure if it was good idea, but the only one reason was like I didn't know. Where could I go with this eyebrow? You know what? Maybe good toe copy song area and feel this so could look a little bit better. But anyway, the most important part off the retouching after a cleaning up is dodge and burn retouching . So let me explain you how the Dodge and burn retouching works and I'm going toe create toe layers. I was mentioning this off course in Are there things but I'm going to do this once again because I'm happy to explain here. One dajun Bernice, of course, kerf, and one will be for the standing for dance, and the other one will be for B standing for burn. So for Dutch, we want to brighten up. The need goes up of curve just a little bit. And for burn, we goingto go down with this. And then I'm going to invert this layer mask because when us you remember adjustment layer when it's white, it's visible. When it's black, it's invisible. So I'm going to press command or control and I to invert and the same for burn control or command and I to invert. So this effect is now invisible. How to bring it back to life, as are visible, is let's say we can't work with, uh, Dutch. I'm going to choose the brush white color of the brush, and I'm going just paint on it. So okay, that was soft one. So I'm bright enough, the image and with burn I'm darkening that the one think about the days when we data or burn, especially for SAT for high saturated deviate, will change saturation values so some people could actually switch planted mental luminosity. But it will be rather bad. So what I do know, I I was my action. I'm going to give you my actions. Actually four and dodge and burn and I will show you How does it looks? So we have Dr Byrne action. So this is inverted layer mask, but not on the actual layer. But I create Dutch. Then the other layer, which is the saturated I am and put this into the group. So I'm going toe build them from very beginning to show you. How does it looks like? So at first I'm doing in the Dutch layers standing for the Andi. This is all become over saturated. So I create also hue, saturation. Lay em. I'm going to call this the saturate, So I'm taking them some off the saturation. I'm not sure how much I'm going to need later off course. So this is just like value. I'm putting around 10 maybe. And at the end, I'm going toe unjust by checking once the value I really need for this image. Then I'm doing selections off this too. Control command G putting this into the group. I'm going to call the Stanch. Then I'm creating Lay a mask. And of course I'm inverting. So right now, I never did not only Dutch, but also saturation. So these two layers our covert in this group. So if I'm going to pay now, I'm activating two layers that are inside that and the same I'm doing actually with the burn. So here's the burn. We came down goingto press e standing for burn. And this time, as you can see, I'm actually the saturated they so this will be saturate and I'm going to add a little bit off the separation for this image. I don't 10 once again. I'm not sure how much I'm going to need later. But around this value g to the group there. What Fikse great layer mask inverted is. And now we prepared our dajun burn layer so we can work with doctor and burn. Of course, right now we don't know what to doctrine burning. You don't know yet because you don't see but simply let me train this help player and I'm going to do some strongly visible color but said this red and you see that the skin is not Ah, very flat. So we have some of these dark spots brides, boards and by painting, sometimes of flight, sometimes with dark, we need toe sort this out. For example. Over here on the forehead, I have this quite visible dark. This needs to be Dutch because it's too dark and also here to even out with the rest of the skin Here. We probably have toe burn this a little because it's too bright here. Off course that and also a lot off. The small sports need to be sorted so you can see there's a lot off this. But how to distinguish that when we actually don't see this that well, when on this image? Because I believe it's not so easy to see. Like now. I've been working for quite a few years with this, So I see this, but maybe you don't. That's what I'm going to do. We're going to create black and white layer because when everything is back on Dwight, it's reserved to distinguish the lights. So I'm going to create the hue saturation. They saturate this Bente coaches be damn view course like black and twice, and I'm going to change blending morninto color. Of course, it's need to be the right distinguish off the colors like colors. Not, uh, because colors off also some off the different colors of dissent, saturation values. So we need to changes in the color blending month to see exactly how the lights are. Do not affect the colors. It's up, so I see better. You see dark spot over here. It's ah much better toe to see everything right now. But I want to see the little beet even more so I would create the curve on this curve. I will darken, they need. I'm going to call this con darken and I'm going to create another curve layer and this will be standing for contrasts. I'm going toe build some contrast. I just use something like that. So right now all of the areas that needs to be dodged or burn are strongly visible. He just here, full off white here, dark sports. So what we going to do? I'm going to put this into the group as our how group or just help. It's OK, so I will be attending the values the pencil for how I need to see everything If I will be getting more into shadows, I would be set in this value. If I will be dodging and burning highlights, I would be going with this value. So what began to do now I'm going to start with a Dodge flow hostile soft around 5% because you don't want toe just pain on 100%. But you want to paint with this good feeling. 5% as you can see so you can have full control. I'm zooming this in a little bit. Remember to zoom in, zoom out to see if you're not over doing the thing and then just softly, I'm going to paint over The image you can see was slowly changing the image I'm going toe stay a little beat with this. Make sure that you pick up what's needed to know. I just duplicated my contrast now to see a little bit more over here. What I'm doing. So let me paint over as you can see, I'm just remember to not paint over on every, uh, poor, but you just want to paint over on like, bigger areas. There is that that have this bigger on dark and sports or bright sports. And then you just trying to even out. Don't try to paint on each poor like this because you're absolutely going toe. Overdo the image. You don't want this here. We need to sort out because what we're doing here, we start off, destroyed the texture a little bit. So we need to dodge and burn for a little bit. Because we were our cloning the skin to sort out her eyebrow. Are people beat, make it a little bit more suitable. So I can clearly say there will be quite much work on the signage. Rather standard there's some even just wears, Not much work on this one will be rather like standard. A lot of work. It might take me around 20 minutes. I'm going to do some more visible area for you right now. Over here. And remember, when you paint with dungeon front, possible that the area next date will appear too bright. So then you need to burn this article just as I'm doing right now. Okay? You need to be really forecast on the mean So when you work on the set off the images, you have few images to dough remember to take yourself a break after every image, or Dorina doing that in Bern because your eyes getting usedto so it won because, first of all, we, uh, you can get some troubles with your eyes. But second of all, if you rise, get used to match to the image you can easily over to this. So take breaks. Uh, brakes are always important. Let's see how they sturgeon. We slowly, as you can see transforming the image. So I will be going with face direction already set up my direction. I will be going. I will be doing what I need to go. So I'm going to stay one minute more and then I'm going to speak at this video. Here is quite big area with a lot off the bright spots, but needs to be even out here. We have the most us, remember, So this area is a little bit more even out. But it also has some shadows over here. For example, don't press too strong. I just press too strong. As you can see, I'm trying to be really soft with my pan, all right, because if sometimes I press just too strong, it's is it over? Do so like trick. Your panels are your friends not as an enemy to spend the softly and the result will be better. The saturation shifts might not appear at all when you pain suffering. So this is, uh, quite important. We're here, so I will be working on this. Still the point that I will not see such a harsh transitions between the life between the shadows and highlights. As you can see now we have harsh transitions years. Dark sport is bright spot. So I'd be doing this. Feel I will not see this strong transitions between and the image will be looking nice. Is this black and white contrast? E uh, one, four. After, as you can see with changing this already. So what I'm going to do, I'm going to speed on this video and I'm going toe the whole dance and burn process on the face. Remember, two knots. Keep the neck. We're just going to bring for light over fear and chest. It's also very important. Don't skip this. This is very important. Many people us keep the chest forgetting the problem. They just forget that it also needs to be done. All image needs to be done. So don't keep all part, any part, but just do everything. So I'm going to speed up this video and we're going to talk after I finish full dodge and burn process way. It was quite solid Dutch and burn process and just have a look at the image before we started. That was the image when I started Dutch in Bern and then all of this fast forward process. And now we are here. Massive difference. You can see the mask. I'm going to press out corruption. In my case, it's option on Mike. This is how I would paint it With Dajun burn, you can see Dallas. Quite a lot of work around 30 minutes, I think maybe, maybe a little more. I, um I spent a little bit longer on this image that I wanted to and maybe we could have a few off the areas us over here. I'd like to spend just a tiny bit more off the time to improve this area around. It's still not in the shape. Us. I'd like to. We still come and define some of the her. It's easy to notice. So I could work probably a little bit more, but already the difference is massive. You can see it still look natural and the texture is still on. Even here before we could see that there was missing texture before because we painted with planning. But after that had been process. Everything is sort off, even out, so it doesn't look artificial in any way We see clearly skin texture. Uh, look at the forehead. It's fully natural. And here was some issues, so it looks so much. But I'm really happy. Azi mentioned. Maybe I could spend just few minutes more on sorting out the small areas over here. But I got into the point. I'm really happy. So now I want to move on to the another part. After cleaning up, you can let me know what you think about this, uh, cleanup process. It was quite long. I believe you. It's difficult. Touching burn is difficult. You need to spend few months practice until you get confident with this. So don't worry if at first you have some issues, you just need to spend a little bit more time. And now let's move toe. Another lesson 6. Contrasts and Colors: Finally, I'm moving toe one of my favorite part off the images to working with contrasts. And after that, straight away after that will be working with colors, which I, of course, love. And I like to see the process how the image change perspective over the time when we work. With contrast in this case, I'm working with shadows and highlights and trying to set up the connection between shadows and highlights to give more perspective. Today made. So push up the highlights and dark and the shadows so the image will be much more dynamic. And to do this I use curve. I used tariff adjustment layers, so let's create curve adjustment layers. I'm going to rename this in the age which going to stand for the highlights and then another one. I'm going toe create and I'm going to rename this inter s, which going to stand for the shadows and many people thinks once the best way and to create mask for your contrast. You see, there's many different ways you can do this through image apply image. You can do this fruit channels which are used to do, but I don't really think it's that good anymore. So I'm not really doing this fruit channels. But my favorite way off doing this is for the color range. So I'm going to select and two scholar wrench and why I like to do this so much because it gives me just perfect control on the highlights. You see, we can select any color we want on the image we could choose the blue, which mostly be on the background. Simon much. I'm surprised that there is that little blue color on the background, but the other powerful think we countries highlights meetings and shadows. So this is the most powerful, simple tool in photo shop without wasting off your time, because so simply choose your highlights. So I'm setting the range at maximum 255 and then I'm grabbing the slider for the fuzziness and going up till the point. I will see this is my point where I want the highlights to be. So in this case, my highlights maybe around 65 I will stay with dates. So then let's hit. Okay. And what I'm going to do just goingto go up with my curve adjustment layer and you can see how different this image is right now. On the one thing is, we might get in a little beat oversaturated when we do this. But actually, in this case, it looks quite good. But if it appears to you, feel free to change, blending much to luminosity. So you make sure that you not affecting and a color, but you purely affecting the lines so well, I'm really happy that where I got with the highlights over here, the mask looks like this. So it was, um I would say it was acquired a careful work just to make sure that we're affecting Onley highlights and nothing more because, um, this mask is very conservative. As you can see, there's not so many things on that. We select that if you want to make sure that you won't be making your image maybe a little bit noisy, not noisy. But if you not be improving the pores, you can always go to filter bluer and blew out this mosque So and the transitions between lights, um will be a little nicer. I want to see Ah, it should be enough lets me her look, she can see. I blurt out maybe a little more because, as you can see now we improving every pore. So when we could blur out this on the transitions will be a little soften. That's quite quite high. I usually like to keep this harsh because I like how sharpen the image gets. But I feel for taste image. We should not push it more. So okay, this is the highlights. And usually I would actually invert it. Just mask for the highlights. Not in this case, because if I would invert really huge area off, the meat would get dark, some going to create another separate layer mask for the shadows. So select color wrench. But once again, I'm not going to use for select shadows, but I'm going to work with highlights. This is something I do prefer. So I would just press invert, and I'm going to see where I where I won this Toby on this is will be quite stronger, I feel. But that around this time on this point will be something I'm looking for. Let's have a look if this works for us and I don't want to make this too dark, though, so it's quite strong. Ah, once again changed the luminosity. How turns to philosophy, But it's a little bit too much. Maybe for me. Um, I'm really curious how it's going to look if I'm going toe sort out their shadows in a little bit different way once again Curves going to press s one as a shadow stands for one and I'm going toe sort out the shadows in image and apply image in a little bit different way I'm going to invert this. So the transitions for the shadows I will not be that strong as you can see. And I wonder if it actually could work a little better for for this image. And this is really soft Now on. This was more she The first example is more dynamic, and I believe it actually works better. So I was right going this way. It's stronger, but it's way too strong, though for me. So, like this is for sure not where I want this to be with Just apply maybe half of that fact, um, around this this level. So let's extend days. This will be our our shadows. And let me put this together. I'm going to remain this as a C before after. So yeah, this image got and strongly darker. But I wouldn't be bothered because I will improve some of the blues. Probably later. I have some methods for it. And the other thing for contrast. What I will do is I'm going to create on Mother Curve Adjustment layer and I'm going to name this as an eyes, improve the brightness and just invert this layer from three never days. And I'm going toe on some of the highlights for for the mother eyes, uh, flow a little higher over 20. And now I would just softly pained over dies. Don't overdo this because it was going to look too fake. I'm going to decrease capacity and probably let me see how the mask looks like. And I'm going to decrease a paucity down toe around 50 I believe would be enough. And this is something I think suits for this image. So this image stands out. It's really contrasting on, though we did not finish yet, you see, every time when I work with my image, I often not is that I want to do more dashing burning this area in this sort of stuff. just sorry. Just just few moves. It's really would not leave me alone. Ah, maybe a little bit more over here. Just That's how it always is. And especially when you record video. It would not be problem if I would not record the yard, but if I record it is Okay, So, John Pinto the colors I believe you might see some off the banding from the Bagram, but don't worry about this. I will show you how you can easily solve banding issue at other the end using very simple trick before final touches. So now let's jump in tow working with, uh, tons. First of all, I'm going toe open color balance layers first goingto be s we're going to stand for shadow . And this time I'm going to change them blending mode to color because in this case, we don't want to affect the contrasts, but we want traffic from the colors on. Then I'm going to duplicate this and the other one for highlights going to stand for highlights. So OK, now image apply image. We have already inverted mask. Okay. And then I'm going toe press control or command hit on this layer mask and then Goto highlights layer mask and control or command and I to invert is so This is my masks for the Let me turn this off. This is my mosques for the colors this will be for and shadow colors and this will be for highlight colors. I'm going to start with shadows and I'm going toe work on their blue bank around a little bit more because the background is usually over here strongly affected by ah, the shadows. So I would go on. Today's a little bit off. The sion is the color that I'm more looking for. It's a little too strong, though. We'll go So I will be very careful minus tree around four to get to the color I really want . I'm going to stay with days for now and then let me go Toe highlights and tow Opposite damage is going to add a little tiny touch off Ah, off opposite colors for this image. Okay, Before after, I'm going to reduce the opacity for this too for sure it was too strong okay on this and I want to work a little bit more on the background so I would go to Selective column. I'm going to call this BG as a background, and I want to It would be easy actually to work just with the blue color over here, we could increase the Cyan a little bit more and just work in general with the colors to get to the point on that you feel is suitable for this image. Though I want to resolve one major issue. So I'm going to go back with the settings and what I'm going to do. You see, this color near model is a little different than the color in the deep shadows. So on this is, say, important issue that I need to fix over here using selective color. So I will go to select color wrench, and I'm going to choose sampled colors and from sampled colors, I would choose the color that stands near model. As you can see, that would be here will be easier for me to choose. She can see near her, so this area will be strongly. I believe it was inverted, so I don't want to eat birds. Okay, so we create that mask it this way, and, uh, I will see how the mask looks like I'm going to blow this out of evil because, uh, give me disbanding that I don't really like and what I'm going to do, working with the blues now, just with this area over here. So I would enchant the color more into the rest off the image that would be around this with me. Have a look. She can see this part of the background got more bluish. So it's a suit. A little beat. Better, Um, just to the rest of this, So that would be working with colors. For now, I'm going to put this to the group and name this as a t. Like the tons And one thing I would be afraid that maybe it's a little toe saturate that maybe the model is a little too saturated. So what I would like to do here is working with vibrance a little bit and want to take down so vibrance from this image. But let me see if because I want to make sure that I'm taking this actually from the model face and vibrance preserving the natural are natural skin colors. So I don't want to take down too much from the background. But, um, yeah, that would be quite difficult just to take from the certain part, because just taking down from all of this. So what I'm going to do, I will try to create the mask just for the model. And let's go to color wrench, and I will see if we ableto get the mask and yes, and it will be quite a perfect mask. I believe, uh, I'm going to use this. Plus, and that would be it. So I will be just affecting the model face by the simple trick she couldn't see get even more. And I will see how the mass case we could actually blur this out a little toe, make smooth transitions on 12 pixels and then Okay, so this is working with the times. This is where I'm getting before. After I really love how the image looks right now, we have not much left Just a few final steps. We have some of the banding that I don't like. One problem is actually, the bonding was also on the mask, so this might be the issue of solving this later, but I'm going to make sure it will be just looking all right. If not, I might just remove this background. Ah, Leia, because I believe it's great in more banding, and I will sort out the background as a final steps. I will see in the next Tyson and we are jumping into final steps to make sure these image looks just perfect as we like it. 7. Final Touches: and finally we are getting toe the final steps. And if I have to talk about my final steps, you know I don't do Ouro conversion, usually in camera, but I love to do my final steps in camera. Oh, it's extremely powerful when you want to adjust the colors the way you exactly imagine. Camera is very powerful because once you get the solid colors on your images, once you work with them, then these colors are very easily manipulated later in camera, the same about doing crops the same about that just in the final shadows and highlights. So the thing I do at the end is always I create the stamp on the top, so to create a stamp, press control or command older option shift and the so the stamp will be created over here on the top of our layers. And as you can see, it's actually nicely smoothing out or background it. Fix some of them banding that we hade, and I'm going to call this stamp. You see the funding that is here. It's natural how the light was transition so we would have to blow out, but the background or maybe copy from one side to adjust to another side at that could resolve this issue. But I'm going to keep this cause this image I will be a cropped. So once we got a stamp, I want workmen destructively. If I will work now with a camera filter, it will be applied exactly to this layer. And I have no way off escaping this. But I want to apply this as a filter. So I'm going to hit control and heat on this library can just hit right. But of course, you working on tablets for the real become control and hit on this and then convert to smart up. So thanks to this, you can apply a few off the different efforts whether you need to liquefy your image. Also, you can apply over here in tow in this time. So that's why it's so powerful. It's taking a while because it's a really massive image. And okay, we created the stump. So then I'm going to filter and the camera. Before I did this, I want to just see one thing about the hue value off my background. So to do this, I'm choosing the brush, so to do this. I'm choosing the brush than here. Hit out corruption and I'm going to see 220 just perfect as I wanted. This are 220 for the face that will be probably on 35 37. Asi can see the correlation between the background color and the model face. This case is just perfect. So I'm going to just a jazz them in. Ah, camera filter right now what else I could do? There is maybe give a little bit more punch on the highlights. I still believe I have some of the reserve here. I could do a little bit more maybe a little bit more on the shadows as well as you can see . It's really nice and standing out Andi Now I would go to Hue, saturation ruminants the favorite part, and I was still into you before the background got a little beat dark, actually when you were working with shadows and highlights. But we can easily, as you can see on just this a little bit better, whether we want this to be darker or whether we want this to be brighter so we can easily adjust this over here working with Hue saturation. Luminous panel. I'm going to make the banker just a little bit brighter. Also, I want the back of this tiny touch are more saturated Not fully like this, because our actually it looks interesting. I really like it. Let me know what you think. But I really like this sort of color, especially when I know it will be cropped. But we're going to see on may be a little bit off their quest. I want to adjust a little bit off the blues. Andi, I would stay with days because it's, ah matching the other projects, you know? But I like tojust do different things. So if I would like to experiment, we could go a little bit more into this sign colors, which is also really suitable for this image on bond. For sure, it's eye catching for days. But the human I don't want to change you that much. I feel it's really perfect you on that we have achieved over here for the Ark was so we could actually change the inquest you that we have over here and then I'm just a blow so we could get better much between this area over here that this it highlights and the shadows. So as you can see that, let's go back and I'm going to compare with you. Uh, we can clearly see which area is more blue and which area is more aqua. So for should the shadows over here have more Cocula, which I could go with this more it'll blow and the purples, like instead of going askew, consider this area are more purple. And here I would go a little bit more in tow. The, uh ah Sion colors so could go a little bit this way. It's very strong, but we smooth smooth this out. I really like this. I like the fact it's it's that bright as it is and the balance between colors. Tomey. It's just really perfect. The correlation between highlights shadows, the colors. I love how this image looks like. And once everything is all right with your means. Let's it Okay, So I was mentioning to you that a smart object allows you to do Ray out of things. For example, I'm still not happy about the eyebrows, so I could go toe filter and liquefy, and this image just a little bit off course. I want to keep some control. I would be rather careful and I should actually clean this. Our bodies will be that it doesn't look Ah, perfect the way it should be. So I I'm going toe. Probably do some final touches on this. Like here. This this part. But we can for sure with liquefy do very tiny touches off the like to shape toe give today , Mitchell. It'll beat better shape, especially on my eyebrows. It's her nature. So I'm not going toe Take away once on this eyebrows. I just want to adjust this a little bit better. You kind of course, Just her cheekbone if it has some wrong structure. But I'm really happy with what I have. I wouldn't change this if not the fact I would like to show you how you can work with certain tools, but yes, you can. Just working in camera, arrow on smart objects. You can actually improve some of these small things non destructively. So just a few of the elements, of course. I want to be careful here. I don't want to ruin the image with liquefy. Always be careful. Let's see before and after. It's a little bit more around the over here. I feel the structure be a little better. We're here, but it's my fault. With the clean up that would be hit. Let's hit. Okay, I wasn't changing much. Uh, that was just to show you how you can actually work with it. And I'm really happy with what I have. So at the very end also, you can have a truce to crop the image. I'm not going to probably crop this image. If I would go with Crop, I would probably go with the frame size like this. It looks really great. Probably in the both ways we would do this. Remember, to keep this a smart objects, we can any time that is Foreman back. So this image in this way looks probably a little better composed, though I will stay for now with this one because I really like this blue bad girl. But that would be at the very end what we could do. We could try toe solve this tiny issue that I missed at the very beginning. And I shouldn't leave that to the end, but it sometimes happens, so I could probably try toe. So these imperfections here a little bit and the same over here just to make the eyebrows a little bit more smoke, Give me a few tries. Just okay. Something probably around this So everything could be straight on. And also, we cannot a little bit more noise, but I prefer to keep this image as natural as it is. It looks really beautiful. It was just a pleasure to working with it. And I hope you enjoy this the same way as I did, because it just a pleasure to work on images like this one.