Professional Portrait Photography & Retouching - Start to Finish | Manfred Werner | Skillshare

Professional Portrait Photography & Retouching - Start to Finish

Manfred Werner, Retoucher and Photoshop Instructor

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18 Lessons (3h 8m)
    • 1. Class Introduction - Trailer

    • 2. Planning & Photography Settings

    • 3. Light Setup & Diagram

    • 4. Camera Raw - Raw Conversion

    • 5. Help Layers & Notes

    • 6. Cleaning & Healing Process

    • 7. Comprehensive Hair Retouching - Part 1

    • 8. Comprehensive Hair Retouching - Part 2

    • 9. Comprehensive Hair Retouching - Part 3

    • 10. Liquify & Basic Adjustments

    • 11. Advanced Skin Retouching

    • 12. Color & Light Adjustments

    • 13. Dodge & Burn - Get More Out

    • 14. Fixing Sunglass Reflections

    • 15. Crop & Final Adjustments

    • 16. Applying Background Graphic Elements

    • 17. Final Colour & Adjustments

    • 18. Bonus Lesson - Wacom Tablet Setup

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About This Class


In the Learn Amazing Retouching Techniques With Photoshop, I'm going to do some creative retouching on a funky colourful portrait. I made a course that’s accessible to anyone who wants to learn a bit more about portrait retouching. This course will give you a very in-depth look into how I structure my workflow to get to that colourful final image. Once you’ve gone through all the lessons you’ll be able to apply these techniques to your own work!

This tutorial involves plenty of techniques, some you might be familiar with, and others not. It’s also important to remember that each image is different and tweaking your technique could help you create a stunning image.

With over 14 very comprehensive lessons you’ll be able to take all these techniques, tips and tricks to create something colourful and amazing. This tutorial covers everything about the entire process, including photography and light setup, and retouching techniques. Techniques like colour & sharpening, working with masks, dodge & burn, and many others.                                                                    

The idea is to teach you how to create an amazing retouch. May this be for your images or for clients. The aim is to teach you how to get that awesome wow / pop look onto the images with a few simple photoshop techniques. 

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

"And I'm not kidding when I say that you need no previous retouching experience! "You just need to Practice the techniques"

You'll learn

  1. How to create simple, but amazing wow looks on your image.
  2. How to photograph such an image & setup the strobes.
  3. How to do basic raw conversions, image preparations & notes
  4. How to clean skin & hair especially the harder hair parts. 
  5. How to do advanced skin retouching & skin smoothening 
  6. How to build, control and refine light on the overall image
  7. How to do manual sharpness, colour control & look development​
  8. How to apply dodge & burn techniques on darker skin
  9. How to create techniques that brighten up the overall image look "Bring the pop factor in"​
  10. How to apply amazing colour grades & graphic effects ​
  11. How to apply an overall image pop and final adjustments​

... and much, much more!

One final note:

My goal is to teach you how to achieve an amazing look with any image, so don't stress about not having done retouching work before. "I do my best to make it simple, informative & fun"

Thank you,



1. Class Introduction - Trailer : welcome to a Foxy hips. The pro tutorial in Our Foxy Hits the Pro tutorial. We're going to do a very creative retouching on a funky, colorful portrait. We made a pro tutorial that is accessible to anyone who wants to learn a bit more about portrait. Retouching with a bit of a funky twist to this pro tutorial would give you some good insights as to how we structure our workflow. In order to get that final, colorful image with over 10 very comprehensive lessons, you'll be able to take in all these techniques, tips and tricks in order to create your own colorful portrait. Before we jump into photo show, we're first going to look at the most important factors in order to build this image. First of all, the photography part, an entire less known photography and what inspired us to create this image? The other very important aspect, if not the most important, is the light set up list, which you easily be able to replicate. We're also going to look at our pre adjustments in camera roll before heading off into Photoshopped. It's always important to find, too, in those small aspects before doing any of the retouching over and photo show. We are going to look at a variety of different techniques, using different layers and tools to create our final image and to ensure that you get the most out of this proto. Really, we've made sure to add all the work files to the pro product. There's no better way to learn the techniques than to work and retouch with me as I go through the lessons in the lessons will work with a lot of different adjustment. Layers will focus extensively on retouching, skin fixing and retouching the here, doing color adjustments, working with curves and adjustment layers to do some light control and are very popular dodge and burn techniques additional to the retouching. We're also going to focus on adding some effects to the background, doing some color grating and removing some reflections. Simple and very effective techniques. Some will take a bit longer than others, but the amount of time and effort you put in will pay off in a very creative and colorful way and is a way to help you on your retouching journey. We're throwing in some bonus materials, such as my Complete Photoshopped file some additional Photoshopped shapes and as well bonus images for you to practice with. That's it for the Pro tour. And remember, I'm here to help you every step of the way. Now all you have to do is jump in and start retouching. 2. Planning & Photography Settings: welcome to our first lesson of our foxy hipster pro tutorial thin. This following lesson will briefly be looking at planning such a photo shoot and what equipment you need Planning and knowing your photography settings is almost 80% of your photo shoot, so make sure to research and prepare before you start shooting. This way, you're shooting. Day will be more controlled, more relaxed and more productive. Our first step before shooting would be inspiration and storyboard. Make sure to collect some images from the Web in order to build a storyboard. In order for you entity, meaning the assistant, your model. The stylist and makeup artists know exactly what photography direction you want to shoot in this story board. I would include a few varieties of our foods models, composition and light sedums. Keeping in mind the yellow car litter. Our second step would be planning gear. What do you need to pull this off for this first of all camera body. I shot again with the Nikon D. Three X because it's really high and megapixel camera lens again. 24 to 70 prefer Li F 2.8, shooting around 70 millimeters. Some sort off stroke system. I've worked again with the Allen Crum 500 watts job set up to Polly boards, preferably again painted one side, black and white. Another small Polly board stripped again for the murder of a fill light 3 82 inch silver in line umbrellas with no diffusing material. Also, small Octa box or beauty dish could also work for this also, all with diffusing material. Then use B cable and a computer, and, lastly, light from five. Our third step would be planning education, makeup artist and stylist with location. I would prefer Billy go for studio set up and indoor. Not so much Otto, because again, whether and also light would be interfering regarding a makeup artist. We hired a professional makeup artist for two hours to help make up in the start, and also another hour to make upon set regarding styling, we've planned again four different outfits and accessories that suit the yellow calico. This way you're able to mix all outfits to one. Now let's also move over to the camera settings. Firstly, we're looking at the F stops for this again. We want to have a very detailed image and also a bit of a slightly blurred background, so it shows again here F nine for the F. Secondly, we looking at shadows speed for this again. We've used 1/1 60th of a shutter before we hitting the shot occurred. You can also work with 1/1 25th of a second Oregon oneto 1 26 of a second for the ice. So we stayed again with 100 eyes, keeping the noise down and also the highlights. If you want to push the highlights a bit more, you could also go to 1 25th I so and also pushed the highlights a bit more for the lens. We chose again to 24 70 but shot around 70 millimeters for focal ing again having a very narrow portrait and not so wide angle. And also, I like to say, but closer to the model so I can interact a little bit better. So for me, focal length again 70 millimeters and for a final and lost step would be shooting Tebbit. This way we have more control over the shooting and final out of camera image. For this, we need a PC or Mac and as well. The software, called Light from five plus also a use be extended cable. Great. So that's basically for the planning and photography lesson. We're now going over to the second lesson, which is all about the light set up and explaining the diagram a bit better. 3. Light Setup & Diagram: in the following lesson will briefly be looking at the lights set up and diagram. Firstly, why is it important to understand the light diagram point number one so that you can replicate the out of camera image 200%? Secondly, to understand what not to do with your line set up great. So let's move over now to the lights it up. Firstly, a preview on what you need. First of all, you'll need a yellow background. You need a background stand system. 3 82 inch silver end lined umbrellas with our diffusing material Doctor box with fusing material or again also a beauty dish if you don't have a doctor box to black painted Polly boards. Also one side black and one side white. One small strip Polly board for a bit of fill light some strobe systems and stands a camera and a model on the screen. Now you also get to see the complete lie diagram. Now, I've also played some numbers here, so you can easily understand what I'm talking about. First of all, point number one is again the yellow background, the yellow background of space about two meters away from the actual subject, so you have enough space to work with your light modifies and strokes. Then we have point number two, three and four, which are three m brelis, or 82 inch silver inclined umbrellas with our diffusing material. And they are all on maximum power again to give it even spill onto the yellow background and an order left and right. You have some even spill left, and right on the top umbrella is again to fill the top part. If the tough part is off again, you will have a bit of a degrading yellow to the top 0.56 and seven. Again. Polly Boards five and seven are huge Polly boards, which stand left and right off the model. First of all again, with the black side facing the model in order to get a birth shadow around your model's face. Also again, these are painted black, so you buy them obviously white and unloved side. You can paint them black. This is again to absorb light. If you want to fill, you turn them around and have the white filling. The same goes for Point number six year, which is the small Polly board strip that you place underneath your model again for your doctor box or your beauty dish. Whatever you have to bond, slide off that polly board and fill up the chin little bit and also under the eyes. The shadows. So again, that is Point number six. The small strip Polly board underneath the model point number nine again is your key light basically again a small doctor box. Or you can also use a beauty dish. But remember to bring also a diffusing material. Now the key light doesn't need to be too high. Otherwise, you'll have shadows under the eyes and underneath the chin. Try to place that'll but lowers you have amore front online, but also a bit higher. So it's built all the way from the top. Not phrase on. Then. If it's not giving you enough pop, you can either choose to go with 100 and 25 eyes. Oh, or you can push up the F stops again on your stroke. I've worked here on a medium power, which is around 25 for the stroke. We have up to five for the maximum, said to five was around middle there. Then, obviously number eight is again your model and 10 camera. So all in all again those three lights in the back add a nice even light into the yellow background and from the front and I ski light, nice fill in the face and with the poly board at the bottom and nice Philip from the bottom . So that's your basic adjustments just for the light diagram. So let's move over to the first immature, straight out of camera again. You guys get to see left and right. We already have. Ah, breathless lighting up again and making even lying to left and right. But from the top, it's the misses a little bit. So that's again problem number one. Then the 2nd 1 here, the key light. It's still too far up and too far away. You guys get to see these too much shadows going on in her face, so just looks very, very moody. Also at the bottom. A lot of shadows. So we need to fix that. First of all, moved the key light a little bit down a little bit closer and angle a little bit better, so it just lightens up the face really nicely. then also again the Poly board at the bottom two bands, like Back in. So the model Lauren here looks nice and fresh and looks good. First of all, then, third point here was also again umbrella that's still at the top, power that up a little bit and moved the light a bit closer. So again, the top part of the yellow also has even light and matches a bit with the rest. Great, then, for the next shot again trying just to look what the sunglasses will give. What type of effect on, obviously, the complete outfit. And then you can start shooting again with your model. Try to position everything nicely Poster with your makeup artists or stylist. Try to get everything in perfect position, and then you can start shooting. But I've also learned that I actually did a mistake here. First of all, the poly board that's lying in front of her is actually a bit too big, so that was my mistake. I should have taken a smaller one, so you don't see so much reflections in the sunglasses of the model. So that was one mistake that I need to correct next time then also on the screen. You guys get to see what happens when the top flash the top umbrella does not flash. You'll see that the yellow background goes quite dark and we're missing the even light. So again, I just wanted to show that that's what I use a top flight for, just to have it even yellow light again. And then if it doesn't flash, it's quite dark. Great. So that is all for the lines it up. But now let's also head over to a few points that you should be aware Off Point number one . Use a small Polly board so that you have less reflections in the sunglasses. Point number two. Try to place the umbrellas, meaning your back lights at the same power. Andersen's for even lights Bill on the background. And point number three use big painted Polly boards on the sides for the nice shadow effect on the model and its world to absorb and to make a slimmer face. Great. So that is basically it for the lights it up Lesson. Guys, we're gonna move overnight to 1/3 lesson, which is on the computer and right away into camera roll with photo shop 4. Camera Raw - Raw Conversion: welcome to the first less now on the computer. So, first of all, I've also downloaded again the foxy hips, the pro tutorial and un extracted it. So you should also be left with this file here right away you get to see a product Pro product help info as a PdF HD lessons which you most probably watching already. And then again in here you have the work parts where we get started. So let's open the work faults. And right away you get to see a finished PST file. This my finished pst faster in case you getting lost, you also have this and to have a look at my groups and layers. Great. So let's take the foxy hipster Nef, which is basically the rule file, will take this now and move it directly into Photoshopped. You could just drop it here onto a dope photo shop CC 15 so right away it takes you through bridge and into camera rule the pre program before we get into further shop. Now, if you want to, you can also work with Britt and obviously do you sorting through bridge and then into camera rule. So I'm not going to discuss the complete camera roll program software. Here you can find a few free tutorials on our website about bridge teaching your older in and out. But I guess you most probably know about this already when you both this pro tutorial. So let's also get started right away at the bottom here. I'll just click on this to get into the workflow options and right away want to set just the color space. So again, a dope RGB 1998 Very important. If you working a lot with bridge and Photoshopped then I would suggest going for the color space Adobe rgb if you are more light room than going over into Photoshopped person and I would select pro photo. But for my case, it will be the RGB We're gonna work also here an eight bit channel again, not 60 minutes way too big A but would work for us the size are leave to the standard size resolution. So dp I will be 240. You could also push that up to 300 if you need to have this for high quality print, great shopping for none no and open as a smart object? No, thank you. Not right now. We will do that in the photo show process in photo shop itself. So we do not need a smart object right now. I mean it. Okay. And first of all, have set my workflow options. Great. So let's also move over here to the right inside and actually tweak our image a little bit . So the first step that I'll do now is work a bit with my temperature. I quite like the temperature, Really, But I just want to get a bit cooler, like a little tiny bit till go over to 5400 in order just to cool things down a little bit more. Great. Then I also continue now with contrast exposure. I'm happy with that. But I work a bit on the highlights just to pop them slightly. So what I normally do is take the slider all the way down to the left, and then all the way up began to the right in order to see exactly where is this affect hitting my image. All right, so I'll think for this one. Now, I'll go up a little bit more and down a bit again. OK, so until I'm happy with this, I'll tweak it a bit. Say something around. Plus 10 plus 11 plus 11 should do actually then also let's work in Lebanon are shadows again. I'll take the slide all the way down and obviously don't want to. Bright in my shadows, I want to give a bit more contrast in the shadows. So something like a minus seven minus aid should do. This is obviously a playing thing when you have another image that looks pretty much the same or next time you have raw conversion that you want to do. This is how I normally do it again, taking the slide all the way down to the left, all the way up to the right and try to see what really gives this effect. Okay, then, as well the whites when it pushed those up a little bit. Let's have a look again. Brighton. Also the background. So again, this is mostly just a preset before you go into photo shop. So you pre adjusting your image slightly said looks just a little bit better. Okay, I think I'm almost with my whites there. Maybe you will tweak it up. One more like a plus 12. Yeah, that's great for me. Okay, then blacks will stay. Maybe blacks are actually all pushed him up slightly. Have a look how much contrast we get out of this. And I want to make it to contrast E. So something like a plus two plus three. Great. Obviously will still do a lot of info to shops. And for me, blacks right now, plus tree should do now. The loss of that I still want to do is just put the saturation overall. So just going to give it like a plus two. Let's have a look again. Down? Yep. Looks a bit dull. The sooner we push it up while the colors really go intense. So I would go like a plus three, actually, maybe you're just a plus two. Let's don't overdo that. Plus two. Great. All right, So if you also adjusted now, the situation a little bit more. The vibrance, maybe and your reds on the skin get really intense. Then I would suggest going also into the hs l grayscale slider and just go to the saturation over here and then taking the reds over here. and push them down a little bit. So you don't have so many reds anymore on the skin. Also, the orange over here. So again, I will not tweak that right now. I'll do that later in further shop, but just want to mention that quickly. Here. Okay. Said that back to default. You can also obviously hit the default button of here now, lost that. That I'll still do in the rule. Conversion is actually go back to the detail slider. And I just want to add a bit more sharpness here to our image. Okay. Lets you minutes quite nice and sharp already, but just to give it another pop, I'll add a bit more sharpening here. So I'm gonna move this up to maybe, like, 50. Let's actually go with 40. And this one. I'll take 20.6. Right? So that looks a bit sharper. Ready? You can also tweet. Obviously, the sharpness a bit more. Have a look. Now, if I'll take the mound even further while the whole pause and pixels here, come on. Really, really a lot. I won't do it too much, because obviously this is a bit of a female picture. And also I do want to have a bit of a softest skin later. So don't week them on too much. Maybe. Let's just go with 50 for now. Okay? Press command and zero in order to get to the full screen mode again. I'm also working on a Mac. If you work on a Windows computer, please press control whenever I say command. So for youths control zero right now to switch it back to the full screen mode. Okay, great. So that is basically our pre just mints. Everything that we do in the rule converter and take it now right away into Photoshopped. So hit here, Open image and right away that will be converted now into Photoshopped. Great. So now we have photo shop here. You guys can again see Here's our canvas in the background. We still have our working file which we can close down now. And if you slightly confused what's happening right now, then I suggest you have a look at our pro tutorial for photo shopped for beginners because in there we teach the photo show workflow a bit more. And if this confuses you, I would suggest you check out that course first. But if you're good with this, then let's continue. I'm gonna hit. Plus here, Okay, To get into the full screen mode. Okay. Like so. And we have our application frame adjusted the back. So great. Now we are in photo shop again. Our layer is also locked. We're going to double tap on this. And first of all, rename this to rule conversion. Okay, so this is our first step rule conversion. Okay, great. So that's all for this first lesson will move now over to the next lesson. We will start out with help players. 5. Help Layers & Notes: Theo following lesson. I want to talk about helpless now with help players. I do not want you to understand what to retouch. I just want to pinpoint what we actually have to do. So what we'll do. First of all, let's just go down to the new layer. I can create a new empty layer. We'll double tap on it and rename it first of all to hell player so that you guys can also find it again in the PSD file. So help player, that's the first step. And on that empty help player, I will take the brush tool with a different four color and only pinpoint what I need to retouch, meaning I will only show myself what I see right now, which I have to retouch in the future. Okay, so with my first step for this is mostly a go to the adjustments and then I just select here the levels adjustment layer to select that I also hold alter on the keyboard. So it's only applying heard will actually apply the complete rule conversion so you don't need to hold all too well. Then take the midterm sliders here and just move them all the way up to the right in order to darken again my image and right away on the screen I get to see all these ugly dots here , basically dust marks, which are on the sensor. So right away I see that and I need to retouch all of the's art. Great. So let's select the hell player. Zoom out little bits and first of all, select just the red foreground color Billy y brand color and strong pointing color to be on the brush. First of all, I'm impressed. Control altogether made my brush really nice and hard and change the diameter again with my Wakim continues five pro tablet. Okay, so physical. I'll just point point this a little bit. So you guys can see all of the's marks over here, These areas I need to retouch. So then I'll go in and just show myself Okay. Over here a lot. The ugly dust spots. We have a few more. I'll just paint over it like that. Really roughly. You can also do circles. I normally tend to just do it very rough. Okay, over here we have a lot off dust on that sensor. While that is actually pretty insane. Okay, here's a few more. So that will be now my first step of just showing all off this. Okay. And that's how the actual adjustment layer here with the levels helps us with. So we've pointed pointed that there's obviously a lot that we need to fix in here and do a lot of that. So that will be my first step now. I mean, does this turn this off again? The visibility and we can zoom in again. So for the next step now, what I will do with my help layer is again also show marks on my image. So over here, I can see quite a fuel. So over the dust marks here again on the glasses is quite a lot of the city. We have the complete reflection here in the glasses, which we want to get rid off later. So we have to remove that in another process. You guys can see I'm pretty rough with this, actually, So this did totally depends. You can be more careful with this if you want. Or rough as I am. Okay. Then I'll go through the image of here. I see a spot that I need to retouch here, but of the wrinkles that need to go out again, we have a bit of here there. But more about that here in the second this I would retouch out this I would retouch are clean, clean and just break all of this. This may be our this. This over here, this this this area over here needs to be pushed in a little bit, so it just looks a bit rounder. As of here, it's just nice and clean, so that needs to be retouched. Yeah. Then I just go through my image and try to find all these spots here that I need to still retouch okay. On the nose or a few. Great. So that would be basically my first step. Just pinpointing that with again. Just the normal rush to and help later. I can also see here a feud hairs on her shirt, actually, So these I would like to retouch out as well. Obviously, here's a bit Here. Something there. There. There's I would like to take out some of these wrinkles again. Clean up the hands of here and here. Yeah. Then we have a few hairs actually here on are subject again on the shirt, which isn't too nice. So they will be a lot to retouch out. This will be have to retouch a little bit. All these creases here get them nice and cleaned up. Great. So that's the first step. Zoom out a little bit again and I will take a new, different foreground color again. Let's maybe just select, like, really green one over here. Okay, so with the green now, what I want to pinpoint is just the here that I see. So first of all, I'll just make my brush a bit bigger. Switch this maybe to, like, a 50% capacity and show you guys over here. This area I need to retouch as well. Let's actually turn this off. So we here, you can see a riel color from the here and here. The fake color. So again, we need to fix these ears. The same goes for over here. Okay, so we need to fix this as well. So I'm pinpointing that. Then I'm making my brush really nice and small again and I can see here are 1000. Here's that we need to retouch all off this area needs to be retouched. This area needs to be cleaned up of a here then as well. Over here, we have quite a lot over here all around. The whole wig has a lot off hairs. So we need to clean all of this, then also over here in the foreground. Again, you can see the wick is not really nice and straight. So we need to fix This is well, especially this area of the here. So this needs to be fixed. Then we have a few holds in here. We have a few holes in here of here. There's so much to do. And over here. So it does take a bit off hours and a few hours, obviously, to retouch all of that out. So again, the hell play here again to pinpoint all of that area. Let's let's to select the new color again. I'll select blue now for the last step on my last final step again for just cleaning and healing and making a better image out of what we have ready would begin working with face structure, facial structure and again the liquefying tool. So let's say, like the brush again. I'll make this a bit bigger, but also select, like, a 30% capacity. And over here, this area I want to push in, especially also this area here. Okay, let's make this but smaller and 100% capacity. So the whole person here needs to be pushed in. Not the person, but basically the cheeks a little bit, so that they look just a bit better. Okay, over here as well. So this will push in, will fix the lips over here a little bit. And over here and then for our lost stage. Still with liquefying too. We might also just have a look again at these areas here. So again, fixing that area, Maybe the hands even not totally sure if we do that now. But over here, that push it a little bit in. Yeah, And that's basically our first step just for the hell player understanding what we need to do. And later, when I completely get lost in my retouching here, I can then fall back onto the hell player and see again. Hey, wait. I actually forgot to do this so I can read. Touch it again. 6. Cleaning & Healing Process: and the following lesson will only look at healing and cleaning the skin. We'll also look at cleaning the background and a bit of the hair. But after that, we're going to go into another lesson where we just focus on here. So this lesson is all about just cleaning the skin and also the background. Great. So let's also now turn off the help me here. And we can obviously keep that as a reference. We'll go take the role conversion and just drag that onto the new lay. I can make a duplicate. First of all right, you're cleaning and healing because this is my cloning and healing layer, and I do a lot of cleaning on the Slayer. Great. So let's go back to adjustments and once again select our levels adjustment layer. I'll take the mid turn sliders and just push them all the way up. So we have a nice contrast. The image here, and we can now go in with the clone stamp tool and the healing brush to and just clone out , and he'll out all of the's spots here. I will also now select the cleaning and healing layer and right away go over with Jay to the healing brush tool. So just the normal healing brush tool, all press control and altogether have a look for civil at my hardness that should be set to zero. And now I'm working constantly with again my brush air, making a bigger or smaller in order to he'll away a certain area once we get to the clones , them to also teach you guys a bit hard to work with the clone stamp tool. For now, let's stick just with the healing brush tool. So first of all, you've got it. The healing brush tool selected. Now, Once you hit old, you can sample a certain area. So I'm going to sample an area from here and with the healing brush tool. Now it will only copy the texture. It will not copy the tonalities and no color tones. So again, it's easy for us to just copy the area of here literally. Just brush over here and in order to brush away the dust box and this process I'll do now, you guys will see constantly when it changes. To this Aiken. It means I saw if it changes to this, I can it means I'm brushing. So again I'll show to you guys. Copy and brush over. Copy the area and brush. Copy the area and brush, and the same goes for down here. Let's go. Start down here. Hold Ault and sample brush over old sample brush over. Old old sample and brush over. Sample brush, sample brush and this process. I'm pretty much doing now for quite a long while until I can't find any off these dust marks anymore. Okay, we're going through a little bit more and I can see quite a lot. Still over here again. Sample and brush, Sample and brush K. And I'll look now at the more prominent ones because I don't want you guys to constantly watch me do this year. I will also sometimes speed up the video and play a bit of a song over it. But this is only because I continue doing the same process. When I do new process, I will stop again the video and teach you guys what I'm actually doing. So right now, I will speed up this video a bit until we are done. So you don't need to sit here and watch me for 20 minutes, he'll through the image. Okay, so I went now through the complete image and just retouched the background. I'm also going to take now a bit of a further zoomed out approach. Have a look again once overall, and I think so far it's quite good enough. So again for the next step. Now, what I'll do is just again delete the levels one layer here. So we just delete that again and we have our fresh background. So right away, we are not sure that our background is quite clean. It's not perfectly, but it's good enough again for our image. I can actually see here at the top still something small again source and just brushed it out. Great. So now I'm gonna go over straight to her face and also just work a little bit on the skin retouching here just basically cleaning. But this is a no means a skin retouch this only cleaning the skin. So again I'll work again on the cleaning and healing layer with Jay, go into the heating brush tool, make my brush a bit smaller and again remember the healing brush tool only copies texture. So no tonalities, no color turns. So it's easy for us to select you over here source from this area and slowly brush over to this area again brushed over with a soft feather brush of here and over here. And I basically continue do now the same process again, like I did before with the background. Just this time I'm spending a bit more time and do it. But more careful. I also often change my brush size that you will see me do also quite a lot in order just to get into the very fine details of the skin. And the more you do this, the better your skin will look in the end. Okay, But again, remember, And no means this is no skin retouching your only cleaning the skin, removing all the little pimples or little wrinkles everything that you think should go out . I would also not overdo this. Sometimes it's good to leave in some original and authentic wrinkles. But again, the really bad ones you can actually retouch out okay of here and at the top. Okay. And I'm taking some of these wrinkles out and would move here basically will also do this pro cess again. You guys can also now see here we have a bit of here. Let's actually zoom in and get rid of that here again with the healing brush to make the brush nice and small. Hold old sample and area from down here and right away Paint all the way, All the way to the top in sample of here. And I'm just trying to clean these hair a bit more more about cleaning in depth here in our hair retouching lesson. But for now, this is a fine if we just clean up the here here a little bit. Okay, so we're looking at the skin trying to make this a bit better. Okay, Like so. And this looks a bit broken right away. Let's try doing that again. Like so great and just painting over with the heating brush tool over here. We have celibate of here and trying to fix all of that just with the healing brush tool. So again, sample on brush over. This is a very, very basic step, and the more you do it, the longer you sit on your picture, the bed will get more cleaner. You make this the better your end result will look a little more. And I think I'm also gonna fast forward the video again. I'll stick on the skin if I switch to another tool or if I use a different technique. I will stop the sound and the fast forwarded video and teach you guys again what I do. I don't want to sit here for 20 minutes and watch me do the same process over and over. Okay, So speed up the video now A little bit. Okay, so over here again, we have a lot of hairs. I want to show you this a bit of a slower process again. I'll take the healing brush tool Really close. Really, really close. Assumed in sample very close by. And just again, brush over this again. Sample area close by. Brush very close by and just fix all of the's little hes out again. Here's one on the top. Let's fix that. I also see a few wrinkles here and really spending quite a lot of time just in the very fine fine details. I know this is not the most fun thing to do, but the better you do this the better Your end result would look again. Okay, Sometimes you see me going a step back. With that, I just press command Zet to instantly go back. Remember, if you're a Windows person, please press again, Control when I say command. Okay, I'm literally just brushing over this, and these are very, very fine details. But on the print, this really makes a difference. Okay? Brushing a bit quicker here. And don't worry too much about these hairs will fix those later. So great a zoom out a little bit to swim of here. Still something small that I need to retouch over here. We have a few creases and the small stuff. Great. So that is good enough for the basic skin. I can actually still see. This will make my brush a little bit bigger. Well, salt sample and area close by and just literally brush over the Syria to march again and right away this looks okay. This will fix with skin retouching. Maybe over here, I'll make my brush but bigger old Ault on Russia with this a little bit. It is this stuffed in that on a more great and I want to show you guys. Also another technique. Over here we have a bit of hair shining through. So for this I'll take the clones, them toe, not the healing brush to the same goes for this spot of here. So again, on my healing layer or help player, Actually. Sorry. You can see I've pointed this out already. This I didn't Maybe I didn't see it right away. But anyway, so you must really see it now through the retouching process. So what All too is to say again? Select the pen tool. Maybe not for this one for this one down here. Oh, select the pen to literally just make a small selection like this. Oh, you know what? Let's actually leave the pen to completely We can get actually away with just using the clones them to. So again, for that s on the keyboard. Clone stamp tool. Select the right layer cleaning and healing layer again. 100% capacity on the clones. Them to hold control altogether. Move left and right on. Just feather this a bit. Something like 50%. The hardness. Okay, I'm gonna make the brush a bit smaller and other tree comes in your holding old and sampling an area again. But this time, when you sample the area, remember it copies exactly what it sees. So if I do this now, you will see the Klan stand two copies, all the tonalities, all the colors, everything texture, everything. It works a bit different than the healing brush to. Okay, let's make this a bit smaller. Like so hold all time sampling the area from over here and right away. Have a look here in my pre said. You guys can actually see here. What type of preview? Get in the brush, which helps us. We can now move over again to, ah, shirt here and align the shirt really nicely. So line and literally just brush a little bit over. Like so. Okay, obviously I copied this area, and I also need to be, but further away sample again from over here. Move over to the area that you want to raise on. Just brush in slowly. Like so again. I will also feather the brush a bit more great. 0% lets him up here to the top. And again try this effect of here. I'm gonna hold s for the keyboard and go into the clones. Them tool. Hold all to sample the area of here and slowly just brush a bird over here. Sample from down here. So you coming from both sides and with more on just trying to fix that of it. Okay, like so. Let's also select an area from down here and we slow early. Just sample over this with a soft brush. Great. Like so one more. And if we zoom out now, nobody will see that that was fixed. Great. So, again, that's how I work with the clone stamp tool. Zoom in a bit closer to just have a look if I still need to return some stuff or maybe retouch this slightly more. Okay, one more time of here. Like so let's copy a bit of texture there and just paste that of it over. Okay. You can also make the brush but smaller. And copy that again. Right? Okay, let's zoom out. Now. What I'll do is just go over to the hands. Basically, continue with healing. So J on the keyboard again. Make the brush, but bigger. Hold all sample and area close by and literally just brush over these wrinkles so I don't want to remove all the wrinkles and make it look like a complete fake image. But I want to clean the skin just slightly a bit, so it looks a bit nicer. Okay, over here we have a bit of the skin here that we wanted to retouch the nails. You could do that, too. Few really want to go into the details there. I will not do that. Now on here. We have a bit of a spot. Clean that and just a bit of a wound here. Some of the really big defined wrinkles. Let's take those out. Like I said, I spend quite a long time doing just this. This is, like, say, 60% of your little bit of a before retouch before you head into the lost steps and final easy steps. And yeah, which just makes her image looks a bit better. Okay, let's also move over here just to this area. I know it's very fine details, but again, I'll take the clones stem to with S and pretty much do the same process again. Hold all to assemble an area close by, literally. Just brush over and over here and again old and brush over just a little bit off the shirt . Okay, let's go back and hold control. Old once again, Change the hardness. Maybe to like 90 almost 100% like the brush. Nice and small old old Sample the texture year from this shirt, and I'm just brushing over slightly Great. Then I'll go back to the healing brush tool, and I'm starting to get rid of all these hairs that we have from the week on the Should. Hey, healing layer Gone healing brush selected hold old and latrina with texture. It's a bit easier over here. We can literally just fly over and fix things. Hey, hold Spaceballs, zoom around in your canvas, and yet spend a bit more time cleaning just the shirts. I'll speed up the video again so you don't need to sit here and watch me agelessly long retouch all the little hairs out. But again, if I use a different technique or try with a work with a new tool, I'll stop the video recording and show to you guys. Okay, I'll zoom out again and right away we've cleaned up just most of the shirt, but I will do now. It's still go here just to the color and retouch that also a little bit. What I will do is again take the Clarence them to hold Ault sample again from over here, maybe from the top. First of all. Also, let's press control altogether, and it's have looked. The hardness should be set to zero, please. It's make the brush a bit smaller, like so old, old, and just sample over this area. So this takes a bit of time. You'll need to do this quite a lot until you have it right, and you obviously retouched this a bit more. It's again, first of all, just with the clone stamp tool. I'm trying to raise most of the parts that I don't want. Well, Sana, a very small brush, and then I'll go in with the heating rush to later and just clean this up a little bit more case of physical sample again, and we brushing over and you guys can also see me going back and forth quite a lot, So this means I'm pressing, commands it on the keyboard again. Windows People controls that so I can easily just jump back. One more step. You can obviously always use the history panel here in the top. Okay, let's do that on a few more. And also here in the back. That's him in with set. And I have a bit of a crease. Here. Take the cloned stem to make it nice and small on literally. I'll just brush over this. Hey, the same goes for over here and I'll take again. Maybe. Actually, that's festival. Move over to this side. Hold old Andrea sampling this area over here. Great. And a bit of thes creases are just trying to make it look a bit more nicer. Okay, Obviously one can spend hours doing this. Maybe would have actually being easier to right away on the photo shoot. Concentrate also on this and focus on this That one doesn't need to do this in photo shop Later, A little bit more. And I want all deuce again. Take the healing brush tool because I can clearly see the clone stamp tool Just copies areas that I don't want. So with J on the keyboard healing brush tool making a bit smaller and right away all selecting area close by and just with the heating brush brush a little bit on this. Hey, like so. And obviously one wants to have a bit of texture in there. So I won't make everything perfect here A little bit of here, and we just fixing again some of these creases here a little more and a bit over here. Okay, Let Kris Commons it one step back, and I just want to repeat this area and make it look a bit better. Okay, hold space bar. I'm moving around canvas, and that looks so far, but better. Great. Also. Now go to the top here, just the top part of the glasses, and continue with that as well. So for this, I'll use again with Jay healing brush tool and obviously, later in our first real process will get em and create a complete new layer on top of this and brush it out a little bit. But obviously your base play it needs to be a bit cleaner. Otherwise you'll see all of this so again, sample close by. We actually going to samples of the reflection here. And I'm now looking more onto the I because I will later will only reveal with the grading tool a little bit more of the top part. So this needs to be also nice and cleaned up, and you guys can see I'm also rushing quite quickly through this. So again, sample and brush, sample and brush. And I'm especially having a look out for the very, very big part. Okay, so over here are quiet. A few dust marks again. Little side note. There may be on the photo shoot. One should actually try to clean the glasses before and tried to make it look super, super clean. Okay, let's go a bit further in and more. This will retouch in a moment. Let's actually move over here to this side. It will still take all the big ones here. And that's actually good Late in the retouching part, we will hide all of this. Okay, over here. Let's retouch. All of these are on a bit more. Yeah, I will speed up the video again So you guys can sit here and watch me Just do the same process until we get to this part and I will stop again and show you guys how to retouch that. Okay, now, I also want to mention this quickly. I do not want to retouch this out. This is a bit of a key light in the pupil, so I do not want to get rid of those who keep those. Okay. Also, these are looking great now. Just looks away. Better but more cleaner right away. I can also see here still something, so yeah, one can spend quite a long while just leading up in image and trying to get the perfect result for this. Okay, let's continue a little bit more here, and you guys can see I'm rushing quite quickly through this. Do you take a bit more time when you do this and do it a bit slower? Especially if you're new to this. Okay, so now I want to show you guys this quickly. Let's zoom in a bit closer. I'll press P on the keyboard in order. Get to the pencil. Just put an anchor point over here. Anchor point of here. Keep on holding the pen to until we have a nice path here. Also, if you're completely new to the pen Tal don't really know how to work with it. Have a look at our photo shop for beginners course we teach in depth. They're hard to work with. A pen tool. Or if you want to get a quick, free snippet Ever look again on the website. We have a free tutorial and hard to work with a pencil. Great. Okay, I'll make a few anchor points here and then just complete the last anchor point. And right away you have a great path when he'd write, like now, say, make a selection and then please zero feathering. OK, now I'm going to take the clones them tool again, make it nice and small. It can still be fed. It doesn't really care. Making even smaller holdout. And I'm sampling Justin area also close by and Kanna and I can now literally just brush over this or actually clone over this really quickly without worrying that I can go over the area here that we have selected. Now you obviously have a selection, and you can inside of that selection Do whatever you want with the clone stamp tool and you will never touch the white area over here. Preska, Manti and again out of this election again. When those people remember controlled the to get out of that selection. And right away the edges, nice and clean. Gonna make the clone stamp tool a bit smaller. Sample this area and just clean this little guy up. Okay, let's zoom out. And that would be basically here is still something that I see right away clones them tool . And I'm usually just very close by sampling that away. Great. Saw glasses look a bit clean and now the skin looks a bit cleaner. We also still have a few more hairs down here, which I also want to retouch now. So I'm gonna take again. Killing breast tool, Make my brush little bit smaller, actually. Very fine. Select again. The center line here off the lip and just brush over it straight down and little bit more. And of here, and we'll do the same process to the top. OK, but more And this I will also now speed up the video again, but also do the same process as you guys get. So now. Earlier. Okay, Now I'm going to take the clone stamp tool, do the same process again because it's smudges a little bit. They'll just brush over this. So the edge of the lip gets really nice and hard. It'll be down sample from here and brush over on. Do the same again over here. Copy and paste. Copy and paste the sampling and brushing over. Okay, let's do that a bit on this side and again, guys. And no, it's a lot in the details. One can get crazy in here and spend a lot of hours in here. But the more you do this, the better. Your end result will look again for this area Here, I'll take the healing brush tool again. This brush over this right in this up a bit more. Hear, hear right. I'll fast forward a bit again and just do the same process. If I have a new technique, new tool, I'll stop again and you guys can watch me learn something again. Okay? Okay. I'm going to stop now again. And also take the healing brush tool. I want to raise a bit of these hairs here. Little mouth hairs like so we're going to clean up this again. I'm just sampling with the healing brush tool over all these little hairs. That's not so necessary if you it's not a high end beauty retouching to do this. But again, your end result will just look a bit better. More cleaner. Okay, that's a Mervyn a little bit. Here. We fix that ex still this area again. Remember, you're only copying texture now. Okay, great. So that's basically it lets you march again, and this is so far are a result. Let's have a quick before and after. So this is before and after their before and often obviously, you don't see so much right now because it's assumed out. Let's have a look like this before and after before and after. No, if we didn't take the layer a little bit before and after before and after you guys get to see that we have quite removed quite a lot of stuff already. Just on the skin. 7. Comprehensive Hair Retouching - Part 1: Theo. So the following less I'm going to start out now with fixing the Here's let's also turn on our help layer again. So switch to help layer on. And now let's also zoom in a little bit and festival Look at what we want to retouch. So we're gonna focus here on just the outside to fix all of these hair standing out of the week all the way around, and then as well, we're gonna continue with fixing the hairs year on the wig and also in the front part. Okay, so let's zoom out. I'll turn off the hell player and just make a duplicate of this. Let's actually just press command J to duplicate again. If you're a Windows person, please press control when I say command. Okay, so I'm gonna rename this now to fix here. Great. So that will be our first chapter just for fixing the here. So let's zoom in a little bit and right away. What I'll do now is take the clone stamp tool with s on the keyboard. Hold Ault sampling area close by sample from over here, and I'm going to brush over here. But first of all, we need to also set our clones them brush. So again I'm pressing control altogether. Move left and right, and this will change the diameter of your brush. So again you can see over here it makes it bigger or smaller. You can also use the opening brackets or closing brackets again to make the brush smaller or bigger. Or if you like me and have a way continuous five pro tablet. You can also turn here on the wheel in order to change the brush size. So again, I have a quick function here called the brush size, which you can see now and I can turn that easily. Changes the size is more about the waken tablet Also in the bonus Listen. Okay, so what I'll do now is press controlled again. So hold them both and we left and right with the mouse, I will change my diameter and the hardness should set to be zero. Great. Let's make it a bit smaller. I'm gonna hold old now and basically sample a bit of yellow from over here and are slowly with this loans them tool. I'm just brushing here over the here. Que on basically going away through then I'll zoom a little bit. Press s on the keyboard again. Make my brush nice and small Hold old and just continue this process. And I'm also trying to sample very close by okay? And like so just going along the edges here and just trying to clean most of these yucky hazier. Okay? And remember again to have a soft feather brush. You want to also go into these areas here? Okay. And again, sample and brush, Sample and brush. OK, that was a mistake. Let's go step back with Command Zet. Well again, You can also go into history, Pedal back, and I'll just brush over this. Great. Like so. And this I will most probably do know around the whole outside it's a bit more. And also down here we have still a few hairs. So let's hold all sample again. And I'm just brushing over this and sample here we have here let's make the brush of its smaller sample again with Ault Onda slowly move over this. Okay, So you basically just cleaning our ALS. The hairs that are flying around in your picture, Okay? Pretty much the same. Like we did with the healing. But just this time we working again with the cloned stem to again Hold out sample. And I'm literally just sampling of here. Great. Okay, let's go a little bit further up, and we're gonna continue at the top again. Close them to make your brush a bit bigger. Hold altar and sample from this area of here. And I'm now slowly brushing just along the hairs here. You can also see how the yellow applies a bit more to the week. Actually, that is actually fine, because it bleeds a bit better. Okay, lets copier but more. Here. Let's go up. Okay. And sample and clones sample and clone. Okay, I'm going to do this all around on the outside. Okay, a little more. And let's continue here. And basically, I will do this step now all the way around our fast forward the video again. A little bit until I get to a new technique. Then I will stop and teach you guys what I'm doing. But for now, I'm just gonna work with the clone stamp tool and just clone all the little hairs here away with my soft feathered brush. You will most probably also see me in the fast forwarded video that I changed the brush size. That is the only thing that I will do. Okay, so let's fast forward a little bit, okay? You guys can see that. I still have a bit of a mess up here again when a press ESC loans them to some still busy here just with the clowns, them to going into a with these little here's little areas of here and trying to fix. Now we have a little bit of a wobble here. It's actually zoom out a little bit. I've also switched on the hell player again. The zoom out, you'll see this little bubble of here. We also have a bit of a mess up here, which will go fix at the end. But for now, it's important to also fix this little bit. So again, I'll take the clone stamp tool. Zoom in, obviously, and on the fixing here, layer, hold out sampling area. And I'm trying to raise a bit more of this so literally just brushing a few times over this . Okay, hold old and sample again. And now that I know, I haven't liquefying tool in photo shop. I would most probably stop right now with this and then later in the liquefying to try to fix this a bit better. So again, this is good enough now for the start. Okay? I will also continue now and forceful with the video again and basically do the lost stretch, which is here, Over on the right inside. We also going to clone away all of the's. Here's okay, So let's go back in. And when I zoom in a bit in, plants them to selecting area close by and again do the same process. Okay, so we're basically back to our bottom part here again. I'm still cloning and still trying to fix all of these little hairs down here. They hold ult again, and we just sampling close by. They hold old sample and again we get to this area. So I'm gonna make my brush nice and small, old ELT and just sample through this. Okay? And also now just again erasing on all of this. So, basically cloning or the here's away, Okay. Until we get to the edges here, let's also try to fix this Still Okay, lets go down. We have a look down here that looks so good and going through just having a look over the shoulder. Here's a little here, so let's hold old sample this area. Great. So we've done now most probably most of the cloning just around the here, You guys could see here a few smudges from the yellow and over here. So I first want to fix thes before I go into the here more because I most probably will forget about that. Okay, so let's zoom in a little bit. And for that I'll take the healing brush to now. So J on the keyboard, Old control all together again. Move your mouse left and right. And festival left now to change the diameter. That will also change again. Why the tablet? For me, it's important to not just have the right hardness. So let's go to around 60. Let's actually go to 70% hardness. And now I'm gonna make the brush a bit smaller old, old and sampling area over here. I'm also gonna zoom out a little bit and I want to fix this area over here. I'll quickly create a new layer just to show it to you. guys, Let's actually take the brush for that and quickly changed to new foreground color. I just want to pinpoint that again for you. Maybe you don't see it so well on the screen right now. Over here. This area just on the yellow has a few smudges here. The same goes for the top area here because you have some lighter and some darker tonalities. You're in the yellow tones. So when you close them from this area over here and clone over here, it gives a bit of a mix in between. Let's have a look again, and you can basically see that it was cloned over here. So you need to fix that background again. So we're doing that again with the healing brush tool. That's the lead layer one. Okay, zooming in again and let's go back with J Healing brush tool. And now just select an area of here. So sample holdouts and sample. And now just brush over this. So you basically healing now and a bit more, and remember again not to touch the here. Otherwise, you will get there also a level of a yellow spill after purple spill. Yep. Okay. Like so that looks a bit better. Ready? All right. So you can see I'm sampling quite a lot and then brushing all the time when you see this arrow again, I'm sampling. Well, this cross actually here, I'm sampling and then brushing. Okay, let's move over to this area. This is a bit better to see. So basically, again sample close by and then he'll over this sample and he'll over this, OK? And I want to do this a bit more again. He'll the whole area. So again, the healing brush tool now helps to smudge all those tonalities together. So basically meaning all the yellow pictures again to one solid background. Okay. And I wanted it down a bit. Mawr do it a bit more off here, and you can obviously spend more time doing this way longer and more refined. Okay, so I think it looks good so far again over here. A few. And that should be good. Great. So that's again. One step that we needed to fix again. Let's have a look before and after. It's also seem a bit closer onto the hair before and after before and after. Okay, So one last step that we still want to do now in this lesson is basically going here and clean these areas up a little bit more. So still on the fixing hair layer. When a press again s for clones them to this time, let's have look again control altogether. So we can first have a look at our hardness. I'll set the hardness knowledge for a test just to 50%. Okay, 50 and the diameter. I will obviously change again with my welcome tablet. Okay, I'm gonna hold Ault again. Sample an area close by. Literally. Now, just brushing over this a bit stronger, so want to get a bit of a cleaner edge here? Okay. Like so And brushing all the way around again, Zoom in a bit close. I want to fix this area. So s for the clone stamp tool. Make the brush nice and small. Sample and area close by and go into this area over here a little more. Anil, just brush over this and then we're gonna go over to this area here, make it a bit bigger. The brush again. Old sampling area close by and we slowly just brushing over the lost edges here. Okay, old sample. And it's move over a little bit. So I'm trying to get away. Toe, get away. Off with all of this Here, Here. Haledon would answer that. So the line that actually breaks your image is a bit harder and not so soft. Okay, a bit more. And our first Doumar to have a look at it. Yep. Looks a bit better. But I do, like, actually that it goes down like this. Look here. We can fix that. Obviously, Later. Also in our fixing here layer again. It's a little bit over Chris s for the clones. Them too. And we're also gonna do it the same on this side, okay? And you guys can see them sampling you ready from the cheek. So again, hold s close them to and just sample this away as well. Oh, and it's very hard. So again controlled feather the brush maybe down to, like, 20%. They make it nice and small. Hold old and a slowly sample over this. Great. Like so Okay. And you can spend obviously quite a long time doing just this fixing all the little areas here on the here. Okay, I'm gonna go hold old sample fixed this area. Great. That looks so good. Maybe going to do it just on the other side once more again. Okay, let's zoom over to the other side. And just over here with also software. The brush with the clone stamp tool. I'm just fixing this a little bit. Hopes that was too fast all the time when you see me going back. Like when I brushed into this. Now, if I did this year and I want to go step back, you can just press command Zet to go quicker back again. Windows people press controls that can withhold Ault. And just slowly in here sample again. Let's maybe make the brush a bit bigger and I'm gonna feathered even more to 10% called old and let that light shine through a little bit more. Just bring that really this back. Otherwise, the edges too hard and it will just look fake. Okay, let's also go a little bit in here. Old sampling here. So it just goes up a little bit. Okay, let's zoom out. That will fix them later when we get to the next hair stage. So this lesson was not all about just fixing roughly the here on the outside. We're gonna go now to the next lesson, which is also about fixing hairless but mawr intense on the here itself. 8. Comprehensive Hair Retouching - Part 2: in the following lesson. I'm gonna start focusing only on the here on the inside. So again, I'm gonna work a lot with the healing and cloning stem to in order to fix all these little hairs here that stand out, let's create a new hell player again and quickly with the brush. I just want to pinpoint what I'm talking about here is like this, like this. This, this all of these here's here. I want to retouch them a bit better. So fixing that here with cleaning and it's clone stamp tool. So basically meaning I'll use birth of these tools in order to fix this bigger areas like these over here, this top part I will definitely only use the clone stamp tool to fix the scape here because with the healing brush tool, it will just be very smudged. The same goes for the top here, clones them tool. The same goes for of here, here and then obviously smaller gaps like this. Then I'm also focusing on only fixing one side in order to not work too long on this image . So basically meaning in order to speed up my work flow anomaly, fix, say half off this area of here, and then I would copy paste this area and paste it all the way over here. So this way you can now only fix one side and then obviously brush in this here, over here. So that's what's coming up and let's get started. I'm not going to delete this layer again. You can obviously, if you want to brush this also onto your help layer, I tend to not do that. Okay, so let's go do the fix hair layer again when a zoom in a bit closer and festival. Now start out just with the healing brush tool. So press J on the keyboard get into the healing brush tool off. First of all, make my brush nice and small. Old control altogether and let's have a look here at the hardness. It should be set to zero, and then also let's have a look. Is this actually the normal Yeah, healing brush tool, Not the spot healing brush. Will you want to work with a normal healing brush to cases like that? Let's make it even smaller when hold Alton now and sample an area very, very close to this. Here here. So say, for instance, someone retouch this here, then Jay healing brush to hold on the keyboard sample. And I'm slowly brushing over this And as you guys can see, sometimes already it's smudges like here. So what I will do then is rather take the cloned stem to so s on the keyboard will control all together. First of all, hardness needs to be zero and then make the brush nice and small. Really, really tidy. Old, old and again sampling area. So I'm basically not copying exactly this area over. Okay, And I'll do this now over the whole image. So again, for this year at the top, let's maybe have Look, if it goes sideways, let's take the healing brush to and again hold hold on our slow, early brush over this. Yep. And you can see it doesn't look too good. Someone Press Command Zet goes step back. And now you guys get to see Here's a bit of Ah, Doctor Gap. So I'm sourcing exactly from the dark cap over here, then obviously you have a bit of a preview here, have a look. If I go out with the brush, you always have a little bit of the preview. So right away in the preview also get to see that dark gap there. So what I'll do know is aligned this gap here with the bottom part the gap, and then just brush up and brush down. And this technique, I use pretty much on all the here retouching stuff. So I'm trying to find patterns, stick with the pattern and then just brush into the opposite direction. Okay, so let's take the clone stamp tool now. I'll do it first of all with the clone stamp tool brush over here and slowly go up and do the same. Step slowly. Go down. Great. So not worked Ready again? I'll do this and you guys can see I'm working really close in these pixels here, so takes a bit of time until you've got the hang of it. Practice a bit, and until it looks good and will take quite a long time to brush all these hairs and clean up all the here's let's go over here. Que sample and brush, sample and brush. Great. So I'm gonna go up a little bit and try to fix these. Here's here little bit days are a bit quicker, okay? And also up at sampling area close by and I'm brushing away down. Let's elect the healing brush tool again for this might be easier. So I switched often between healing brush and clone stamp tool. Again sample this hard edge of here. Go down and just brush over. Sample the edge of here. Go up and brush over. Okay. And I'm competing doing that step over and over and over, as you guys can see like, so great. Stop here. Then take this area and just brush down. Let's fix this area here a little bit. And this I'll do not just with the heating brush tool that's actually fix this area. But more here. Just going down, trying to fix that a bit. Yeah, and then I'm basically just going through and trying to fix some more areas. And here's that I see. So again, hold old sampling area of here on brush over. Okay, so this area looks good already. Brush this away, brush this away and this have all doing now with the healing brush tool. So again you can see all those little here's that's then out here again let's brush them away. So I also want to Like I said before, I want to fix this big gap here. But before I do that, I want to rather fix all these small hairs first, because you obviously cloning again. So basically meaning you were copying this area, then you need to do double work. Okay, so let's fix this. And on here, fix this. And sometimes, even if you do a bit of a mistake here under here, when you zoom out, you will not see that, actually, to let Sue Mott and right away you don't see these little, little tiny pixels there, So yeah, if you not that super precise sometimes don't be too hard on yourself. Sometimes you don't see the stuff when you zoomed out. So maybe also sometimes zoom in and zoom Ott. I can fix this. Let's actually go a little bit closer. I'm gonna use the clone stamp tool for this again and fix this to the left and right. The same goes for the tough left and right. Okay, then also hears that go down like this. Easy to do with the clone stamp tool. You just run over them like so sample and run over sample and run over. Okay. And the same goes here for the top. Okay, on this area of here, we're gonna fix this guy. So basically, I'm gonna fast forward the video now again. Also, I will only continue with the healing brush tool and the clone stamp to in order to fix all these hairs until we get to this gap that I want to show you guys again. OK, so fast forward the video again just for the normal cleaning part, which I've showed you guys now very simple again. Just with the cloned stem toe or the healing brush tool fixing these little areas. Try to stick with the gaps and try to fix all these little areas. Okay, I'll fast forward the video bit. Okay. So I want to show you guys again. This is still with the healing brush tool. I'm just fixing small areas, like so. Okay. And this area down here. Great. So I want to show you guys now high fix this big area of here with just the cloned stem to . So again, I'm gonna press s on the keyboard, make my brush a bit bigger hold old. Very close by. And I'm now sampling from the bottom here, let's quickly create a new empty layer. We'll just change it to a red foreground color and really show you guys what I'm doing with my healing brush tool. Or now, actually, with this clone stamp tool, so basically sampling area over here and then start to brush right away with one stroke over this whole area over the whole big gap. But I'm basically sampling the area from over here. Okay, so all the dotted areas, this is the area that I'm sampling. Okay, let's zoom out a bit. So you guys get to understand where I'm working on. Okay, Let's delete this layer again. Go back to fix here. Clone stamp tool. Make the brush a bit bigger. Hold Ault sampling area close by and slowly brush over this. Okay, like so that's who. Men want to make the brush a bit smaller, sample again from a new scratch and then over and a bit more. Okay. And I'm not going to do the opposite to this side. So again, over here and brush over. Let's actually try the healing brush for that. Make it a bit bigger. Remember to have your healing brush completely on a very soft hardness. 0% make it a bit softer and smaller. Zoom down, selecting area close by. And you just want to smudge that edge a little bit. Okay, Clones them tool back to the 1st 1 and sample on the left or right and brush over a little bit. Okay. Simply again. Okay. Now, we're gonna fix this big area of here, so sample over here and brush over and inside again. Do the same brush over and brush over. Okay? And now we basically want to fix this big area, but we first need to clean up these little areas here. So again, J for healing brush tool, make your brush a bit smaller. And just first of all, fix all these hairs standing out. I'm going to switch over to clone stamp tool again because it's a bit easier to fix. Okay, But more And over here, fixing all these here's okay. Plans them to bigger, again, bigger brush. And we're just slowly brushing over this whole area, like so great. Okay. And then obviously a lot off more fixing here around here Okay, So fostered the video again and just fix a few of these. Little here's here that are pointing out. And then I'll continue now over to this step over here. Okay, let's zoom in. Take the clowns them tool, and I'm rich enough. And fast forward again. Holdout. Fix all the little. Here's okay. Now we're getting slowly down here to the bottom part, and for this, I want to be a bit more careful again. Serve here. Try to also with the clones them to fix all these. Here's that are standing out. So you're trying to just get a really nice pattern over here going okay. And again more. Let's fix this. Okay. I'm gonna go all the way over here, try to fix the big ones, like so Okay. And like I said, this takes a lot of time, okay? Going all the way. So I'm basically just stroking down a copy paste, copy paste and stroke down a little bit more. Okay. Fix this big guy over here. Can I sample it? Ready? Wanna go a few steps back again in my history panel just to fix this guy? Okay. Clone stamp tool close by and to slowly brush over Okay, Until it's nice and clean. Okay, here a bit. And I'm trying to just fix this area because I will copy it in here and over here. So that's fixed. This. I'm gonna make my brushes slightly bigger again with the clone stamp tool. A brush over brush over and tried to not copy too many patents. Remember, again, the clone stamp tool is more about copying everything. Tonalities, textures, everything. Where's with the healing brush tool? If we select that, it only copies again. The texture, Not so much the tonalities. Okay, let's select the clone stamp tool again. And Russia. But moreover, this okay, let's fix this area over here and make it nice and small. And again select the gap. Starting the gap left and right all the way up. Okay, let's also fix this big area of here again. Clones them too. Make a nice and big sampling area close by on slowly. Just brush over this. Great. Like so in this area will fix also this Now sample an area from here and then start brushing all the way up, then also from here. So you copy different patterns and again copy the top part. Copy the bottom part yet, but want to do that again, but in part and then over here. Great. Let's also fix the top part of it like so And hold out of here. Sample this area if there was but too quick. Okay. Like so I'm gonna sample all the way now. And I'm basically just now working with the cloned stem to hey, sample this area and try to make it nice and clean. Okay, that was a bit too quick. Let's make the brush of its smaller. Okay. Copying from this area. And I'm fixing now. All these areas again. Okay, again. Copy this area down here. Some basically starting with the here. Ready and stroke up again. Stroke up of a here. A stroke in. Okay, Like so let's actually copy a bit more over here, so we better have a bit of texture going there because we've broken on all the structure. Okay, let's zoom out a little bit. That looks a bit more cleaner right away. I'm also gonna copy now this area and pace it a bit in here. Okay, Zoom in. Clone stamp tool and make the brush, but bigger and basically just brush over and in. Great. Take a bit more from here. Brush that back clone stamp somewhere from somewhere completely else. So you get a different texture now, so maybe copy from over here. I'm actually gonna copy from downstairs all the way up to the top. Like so. And obviously this you need to practice a bit. Do it a few more times. Mine also doesn't look too good right now. I'm rushing through this too quickly. I should take a bit more time when I do this. Okay. So, like, so let's do it again. Okay. Like so. And then maybe I'll make this a bit. Brightest. Just works with the image, so march again. That's a bit too much ready. I want to break those steps again. Yeah, like, so great. Let's fix also this area, but more over here. Clone stamp tool on religiously. Just brushing over here. Okay, fix the top part, and I'm sampling now from over here and just trying to brush in some of the bottom here here. I don't want to do too much that it's not straight right now that will fix again with the liquefying tool. For now, it's just important to have a clean cut here. Okay, I'm also gonna fast forward again and just clean up this part of here so again plans them tool and I'll achieve made my brush nice and small and just fix the big hairs. Okay, so I'm gonna stop now again, Make the hardness, but bigger on hold. Old sample area close by. I'm trying to copy a bit of a bigger pattern there. Okay, so cleaning this up with a bigger patent actually on cloned closer by Okay, here we still have a few hairs that I just quickly want to fix up with. My clan's them too. Okay, on a bit more. Fixing all of this. So again, like I said, this takes a bit of time. It's quite a process. And you can spend ages doing only this. Only cleaning the hair for a long, long time. Okay. And a few more precise. Then it walk. Also look a bit better. Ok, but more here, let's do all these areas. Okay, So let's actually go to a step further. We basically copying this era, But before I do that, almost probably go and finish the whole cleaning now and then in the next lesson, I'll show you guys how to copy this area and put it in over here. I can still see some spots here. Let's fix them right away. Make the brush a bit bigger. And just with a bigger brush, I'm fixing the Syria. Great. So basically, now I will stop the recording. I will fix all these little here's here that are still standing out again. This is only with healing and learning the same, like we did here at the top. But I don't want you guys to sit here for another 20 minutes and just watch me retouch the here that you already know how to do now. So I'll stop the recording. Just do and fix the small here still, and then come back over to show you guys how and what we do with the next step in order to have a nice week 9. Comprehensive Hair Retouching - Part 3: Okay, so all the recording was off. Now I actually just fix the Biltmore. The side here is here again, cloning and healing all the way around. Now, I didn't fix this too much, because obviously, we will copy this area a little bit here and paste it in here. Have clean of this area a little bit, but I do want to stop now and actually record again to show you what I'm doing. So again, let's move over to this area over here and festival to back to the fixing hair layer will take the clone stamp tool and with s again clone stamp a little bit in here, so fissile on to fix all of the's. Here is a bit then where if you mess up a little bit with this, we will. Obviously, once we're done with the whole Harry touching will brush in some new here again in order to fix everything about. Okay, so let's do this. And I'll just fix all of this. Just brush over it with the clones. Them too. Okay. Like so. And I'm fixing this a bit just so that all the side here's are not standing out that much. Okay, Go step back. Make my brush a bit bigger. The clone stamp tool. And I'm just slowly brushing over this now. Like so great. So now I'm gonna zoom out again. It looks a bit sketchy right now, but don't worry, we will fix that in a minute. Now what I want to do is go right away into the liquefying tool. So with fix hair layer, I'll go right away to filter and I'll go to liquefy also now in the liquefying layer, zoom in a bit closer. Okay. With space bar, move around my image and festival Now only take the first move toe basically the forward warp tool in healing. Okay, so for the liquefying to now I'll take the mouth. I do not work with my pen to but I will use the brush here in order to again make my liquefying tool but smaller on the right Inside You have a few options here at the moment I'm just playing here with the density up to 50 And if I change my brush size, you can also see the number here goes up and down. So the brush size is actually more important for me right now and that as well. You density Said to 50 not 100. So basically what I'm doing now is dragging down just the top. Hey, line here. But I'm also tapping through. I'm not dragging with my pen that's coming here from the waken tablet signal drag, tap, tap, tap and slowly dragged the stamp Also push up a little bit. Okay, in order to get a really nice around flow here that strike that down a bit more. Okay, I'm gonna make my brush a bit bigger, so I actually can grab a few more. Here's and pushed them equally down, but more. Yep. And then this one over here, I'm gonna push back in. So just up a little bit And you guys could maybe here my mouth I'm just clicking Tap, tap, tap, push and move. I'm not keep I'm not holding the mouse. I'm just clicking Tap, tap tap. Ok, make this a bit bigger. Great. Let's also zoom up this. We can still fix and get info shop later. With cloning over here, I want to to liquefy this a little bit. So it's nice and round that area that we fixed also. Then just go through your image a little bit and try to see if you can still pinpoint some areas like this over here trying to make it nice and round. And the same goes over to this side. Okay? And I don't want to have the weeks hanging too much here, so I'll just point that in a little bit again, remember, 50% density and the brush that will change mine is currently at 500. So nice and big and you guys can also see I'm not working with the inside and pushing over here. I'm working more just with the side area. So basically meaning just the side off that whole round brush. Okay, if you want to reconstruct all and start again, remember, you can also work here with some more options again. Restore all or reconstruct. For me, it's not so important to work with these options. For me, it's just important to have my size different the brush size and the densities said to 50. Like I said before. Okay, so for me, everything looks kind of fine. Now, with this area of here, I'll copy most of this area and pasted in here. And then I'll copy some of this areas over here and paste those in some when it hits. OK, Photoshopped renders that already right way through us, and it's have look again. Here's our before and after that's excuse him out a little bit again before and after before and after. And like I said, also sometimes have a look again. This is your final image, right? Zoomed are a little bit. Nobody will see these very, very fine details on the image. So if you mess up a little bit, don't worry. It's not that intense while when zoomed out. But remember, the last lesson here will still be a bit of a fixing and adding some more. Here's okay, so on the fix Hey, Layer are still want to fix this area a little bit over here. So clones them tool, and I'm just again making my brush a bit bigger. Clone this area, and I'm literally just brushing over here, filling the last final gaps. Okay, let's also take the healing brush tool, and we'll fix the skin a little bit. So down here, just make the shadows a bit more even. Okay, so I'm literally just with the healing brush tool painting a little bit over this. Okay, then let's also take this back again into the liquefying tool to refine this once more. So again, I'm gonna go to filter liquefy it once more. I'm gonna zoom in very, very close now, Okay? Like so. And I now want to only fix this spot in part of it. So again, take the normal walk to make your brush nice and small. Change the density to 50 and my brushes around Now, say 100. And I'm not working with the inside. Now. I'm basically just working with outside of the brush. So again, push it up, push it up, and tap tap, tap your way through. Same goes for here. You can push those. Nope. Not done. Push it down. Kale just went to step back like so great. And I'm just re finding this area a little bit. Make my brush also, but smaller. So I can work a bit more finer in those details. Now, I'm actually working, but more with the inside of the brush. So basically meaning the center. Okay. So I can push those Here is a bit quicker and a bit easier. Yep. And they were breaking the pixels already, so I would not continue doing that. Let's get you go up a little bit like so great. I'm obviously gonna copy this area and brush it in, so it's fine. Okay. Make the brush a bit smaller still, and tap, tap, tap all the way up. Okay. Hit. OK. And we're done with that. Great. So the half of our side here, let's actually create a new layer quickly. So half of the side is really fixed pretty properly. All of this area of here. Great. So we fixed all of this area, and we also straighten this really nicely, which will now again, Like I said, copy and paste this area of here and will pace it into this area of the here. That great. Okay, Then we'll go over and select the marking tool, so the rectangle marking to you can select that Zoom in a bit closer. And I'm not only copying this area, so let's make a big selection around this. I can still move my selection and on the fix, Hailer Press Command C and command V for copy paste so again, also, Windows. People, please press control here. When I say command. Now, we need to flip this because it's currently still to the left tight. So we need to flip it to the right. So we're gonna go to edit, transform and flip horizontally. Great. Then we'll move it over here. And first of all places, somewhere in here just as a rough guide. Okay, I'm gonna take down the opacity and again just to have a visual appearance here. Maybe I will drag down a quick guideline just with the normal move tool Somewhere here, into the center. Okay. Take the layer again. Change the opacity. And yet it's supposed to go somewhere in here. Great. So now I will also create a mosque on this. So again, select the mosque I can over here, and we'll start working with the mosque. Also, if you're not familiar. Hard to work with masks. Ham, maybe have a look at our photo. Shopped for beginners. Course I'm teaching their into depth. How to work with the mosque. Okay, press be on the keyboard again. Black and white, foreground colors. So on the mosque. Now we're painting with the black foreground color when press control altogether move left and right. First of all, changed my hardness down to zero and the diameter. I will change that now, when I'm painting. Okay. So slowly, I'm brushing all of this in fresh All of this area in and this area of here, Okay? And I'm giving this a quick test. Have a look here. That looks all fine. Okay, let's also switch again. The forward colors and pain back in, like, so great. So what I'll do now is press command t first, So Command T. And now we can transform this. So basically warp also a little bit. I'm gonna hold command on the keyboard and go to only a one certain anchor point. And now move this anchor point all the way in. So basically trying to get the here to structure the same as behead with original wig again , move this down a bit like so. And this guy a little bit more over. Okay, Great hit. Enter and again Go back to the brushing back onto the mosque against which foreground colors and brush this in a little more. Okay. And maybe we'll actually steal quite more. Here from this side, actually over. So copying a little bit more off the here because this doesn't look too nice at the moment for me, and it will be a lot of work. So it would be easier for me to take this area here and copy paste it in at the end. So let's actually scratch this whole step and we're not gonna work here with our copied area. Well, first of all, removed the guideline again and then also again, physical do next step. So sometimes you have to test things. And if it doesn't work out, then try another technique and put it in Okay. So I'll create another new empty layer now and are right here. Fix here Part D or actually part to non. Okay. Sanoma, zoom in a bit closer. I'm a big B on the brush. Let's actually show this on the yellow background. So currently my brushes obviously fed it. So my first step is again control old make the hardness 200%. You can also do it at the top. Then I'll change my brush size you all the way down to just one pixel. Okay, lets go a few more one pixel. So if I do a stripe now, this could also look like here. If I'm painting quite a lot, let's just go back here in his through panel. First of all, we need to select the right color. So again, I'm gonna go into the foreground colors here, select the foreground color, move our color box to the side and going to pick a color now. So I'm basically trying now to pick the same color as we have on the week. So maybe something like this Light purple money, it's OK. And on this new fix here, layer, that's just a model. But it's a bit easier with the brush on, basically stroking over here as well. So you guys can't really see it at the moment cause I'm doing so many and I'm just stroking , stroking, stroking, stroking, some trying to create a few more. Here's that it looks a bit more riel, and this I would continue for quite a long process. Just pain, pain, pain, pain paint over this. Okay, now switch the colors again to something darker. Okay. Hit, OK. And just brush on on this again. Okay. And keep on brushing keep on brushing. And this you can do for quite a long while in order to fix hairs more and that it looks real again at the end. Okay. And this is easier with a pen tool. And just to do this with the moss, okay, you'll see else will have to do this quite a long while, Still have to do a few more. They're also down here. I'll still add some more in. Okay, so basically brushing in here now, and I'll do this for quite a long process. Now, I also fast forward the video again. If you see me in the video also stopping, then you'll just see me selecting a new color. So, basically meaning I'm picking a new turn here from the original week. Okay, so this I'll do it and more and all. Fossil with the video again now as well. So you don't need to sit here and watch me for ages. Do this. Okay. Lets you mark to get a little bit. I'm gonna show you guys quickly what I've done so far. So this is all that we have brushed in already. Let's just copy paste it back into the right area, and I'll continue a little bit more over here again. The brush. And let's just do a few more stripes right into here. Also. What works really nicely sometimes. Like now, if we take a bit of a darker color and brush over onto a lighter color, okay? And remember to keep your brush very, very small. So to one pick selection. Okay? And I'll do this a bit more on brush. A bit more also fast for with the video again, A little bit and brush on. Okay, I'm gonna stop now because I actually want to show you guys when you don't want to go to the color picker. You can just press e on the keyboard in order to get to the color. I pick it here, Have a look here. I drop a tool. You can basically also select a color quicker like that. And then again with the brush, Okay. And I'm brushing on, okay. I'll fossil with the video again. Okay, You guys get to see me here. I'm wearing a few steps back again. This is a bit of a process. You have to select the right color again if you brushing with the wrong color. It doesn't look good, can a bit more over here. And then what I want to do now is quite another layer. Another fix here, layer. Let's remove this. Fix hair three. Okay. And again, I will now select the same color as we have over here on the outside, but of a darker color number. The brush slowly. Also paint over these edges again just on the new layer, just to break that edge a little bit. Pay some finer here. Details They're going on and some more here at the top. Okay, let's select the new color again. I dropped to and with a brush to slowly paint over this area, too, so that the edge looks a bit more real again. Okay, lets go up. I drop a tool will select that, and with the brush again, paint over cam a bit more. Careful now, rushing a bit slower. Great. And remember, this is on the second layer. Wouldn't do this all on one lay. If you do a mistake, it's always tough again brushing things in an art. The reason why also do this on a separate layer, because later, now I will duplicate this here and paste it in a little bit on a different area. Okay, Like so. But I'm happy with that so far. Okay, let's zoom out. Yeah, that was a wrong step There. Is that that's room out. Great. So now this area looks quite decent. Ready? Quite fixed up. Let's actually go away from the fixing here again. You guys could see. Looks a bit better Ready than the before. This area over here s I want to fix this tiny, but more so back to fixing here to layer select the same color here. Maybe just to something very bright, like so great. Be with a brush and slowly I'm just brushing over to fix this edge, but okay, that's a bit too quick. So what I also do is pick up the brush. I don't continue with the brush, so really like you stroking down with a pen? Bam, bam, bam, bam, bam! Creating a few more strokes there. Okay, again. Like I said before, also, lighter colors on darker here and again, darker here on lighter colors, a little bit more. And we continuing this process again. So it is quite a long process. Okay, I'll stop now over here. And I think that so far it's good enough for showing you guys all the techniques that I'm doing here on the hairy touch. Let's also do one more step. I'm just gonna duplicate this layer. Fix here, too, with command J. And just move this layer a little bit over so you can actually see now way I've brushed here, and if you continue this for I don't know how maybe maybe an hour to you can get really a lot off different. Here's out of this also, what I'll do is take this area of here press command T and physical stretch that a little bit in and I want to hide this a little bit over into her original here, Here. Okay, like so let's just walk this a bit more, okay. Like so Great. So now what I'll do is festival again. Take down the pass itty bit, push that in a bit further, and will also take now on a mosque with black poor on color, making the brush a bit bigger. Hold control. Old fed the brush. And I'm just literally brushing that in a little bit over here. Okay, let's change the opacity up again. Yep. And move that just a bit over to the original here. Great. So for now, that's good. You can also go in and clean this even more. Bring in some more here if you want. All the way down from the top, all the way down. And over here. I'm gonna actually fix this a bit differently with some other. Here's that I still have. So basically adding some color on top of that, but more than about that in the next lesson. Okay, let's zoom Art. Final step that will still do now is again. Let me just take the opacity up is again just copying this area. Okay, down here. We still have a mess up here from this layer. So again, we need to brush this away with B hiding all of this bottom part. Okay, so what I'll do now is basically do a master merge again. Let's have a look. This is also our fixed here, So fix here. Three fix here, copied to and fix. Here are put that all together in one group with command G and this is our first step here for the hair retouching. Okay, So what I'll do is turn off both of these layers and just press command. All shift E master shortcut. I'm going to say that again. Command old shift and e all together. So we can basically now copy from this layer. I'll delete it again in a minute. Carrie Kahn, select on cleaning and healing. Okay, so I'll take the marking tool again. Rectangular marking tool over here. And I'm gonna make a big, huge selection here. And basically, honestly, one. Now, I'm gonna copy just this area of here, so command C and command V for copy paste and again, this can be no fix Hair part four. Okay, so you get a move that down into my group, we're going to keep this late. You're still we needed in a second. And again, I want to care, Go to fix here and physical. We need to flip this now because obviously still on the left inside, I'm gonna go to edit transform, and I'm gonna go to flip horizontally. Then I'm going to move it over to this side, can drop it somewhere over here with my curses. And this is also a bit of a playing thing back and forth until it's into the right position . So right away he hit the bottom. You guys can see this is still a mess up. So want to copy this here, this area, actually, and paste that right away after this technique onto the left hand side. For now, we're just gonna focus on editing this top pot. So again, let's take a mosque over here and again be with the brush. Black, foreground color again. Control altogether on the keyboard. Hardness should be set to zero, and I'm festival just brushing away the outside here. Okay, I'm gonna brush a little bit the bottom part here. Okay. Make my brush a bit smaller. Keleti. Raise everything from the face and over here on a zoom in a bit closer also. Guys, if you're not familiar, how to work the mosques, Please. Again, Have a look at our photo shop. Beginner's course. But I guess when you buy this course and you're into this, you will be ready, advanced and hard to work with mosques. Okay, so basically copy this area way. Now, let's just brush a bird more. We can obviously brush back in again. I just want to have a clean cut here away. Great. Like so let's zoom out a little bit. I'll take with B the brush again, switch my foreground colors and slowly brushing back the original week here. Okay. Like so let's switch again and brush back and slowly getting here. Okay? I'm gonna take now the first layer. So not the mosque. Press comment. T literally just hold command and move that outside. Little bit out. Said matches again here with the top part. Also, let's have a look that this week is still in perfect condition here at the top. Okay, great. And I'll zoom in, Be with the brush. Let's have a look here, OK? We need to paint on the mosque, not on the normal layer, and brush that slowly back in great case, which foreground colors, but on the mosque again. And I'm just literally now brushing in smaller parts. Okay. Like so great. And that looks good. Ready? So we've ready Cupid now this area off the mosque. Actually, I forgot one more step again. And here I'm also supposed to just brush away a little bit. Okay, 1% capacity on were brushing over here just so that this edge is a bit feathered as well. Over here, it's fed. That's slightly like So Okay, you guys can still see there's a lot off yellow here. That is okay. It makes us together with our other yellow. Okay, we can erase all of that and again, like so what I basically did now was just hold ultimate keyboard and just selected one layer. So basically, it's turning it off everything. And we just left with our current layer. Okay? At the top here, I can see him messed up a bit. So let's like that be with the brush eggs, foreground color. And I'm just brushing it back again in the top. So it's 100% capacity and the wrist Great. So that looks good. That's Ahmat. Next step that I'll still do now is getting copy this area. So let's go back to lay a one. Take the marking tool once again and make a big selection of here, and copy and paste with Command C and Command V and didn't copy the right area. So let's coast that back. Select the layer first of all, and Command C Command v. So, Copy paste. Great. Now we can take this layer and just move it away all the way out. And we still need to flip that. So let's go back to edit. Transform on Also flipped horizontally. Great. Let's move that down. And this can now be also moved into our Harry touching later. I'm gonna rename this to fix here part five again. Remember, he fixing here is a really a tough one. Okay, Zooming in and I'm in a position to somewhere here festival. I'll just take capacity down slightly. Remarked again a bit and press command t so I can walk this a bit into the perspective. So again, festival over here. Just hold command on the keyboard so you can just take one anchor point and rotate things about around most having look here at the cheeks. Okay, stretch that a bit more. And I'm working also with my mosques again, remember? So we can always erase things, and I think I'm gonna stay with something like this, Okay. Except it and festival create a mosque on this again. Okay. Black for one color was the brush again. 100% opacity and We're just raising the original parts. Were feathering this a bit erasing of here onto the yellow. I'm stealing a few pixels there. Don't worry. Brushing that back in just the glasses and on here. And are we only to switch the passages still to 100%? Okay, feather this a bit more. You want to make the brush a bit bigger and feather this here slightly in. Okay, you can see we're breaking it here again. So be switch foreground colors again. And to slowly brush this back and also the bottom of it, they make the brush, but smaller. And now that tree comes in changes to, like only a 30% capacity. So he at the top or press on the keyboard. Three. And this will change to 30% capacity. And I'm slowly just with some strokes brushing in the here too slick. So So it matches a bit again with the tonalities and the colors. Great. So these okay, That's a bit too much of the bottom and switch again for grand colors. And we brushing back Great. And that's basically it. Now you can obviously refined it's a bit more. We can still take the fund layer command T push it a bit more in and restructure this a bit more until you are happy again. Remember toe also brush out here on the mosque, Toby for the brush. 100% capacity here at the top and just have the right foreground color selected. And I just want to have the glasses be completely free. And the skin here as well. Okay, I see that I've broken it again at the bottom. So again, select layer Command t. And again, just put this a bit back. Great. Like so accept it on. Let's go back up. That looks good. Yeah, and that's basically it just for the here retouching. Okay. So you can still spend a few more hours refining the hair cleaning the here. I'm taking out all the extra little elements here. I'm basically done offer this all just most Probably going to fix quickly some small areas that I see and clean it up again with healing or cloning to. But that's basically it for the hairy, touching section. Again, let's have a look. This is our before, and this is our after before and after you get Let's zoom out a little bit, have looked once more again before and after. So the wig is way cleaner. Now the hair looks a bit cleaner. And obviously, if you take a bit more time and refined these areas still around here and here and look even even better. Okay, so that's also move over, not to the next step. 10. Liquify & Basic Adjustments: Okay, so now that we're done with the hair, let's actually go in and also delete layer number one again. We don't need that First of all. Also cried some new groups so we don't get confused here. So the cleaning and healing Ah, press command G and also right. See and age, sir, for cleaning and healing care. You can obviously rename it to whatever you want. Roe conversion. I will stick with just the normal rule conversion. Okay, so what I'll do now is basically do a master merge. Take all of the's layers, emerge everything together to one until up to now I'm happy with all my cleaning, all the liquefying, all the cloning, healing everything looks decent. Now we're going to move over to the next step, which is again refining the image and then doing skin retouching. Okay, so what I'll do is press command all shift and I altogether master shortcut. Let's actually write your master's shortcuts. So you guys also remember that? Okay, so we have master shortcut, and right away I'll take this lay in our into the liquefying tool again, but this time only focusing again on the cheeks. Here we wanted to move that, and the week is perfect. We wanted to fix again. Also, this spot over here on the color and just smaller elements like the shoulder are a little bit and yeah, smaller things that I see. Okay, so let's minimize and disable the hell player. Let's go to filter. Just make sure to select the right layer, and we're gonna go into liquefying to now for this again. I'm gonna use only my mouse. Not the pen tool, but physical. Select. Just again the normal warp tool. Here. Forward warp. Okay, begin. I'm gonna physical. Said my density to 50. That is fine. And the brush I'll change again with my dime ET here. That's actually zoom in a bit. Okay, that is a bit too quick. So let's press a few steps out, okay? And with space bar, move around. Take the warp tool, Make the brush a bit bigger and what I want to do now. Festival. It's just moved the cheeks in slightly que bit bigger. And I'm again working. Disobeyed more with the outside. Not so much with the inside off the brush here. The rest look so good. The head looks will find to me maybe this side of slightly, a bit. And I'm just I'm not trying to create a new person. I'm just trying to adjust the facial expressions a little bit and to make the girl look a bit more beautiful. So just to structure the body, parts of the better. So I can also see the shoulders a bit more upside to make my brush of really big and just move their shoulders slightly up a little bit. Okay, let's move this one down a bit. And obviously you don't want to get some man shoulders. They don't worry too much about the background that we can fix. If you've noticed this already, hear the background edges are breaking a little bit. Okay, if we zoom out again a little bit, you can basically have a comparison. Yep. It needs a bit more self. Make my brush a bit bigger and again tap tap tap through this. Okay, let's actually dragged out of bed. Great. Like so. And now what I'll do is also zoom in a bit more and basically fixing the cholera here again . Okay. There was zoomed a bit too close on fixing this to one more step zooming out Great. Take the forward warp tool again. And I'm literally just making it nice and small Ad push this guy in just so that it doesn't stand out that much. Okay. And a bit more. And that looks a bit better. Okay, live it more tap tap tap through and tapping down here. Great. So that is fine for me. So far again the shoulder. It doesn't feel that perfect yet to me. Let's move that a bit in. Okay, I'm gonna hit OK, and take it right away, back into Photoshopped. So it has been rendered and right away in the background. You see, this is fixed already because obviously underneath we still have some other layers with yellow. So you didn't move that at all. Great. So that is all for just the liquefying will now move up into the next lesson where we'll start just with the skin retouching 11. Advanced Skin Retouching: in the following less not just one of focus on the skin retouching, but before I head into the skin retouching. I quickly want to show you guys an example, but that festival I'll just take the master shortcut, lay here and just duplicate that. Just drag it to the new lay I can. OK, we've got a copy of that. Now, if we go to filter and all the way to other high pass, we can festival set the high pass radius here, the pixel radius. Let's put it up to 10. I'm gonna hit OK and change the blending options all the way to vivid light. Now, if we zoom in, you guys can see that we've sharpened the image. So here's the before and after before and after, So we've sharpen the image quite a lot. Also, the same goes Let's go back again just to the duplicate process in the history panel. If we go back to filter, blur, Asian blur and we give this Earth three radios pixel, weaken blur the image so again showing you guys how to sharpen and hard to blur an image but in skin retouching. Now, if you invert the layer. You can reverse engineer this whole process and create the opposite Actually, So while inverting the layer you can with high pass, flatten and blur the surface of the skin. And with Gatien blur, you can bring back details and sharpen it. So that's basically the first step again for the skin retouching. So let's get right away into that. I'm festival gonna go back to duplicate layer. So we have a fresh start and quickly rename this to skin retouch one. This is now our first skin retouch. So the first step off two steps okay, Skin retouch one First of all, we're going to switch this all the way to vivid light blending option. Then we're going to inverted with command. I again Windows, people press control when I say command. And now we also going to apply a smart object to this. So we working on constructively, and we can always fall back in our smart filters. So again, on the layer hit right, like go to convert to smart object and we right away have a smart object. Now let's head all the way back to filter other and first civil for the surface. So again. High pass again. Remember, Reverse engineer. We're going to Knobler Just the surface again. You want to blow it so much until you see really nice color halos. So again for me, I'll take it up. So there it's thoughts already. Mostly my images are between 50 to 60. So I'm gonna go with 60 today or the pixel radius. You can also type it out here 60 pixels. If you zoom in quite a lot, you can see that the surface blur. So you're basically looking to get these edges here so that the color changes totally hit. Okay. And that will be now your first step right away. Under the smart folders, you can see the high pass again once you continue with your photo shopping and you decide to not have so much blueness on the high pass and you can always pull back into these layers here and tweak it again. I guess you know already about this if not also have a look at our beginner course, right, So for the next step now will be bringing back the details. I'm gonna zoom in for that to first of all, show you all the pixels have been broken, The colors mitts, Max and also everything is nice and soft. Now let's go back to filter lure and we're gonna go to gauge and blur. And why the way Have a look While right away all the little paws and details are coming back. But the soft skin in the back with also the tonalities the light and dark parts are all even are So the skin looks more soft and even we didn't break anything. We just even art all the highlights and shadows. Black turns everything on the surface. So again, I'm gonna work normally between 12 and three on the radius. Start with one. It's not enough for me. Not enough details there. Someone to go over to to Not enough yet. And then three. That's right. Sometimes I also take it up to four or five. That depends again on your picture. When I hit OK and right away that is the first step here just for the skin retouching again . Have a look. Also were missing still are black and white tonality turns So those will bring back now in the next step on our second layer the next step now would be to bring back our tonalities. So basically meaning all the highlights and the shadow 80 years. So basically double click here onto your skin. Retouch one layer in order to get to the layer styles. So double click on here will bring us right away into the latest styles. And at the bottom of the first blending options, we really have a blend. If slider here on the left inside, you can take the dark parts and in order to bring back the light parts and over the right inside, we have light sliders in order to bring back the dark parts. No. Now hold out. So you also just moving one part of this little triangle here and push back all the highlights. The right away. You get to see all the deck parts are coming back. I'll put it to you. To the center. For now. Also. Now take the black sliders and move them all the way to the right. Okay, so we're bringing back all the highlight areas. Let's move that a bit more. Actually, somewhere around the to 33 the highlights again, let's take it all the way to the left and take them down just a little bit. Something like we are ending up here with 5 to 55 This you always have to play. It depends on every image, and it's a slightly different towards every image. Also, the highlights here don't look too great. Let's push those a bit more and yeah, before I forget, you mostly have to look at the skin. Not so much at the rest. Ok, Do you obviously applying this only to the skin, Not to the here and glasses, etcetera, but have a look right away. How the black and white tonalities and also the shadow parts. The highlights on the skin itself smoothed themselves are a little bit so the skin appears a bit smoother, but we've not blurred the skin or not broken the skin. It's just smoother right now. Okay, great. So that is our first step again. Just for the skin. Retouched and skinning, blurring the skin here a little bit. Now let's take the master shortcut. Once again, I'm gonna make a duplicate of this again and move this all the way up to the top Duplicate again with command J there. I'm gonna right here. Skin retouched to a Because this is the second partner off the retouch. Now, obviously, we have blurred the skin a bit and flattened it. We want to now obviously bring back more details and shopping the pores again. So for that very simple Percival, we switched the sun. We re click right click on this layer and change this converted to smart object against So we can again work non constructively and apply filters. Go back to filter like we showed before again under high pass weaken our shop in the skin. Obviously, this is a bit too much. I'll start now with just one pixel, because I just really want to shop in the pours a little bit right away here on my preview screen. We can also see the pause. I'm gonna tweak them up a bit more. Two and 33 Might be a bit too much Ready. Depends on how much detail you want. I'm gonna go just with two and select. Okay. Great. So now we've replied that, but we still need to apply the pores to the image again. Switch this all the way to soft flight the right away. When it suites too soft light. It will apply softly just to the pause. Have a look again if we zoom in the pause before and the pores after, so the detail is back again. But the skin still looks softer. Here's a before, and here's the after. If you want more pores and more details in the pores, you can always change the blending options again. Too hard, light, but again have a look. It's just too much details for me right now, so I'll keep it back to soft light. Great. And take both of these layers again. With shift on the keyboard, you can also minimise the smart filters. Here, Press command G put it together in one big group and coldest skin retouching. Okay, great. So we supplied the skin retouching now, But remember, we've applied this to everything, meaning to the glasses, to the hair everywhere. And it doesn't look too great. It's obviously just meant to be on the skin. So again, one law step that we need to do is create a mosque out of this again, press the mosque I can from down here and you have a hidden mosque. Now what we can ask you Do I'll just go step back again? Hold old while you select the mosque. Then you create an invisible moss. Okay, so it's invisible right away. Now we take with B the brush 100% opacity here, changing 200% or double zero on the keyboard and black foreground color. I'm still gonna hold control altogether. We've left right just to check my diameter and also the hardness partnership be set to zero . And I'm working out with my awakening tedious five pro tablet and making my Russia but smaller and are literally just with a white foreground color on the Black Mosque. I'm only painting in this area here onto the skin, so basically masking in the whole skin the new skin that we have from the retouching layers , skin retouching layer and just brushing that in onto the skin. A. And I'm trying to avoid the lips and everything going all the way around around the chin. If you put this a bit onto the background and a bit onto the lips with a soft headed brush , it's not too bad. But I wouldn't paint this on a hard brush all over my complete image. Try to avoid that a little bit. And the tops little bit. Hey, I'm doing this a bit quick. In our is in a moment, I will just switch the skin retouching layer to one single layer and then I can have another look here if I've missed a spot or if I applied it too much again. I'm also going to do this over the hands. So everything is nice and smooth and the skin is very soft. Okay, let's also just press Ault on the keyboard, hold old selected and just select the eye over here the right away. We can see. Okay, we've missed this area. We can fix this a bit here. That's basically just showing you the areas that we've covered and that we have not covered they like. So when they get this area still in this one over here just covering again all the skin parts Okay, that looks good So far. Let's switch again with X. And to remove it a bit here from the glasses and zoom in on this little piece. You can actually keep that. That's fine. Okay, let's hurt old again. Select the last layer and right away. We have applied our skin retouching here to the complete layer. Again, you can select the mosque, go back in, and also then obviously brush this back in better this a bit more here, just over the here, and then work a little bit more on the finer details around the glasses. The shadows are all the same. Okay, let's apply this a bit better, and that's have a look in the top. Yep, that looks a bit better. And the skin looks now nice and really clean, without a lot off breaking, blurring or anything. Okay, so that's basically it. Both the skin retouching right away again. Here's the before and after before and after and remember also, You can always take the under opacity a bit more if you want to get those tonalities from the back shining through. But remember also, we applying a few more layers with contrast levels again, dodge and burn, so we'll bring back a lot off the contrast and black tonalities. Overall, 12. Color & Light Adjustments: in the following lesson. Now we're gonna focus only on color adjustment and light control. So let's start right away, out just with sorting our peace defile because until now I do not need the help player anymore. We're done with all the cleaning, healing, fixing Hayes, and everything is done that we needed for our help layer. So move that all the way down and keep it. Actually here I'll just create a new group. I'll keep that here in my layer in my layers pellets so that you guys could also find it when working here with the working file. Then also take the Masters shortcut or suppress command G and put that together in a group and right m s for master shortcut and as well liquefy. So you guys also know exactly where is what with this file? Great. So let's also select the skin retouching and will start right away with our color adjustment. So, first of all, I want to apply a bit of contrast. I also want to play loading in the selective color adjustment layers worth also neutral turns and then also have a look. How much reds do we need to take out of the skin again. Great. So let's head over to our adjustments here. We're gonna go to the curves adjustment layer and just slightly apply a bit of a contrast to this image. So again, I'm gonna go to the dark tones and just drag down a little bit Here, the slider. I also said another anchor point here at the top. So we literally just applying it to the dark areas. Okay. So also applied a bit of contrast there. Let's quickly have a look before and after before and after, and obviously you can take it a bit further, but I don't want to do too much. I would rather than again create later another adjustment layer just for contrast if I want . So then let's head back to adjustments. Once again, we're gonna go to the selective color adjustment layer and work also in the neutral turns. Yours will most probably be right away in the red color tones. So switch this first of all to the neutral tones. Great. And I'm gonna work a bit inside. Yen Magenta is yellow and the blacks, in order to create a more vibrant image and also to see if I can get some really cool color tones overall. So normally I'll take my sliders all the way down to the left side, have look or back again, all the way to the right inside and then go down again in order to tweak this. So, for this first step here now, I will actually go to the Cy End down. So just to add a bit more, say yes to this. Okay, so I'm gonna go to, like, let's take it up a bit further. Okay? That's a bit too much. And I'll take it down, like until two. Somewhere over here, minus 45 minus three. Should be good. Actually, have a quick before and after. Look, cats giving us just a small effect. Let's work liberty in the magenta as again. Magenta is. I would most probably push up because of the purples, So yep. As you can see, it adds a lot of purple touch to this. So again, I would most probably go with also like a plus four five. Actually, a plus three would do, plus four. Let's have a look again before and after before, and often I can see the skin gets quite read through this process. Let's zoom a little bit and turn off the layers again before and after before and after. So again, I need to take out the Reds a little bit more after this process. OK, great. Then let's also go over to the yellow pot. This I would most probably push us a little bit because we already have so much yellows here. And this will just create a more vibrant image. Okay, so the yellows also push up to, like a plus three or four. Anything a plus four would do for that. Then let's have a look. Blacks, we don't want to flatten them. I want to add also but more contrast. So maybe also like a plus three four Think plus three would do for me. Let's have a look again before and after before and after. So all looks good. Just the skin is a bit to read. So next step for that would be getting back to the adjustments. I'm gonna go to the human saturation adjustment layer. Okay, so here in saturation is selected and right away not in the master tones. We're gonna switch over to the red turns. We'll just take the saturation slightly down. So take it all the way down. You can see a lot of reds are pumping out there and let's slowly coming back again. And more, more, more, more, more. I would stop somewhere around 18 19 they're somewhere around 19. Let's have a look before and after. Yeah, and that looks just a little bit better. Okay, Can actually go a little bit more down 15 before and often. Yep, and I like that more. OK, so that's basically all for the simple color. Adjustments so far again at the end will most probably do one solid fixed layer that also has some color adjustments. So select hue and saturation, selective color and curves with the shift keyboard shortcut and press command G. And we're gonna put that together in a group. And that will be now are color adjustment. I was gonna write color for now. Now Next. That would be a bit of light control, so I would head over to the tool panel again, select the elliptic and marking tool, and right away I'll make just a big post election year kind of like egg there. OK, slow moving a bit into the center. So it's more covered around my subject, this well, and we not basically going to create a bit of ah manual vignette ing effect and a pop in the center. Great. So we've got our selection. Next step will be going and just modifying again that selection. So we feathering the selection little bit. So head all the way over to select, modify and then feather. Then right away Set this two for to 50 pixels. The feather radius. Okay. And we really need to repeat that step once more. So it's feathered really, really nicely. So getting to 50 Okay, that has feather to quite a lot. Great. So the next step would be now going back to the adjustment layers to the curves adjustment layer and creating a bit of a vignette ing effect. So adjustments curves adjustment layer, and we're just gonna take the dark turns again and pushed them slightly down. Okay, I'm also gonna go push up the highlights just a little bit and let's have a look quickly A before and after before and after and right away you guys can see now it has implied with the mosque and the mosque is only in the insights of basically meaning. The whole selection from the inside has been selected and outside not, but we wanted to create the opposite. We wanted to have the dark side outside again, like a vignette ing effect. So we need to invert this with command. I invert that, and right away you guys get to see here again vignette ing around and on the outside. Let's actually take this a bit to the extreme, so you can really see what's happening here, care of to switch it on. So again, that is the vignette in effect. Now, if I switch it on and it's not incentive, let's invert again. So then it's in the inside and nods on the outside. Great. So move this up again So the highlights don't go with. And also the darkening here. The dark areas just down a little bit depends also on how much contrast you want again on your background. Then I'm going to do the same step again in order to get a bit of a pop in the center, So press command J duplicate the layer and also press command I to invert again. Great. So now everything is applied again into the center, so it's actually equal now. So let's just select this anchor point delete and also this anchor point and elite, and I'm gonna set a do anchor points. It's fixed here and in the highlights. I'll slightly just picked them up just a little bit in order to just give it another popular into the center. Great as you guys concede, let's also zoom a little bit so you can really see it on the screen. So this is the before and after before and after. And let's take both of these layers. Purse command g again, and we're also going to write here light control. Great. And now let's have a look again, our whole process that we've did now. So that is the before and then with both layers. This is the after. Okay, so that's basically it. Just for the color and the light adjustment 13. Dodge & Burn - Get More Out: in the following lesson. Now we're gonna focus only on dodging burning, basically meaning we want to dodge again all the highlighted areas. And we want to burn all the dark and shadow areas in order to get a more dimensional image . If you're also not familiar or want to learn more about dodging, burn, have a look. We've got a free tutorial again on our website teaching you more about Dotson burn. But now let's head right away into the lays here when you create a new empty layer on just renamed this first of all to dodge and burn. Okay, so again, I'm also gonna select the marking tool the direct, angular marking tool. Select my whole canvas and inside of the selection, select right click, Go to fill and right away under the contents area Here we will fill this up again with 50% gray. Okay? And right away we left with just a great layer. When a press command d to get out of the selection again when those people remember controlled the then I'm also going to switch the blending options here too soft light in order to to have a better, very softer effect if you want to and have the dodging burn affecting even more. You can also switch this to overlay or if you want, you can also create to dodge and burn layers. One will just be for the soft areas and one will best be for the hard areas. Just remember, you need to set the hard layer to overlay again. Great. I'm gonna just stick with a soft light. Then I'm going to select the brush here. Just press be on the keyboard and press control altogether in order to first of all, feather my hardness of the brush completely Great. Then I will also switched capacity here at the top, all the way down to just 0.7%. Okay, I can also type on the keyboard 07 Then it also goes right away to 7%. Great. And now, if we paint with black and white foreground colors, so with black, we can now obviously burn or the shadow areas. And with white, we can highlight all our highlighted areas. Okay, so let's zoom in a little bit and show you guys also what I'm doing. So right away I will start out on just the Wigan under here with the widely foreground color crispy for the brush. Make your brush a bit smaller and I'm now is just brushing here on all the highlighted areas. Also, she in the front a little bit and literally just brushing over this Caleb Moore and a bit more and I'll show you guys in a minute, The effect little bit over here. Let's quickly have a look if we just select old and just only select the Dodge murder layer . So right away you get to see where I've dodged and were burned. So basically, I just dodged. Now they're here. Obviously, we haven't burned yet, so you only see the dodged areas. If we hold out again now, select the Dodge and Burn layer will back to our start. Great. So I'll do this a bit around the picture. Here I'll go around Forehead Brighton that a little bit also of the nose again of the cheeks a little bit. And of here. Okay, go, Donald. But I want to also brighten this a little bit, but then also switch again to black foreground color. Suppress X on the keyboard in order to switch your foreground colors, and I'm just darkening a little bit here, bottom cheek area and the chin a little bit. Okay, a little bit more. And remember, my brush is super big going around the picture. Let's go up a little bit. I will now make my brush nice and small and just go over the eyebrows just in order to give those a bit more contrast as you guys can also see in a minute I'll show you guys than where I've dodging, burned and also do this a bit over the here. Here to remember this we still need to fix in the end. Okay, lets go down a bit and we want to also enhance these lips a little bit. So let's zoom in a bit closer, be for the brush again and we darkening a bit the inside and obviously all the shadow areas as well. So making my brush really nice and small Now just going around the lip area here at the bottom just to enhance that a bit. And of here, okay, And then let's go. Once around the lips era, just the outside, just to structure these beautiful lips a bit more. Okay, I'm also gonna switch the forward and colors again, back to white and re brightening this area again. And then also here, the top part of it. And I see a really nice highlight here at the top. So I'm just extra burning, extra dodging, actually hear the highlight just little bit. Also, the same goes down here and it zoom up a little bit. We want to switch again to the black foreground color so we can burn again. And we just announced the nostrils here. Also burning all of the's small areas here again, inside, also a little bit. And underneath the glasses, I want to burn a bit more also of here and our Let's room over. I'm gonna switch again to white forward color in order to dodge just a little bit the eyebrows here. But I'm gonna make my brush super small somewhere around eight pixels and just slowly now, going to brush over this. But I'm just dodging, right highlighting. Okay, a little bit more and we'll do that more. Okay. And even in the cleaning stage, one can clean these up even more if you want. But we're obviously past that already. Hey, Let's do a bit more on despite Ning some of these just so that that picture has a more than three d dimensional look. Okay, let's zoom out a little bit. So do this. Also, roughly. But around the neck here, it's presby for the brush again. Extracts switch the foreground colors. And again, I'm gonna make my brush a bit bigger. Went to physical dark in this area down here a bit more. I also have for gotten to do it a bit on the wig here, actually. So that's give the wig. Great. Now, the week also gets a bit of contrast there. Great will also do it around here is here all the way at the top part. But around here and boom, I'm gonna show you guys in a minute What my whole dajun area burn area will look like. Okay, lets go down a bit. And now I'm also going to do it a bit more here, just on the clothing, just on the shirt. OK, but more And also down here we have nice shadows. So just highlight those a bit, okay? And all the shadow areas here I want to just burn those a bit more. Okay, The necklace a little bit like so. And I will also give a bit more contrast here just on her hand. A little bit here on the color today and a bit more so basically only darkening ALS the share of areas and burning. Obviously que switch the foreground comes back to white and just slightly giving a pop over this, making a smaller but smaller the brush again and up. And this area is actually fine already. I'm not going to do the lost two steps here. Going back. Okay, let's also have a look quickly again the before and after here. So again, before and after before and after. So it's just structuring again a little bit more here, the whole picture. So you can obviously do this a bit more. I haven't done this so much. Let's actually press also you going directly see where I've dodged and we have burn so again around the glasses here, quite a lot off burn, then a bit of dodging here on the eyebrows again, a lot of dodging here on the wig itself, plus also burning a little bit. So we just got a bit of contrast, the lips highlighting the lips really nicely. Okay. And in a sterile around the whole shirt, just the hands, but brightened here and the rest We gave Ewing that a bit of feature with burning the shadows. That's which. Everything on again press command G put this together in a group again, and we can call this also d and B for dodge and burn. Okay, great. So that is basically it for the dajun burning. But I do see here is a little bit of a smudge effect here that I want to fix. So what I'll do, Go back to dodge and burn. Hold all only select the dodge and burn layer. And now maybe go into the right corner in order to select the right color. I'm gonna pick the eyedropper tool, select the same Grey press beaver. The brush was Now that is obviously the full run color switch back 200% capacity. And this now means that we can actually now brush back in. So whatever we've broken on the Dodge and burn layer, we can fix again. Hold Ault, select the whole Dajun burn layer, and I will be selected. Obviously the brush. We can just fix these areas around the head. Okay, One more fix of here and now the Dodge and burn is only applied to our subject and not so much over to the background. And I also noticed another small mistaking which we haven't talked about in the previous lesson. Whenever I zoomed in now I can see these very weird rings year aberration. We call it also so these we need to kill as well, especially if you have a big print. Sometimes it's not too nice. So what we can do with that? It's basically just got back to the light control area and in our vignette ing effect here we can add a bit off noise. So let's head over to filter. We're going to add noise here and just go to add noise and then around 0.5 pixels, that's find amount hit, OK, and right away that has been adjusted. Let's also just due to the inside curves, we're gonna go to filter noise, add noise and as well 5% Let's actually do it a little bit more for this gonna go to like a one pixel to so two pixels. Oregon one pixels is also fine. I'm gonna hit OK, and right away we don't have them anymore. Great. So let's zoom out again. And that is basically all for her Dajun burning layer and a small fix here on the light control. 14. Fixing Sunglass Reflections: in the following less. Now we still want to do some small fixes. I'm talking about fixing the sunglasses here, so basically we see a bit of the Poly board shining through. So basically, the possible helped us again to get a bit of a pop back onto the subject. But we want to obviously remove that and do not see that on our final retouch. So again, let's also cover how we can fix the sun losses here. So, first of all, what I'll do is just go over and select the pen tool and then zoom in like this really closely. Now with the pencil. Just put an anchor point here at the top, and I will continue and create a path on the inside off the sun losses here. So let's continue a few more and, yeah, basically going all the way around with the pencil. Also, if you're not familiar hard to with with the pen tool. If it confuses you, have a look on our website. We've got again a free tutorial, teaching you hard to work with the pentacle or the in and outs, or, if you want to and learn more advanced stuff you could also head over to our shop page. And you can also have a look again at our beginners tutorial. They basically photo shopped for big Guinness will be teaching you also more about the pen tool. Okay, so basically, I'm going all the way around. I'm trying to credit quick path around here and again. One more anchor point. Keep on holding and stretch that. I guess most of you already know about the pen tal. Okay, Like so back again and over and complete the path rights of selected. The last anchor point. We've made a path over here. First step now would be to save our path. So basically, to let the pen to again, it right click go to make a selection. So this means we're out of this path going to create a selection now hit zero feathering. Yes. And right away we have that. Now press em again to get into the marking tool hit right leg once again and say here safe selection. So understand, selection. I'm just gonna ride left for the left side of the sun. Losses. Okay? And press command d get out of the selection again and soon Mozz, and I'll just go of here and do exactly the same again with the pencil. Well, just fast forward this time, okay? And selected last anchor point. And right away we have a path again. Again, inside of the pen tool. I'm gonna hit right leg. Make selection. Zero feathering, please. And select the marking to via hitting em on the keyboard right leg inside of the selection again and go back to save selection again. This 71 is right Right here. So for the right inside, I'm gonna hit OK and zoom art again. And press comment, d get out of the selection. So you will be most probably asking yourself. So why don't we save the selections now? And I went out of the selections again, obviously, because our first of all, pick up the left selection again. This way. You can always call up the selection really quickly. In case you mess up, you can just delete the layer now and also redo this. Let's actually show this to you. I'm gonna create a new empty lay here, hit em for the marking tool right leg and say here, load selection. Then I'm going to go over to channels and select only the left channel hit. Okay. And right away we have our selection. So say, for instance, if I'm going to do something now and mess up, I can just delete this layer really quickly, even though I don't even need to care about it. And then I can just call it up again. A new layer it right? Like again Meyer in the marking tool and go to load selection again. Okay, to select a channel and again, you've got your selection so you can often go back and forth in case you mess up. Great. So let's also similar, but in first step that we're going to do now on this new layer, which will also be left side. So let's also rename this quickly to left side. Okay? And again, I'm gonna take the Grady and tool now and festival select under the Grady into the first preset, which is basically moving from foreground into background color. Okay, but we first need to set our foreground and background color as well. So head over to the foreground. Color here, double pick onto the black and first woman to select a black area here from all original image. So select this over here, hit, okay. And then also select the background color now. And I'm gonna move all the way down here and still a kind of a brown color from down here. Hit. Okay. And right away we have black going into that bit of a brown color. I'll zoom out a little bit, take the Grady into once again, select, obviously foreground to background and then hold shift on the keyboard now. And I'm not just making a small line over here in order to get obviously from black into labor brown. But I can receive right away I've already forgotten a step to select the right radiant. So let's go to Command Zet. And we need to select just the standard first options of linear Grady int. So select a linear radiant will shift again And now, equally on your image Here just slowly degrade doubts again, going from dark into a bit of a brown area. Press command d get out of the selection and right away we have that. Sometimes you also have a bit of lines going in here. So you don't want these lines then just head over to filter noise and add some noise again . Maybe somewhere around, also 0.5% again. That should be enough for feathering that. Okay, let's also do that Now on the right. Inside again. New layer. I'm gonna say here, right side this time again. Okay. I'm gonna press m for the marking tool, right. Lake Low this election. And again, we're going to load the right side. Okay. Again, Grady. And til, remember, you can also quickly, first of all, set to your back and foreground colors, but I want to stick with the same. So the glasses are obviously the same again. Hold shift on the keyboard and making a small degraded line down here. I'm not too happy of that. Let's try that again. Yep. That looks a bit better here. I'm also going to take the move tool and just drag down a little guideline. Okay, so it looks kind of even to me. Great. That's press Command Zet and Command D. So basically removing the guideline and also removing again. Also that selection. Now, I do see these lines already. So right away on the right hand side layer back to filter back to noise. Add some noise. 0.5%. That is okay. And right away again, we have also applied the noise level. So we are getting rid of the ugly lines here. Great. So now we have applied, Ready in effect, to the sunglasses. But right, you as you can see, it kind off looks fake ish. Now, I can't really see your eyes, and it just looks not so nice. And the only effect we're trying to do here is obviously covering up a little bit of that Polly board. So what we'll do is take the right side and left side here, Press command G put it together in a group. I'm gonna write glasses quickly. You guys can obviously rename it to whatever you want. I'm gonna leave glasses and create now a mosque on top of this. So select the mosque and right away the group has now a mosque. Now let's press be on the keyboard controlling altogether. And when it first of all sweats my hardness back to zero and the diameter a little bit smaller again, This I can do with my way committing this five pro tablet or via the opening and closing brackets. If you don't have the tablet now let's switch the foreground colors here, back to black. 100% capacity. Maybe. Let's start out with, like, 50% and are on the mosque here. Select the mosque. I'm literally just brushing away a little bit. The top parts of her eyes and also this detail area can shine through again. Okay, so with black foreground color be brush selected. I'm slowly brushing over here and slowly guys can already see the eyes is being revealed. Okay, let's do that. Also on the other side. And I'm little bit too big with my brush. But I'll still do it, okay? Because we can obviously always brush back. So against switch to the opposite color again white and at the bottom, I'm just slowly brushing back. You remember we only have 50% capacity applied, so this was slowly be detected here. I'm also going up a little bit so we only have the eyes of the end. Great. And this you can also play around with a bit until you're happy. And until it looks realistic to you, I think this is a quite a good so far lets the model a bit. And you do see the detail there, actually, So I'm happy with this effect so far. Also remember, you can now always create another empty layer and add a bit of a glare on top of this. I will not do it to the image, but quickly want to show you the effect. So again, I've credit a new layer and for marking tool right leg again load selection. So it comes in really handy to only you have once a selection, go to the channel Select. Right now, for instance, I'm gonna hit OK, and now I'm just going to switch back to the foreground colors just with D. Reset the former and colors back to black and white and switch white to my foreground color . Now select the Grady in tool again with G on the keyboard and girl from white into transparent, basically meaning foreground color into transparent. That's actually double tap on this. Okay, so you guys get to see it here, foreground, into transparent hit. Okay. And you can also old shift on the keyboard now and create a little guideline here. Sorry. Let's do that. Step again. Go one step back in the history panel and actually just do it like so Okay, so I've credit a small Grady in there. I'm gonna press command d to get out off the selection. And now take the opacity of this all the way down. Maybe just to like, five or 10% right away. You guys can also see again. We have thes lines here, so add some noise. Let's go to filter noise. Add noise. 0.5. Maybe let's go up to one even. Great. That looks better. And now you've also applied a bit of a Grady int there, a bit of a pop onto the glasses, which I will not do now for this tutorial. But I just wanted to show it to you guys. Okay, so let's delete that again, and we'll just stick again with that effect on our son losses 15. Crop & Final Adjustments: before we head to the final stage of our retouching, I quickly want to add a bit more cropping here, so just restructuring their whole canvas size and as well, adding a last color adjustment. So, first of all, I'm gonna go back to adjustments, go back to selective color adjustment layer, and we're gonna festival, go back into our neutral tones. So in the neutral tones again, first of all, I want to play. But with the CN, Magenta is yellow and maybe the blacks is well again. I'm gonna push this old way down and not too nice. Let's go up a little bit. Yeah, I think around a plus one or two slight Saiyan adjustment there with suit, then also Magenta is Let's push those slightly more just to get a bit more purple going okay like a plus three or four Go a little more for again, then yellows again, I think just minus one for the vibrance K minus one should do before and after. Now the blacks maybe also pushed those up just slightly more. Reckon plus one Okay, again before and after before and often great. Let's also go to the black color tones here because the black color tones also work a bit nicer, saying I want to add a bit more say into this, have a look if we push it all the way up, okay and come back down and just do slight adjustments. Like I said before, in the beginning of the course, you can always go back and create more selective color adjustments, then overdo it. Magenta is I'm pretty happy with that yellows. Maybe. Let's have a look if we pushed them down because obviously we working on the black turns so all the yellows will have some nice magenta turns to have a look if I'll take this all the way down. Kind of gives a real nice retro effect, but I don't want to overdo this. So maybe, like just the minus one minus two there and then also the blacks. Now let's have a look. Yep, we just flatten the Black Sabbath or give it more contrast. So again, all flat nose just by a minus, one minus two. Okay, that's great. So far again. Before and after before and after a slight color adjustment there. Now I'm gonna hit command out shift and e altogether make a master shortcut in order to crop my image. So again, I'm gonna write your crop and press command t to get into the transformer. But before I do that, I just want to zoom art little bit. So that's press set. So Mark slightly press command t again hold shift on the keyboard and to scale this a little bit bigger. Okay, like so hold shifts. That's equally expanding, and I'm gonna accept it from the top and actually, just take the move tool and move this a bit into the center. You can also use again your curses left and right to move that a bit around. Okay, Like so And that will be basically it then. Also, let's select the crop and the selective color press command G. And we're just going to write here Final adjustments. So final and crop, you can obviously rename it to what ever you think. I normally keep it to symbols, things like final and crop. Great. So let's head over now to the last final essence. We still going to do the bubble effect in the background. So some graphic elements and some lost color adjustments onto the shirt necklace and in the wig 16. Applying Background Graphic Elements: Now that we're almost to the end of this pro tutorial, will still finish again. A few adjustments here just for some graphic elements in the background. And then it's, well, we add some lost color changes, so let's get started right away. First of all, we're going to create a new empty layer, and this will be again our circle or graphics, for instance, fixed. There we go. And again, I'm also gonna go over to the toolbar. I'm going to select the elliptical marking tool. Great. So now on this graphics layer, I'm going to create a few round selections. So again, hold shift. So it's equally expanding, and right away I'll just make a huge selection of here. Cisco little bit over, Okay, selecting in the marking tool and make a selection of here going to drag it out a little bit, so this will be our first selection. You can now randomly place thes round selections on your canvas again. Go to the ad mode so you can add some more and not just create new. So it's the second option here from the top again. I'm gonna go randomly through now and create a few small ones and another big one. I'm also not worried so much about the model at the moment, so I'm basically gonna go over her as well. Okay, that's great. One of here I might create another one of here. Old shifts of the equally expanding. Okay, Lets maybe create another one over here. One more over here. Okay, then I'll create another one somewhere over here. Okay, Maybe one of here and basically trying to create bigger ones and smaller ones. Okay, let's create a nice big one over here. Let's go one step back and for the marking tool and just create the selection in here. Okay, let's do another small one of here. Let's create a bigger one over here. You can obviously be very creative with this and try this a few times. Let's do one more over here, and I think that should fill it up nicely. Ready? I want to do one small ones still down here. Okay. Like so. And that should do great. So have credit a few selections now and want to aunt obviously on this graphic slave. Fill it up. So again, M for marking tool inside of the selection hit right leg and go all the way to fill, then under Phil, we're gonna go with contents. Were gonna select color. Now, I want to put this color almost in the same tone as we have. This should so pick quite a blue color here from the shirt. Make this a bit darker. Okay, let's actually select another one down here. It's a two dog to gray. It's go a little bit up, but lie to area also not too nice. You all select one over here, but more bluish, though again. You guys can also get the values down here a minute. Okay? And okay, right away as well. Great breast command d get out of this election, and right away I can see they fit. Not so good with my should, but we'll fix that now. In our last lesson, we're gonna add the final color changes. Then we'll also just these adjustments here with our little bubbles and the graphic shapes . So what I'll do now is again last time. I'm gonna turn this layer off, go back to final and crop and again press command. All shift and e all together create again a master shortcut. Move this layer to the top and this will just help us now to erase quicker these graphic elements again. So let's select this layer, create a hidden mosque, hold Ault and select the mosque over here. And we're just going to write again. Model. OK, and now on this mosque Lay here. We basically going to brush in just this area, so press be on the keyboard. White, foreground color, 100% capacity. Old control. Ault, let's change our hardness. First of all, so the hardness I would most probably do this around to 90% Make the brush a bit smaller and brush little bit over. So I'm brushing just little bit quicker. Okay. Like so go over to this side and also have to do it here. Rush little bit quicker. Okay? And then he raised that area. Great! And now, on the mosque, the rest looks all fine on the mosque. We will just refined these areas to zoom back in B for the brush again switched the foreground colors back to black. So we hiding again and hold control also weaken fell the brush completely. And now what I would do is just slowly brush in these areas and also have a bit of that blue spill onto the hair. Okay. Like, so you can make it a bit smaller and go all the way around. Okay, A little bit more. Down a little bit more Here. And just brush away, over and again. Remember, you can also use our hair technique that we've done again in the beginning. Off this pro tutorial, we can basically now switch back to a new layer. You can also take again a color here from the wig, the purple color, and just brush with a small brush slightly over this thing. I'm gonna do that also. Now, in a moment. Okay. We're gonna stick still here with this. This brush it over slightly again, Slightly more. And you need a little bit further. Just try to eliminate all of the yellows there and a bit more, and you can make this a bit bigger. Okay, But more. I want the weight to be really nice and round. Okay, So what I'll do now is go back to the original layer here my original day that we've just merged together. Press s for cloned stem to make it a bit bigger. Hold Ault and sample and area here also close by. So we now just getting all the way to the edge It, like, so great. And that is all good. That's also do it here at the top. And now, if you want to If it still doesn't look too riel, you can obviously go and create another new layer again. Select with either eyedropper tool yen. Select a bit of a darker color here from the purple Crispy for the key for the brush. No, my press Be on the keyboard for the brush control old, make your brush hardness 100% and change the diameter down to Yep. Again. One or two pixels. Maybe one is better. Okay. And then I'm gonna brush over this slightly more here. Just again on the new layer. Okay, lets go a few steps back, Zoom in again. Brush. And obviously, I need to do this also a few times two located, right? Okay. And I'm actually gonna go back to one pixel. Two's a bit intense, okay? And a bit more and a bit more just so that it looks a bit really, and obviously I'm doing this a bit quicker. Take a bit more time when you brush again in this hair. Okay, let's go over to this side and select again. A new with the eyedropper tool. Just the color turns here and again Be on the keyboard brush and we brushing in some here again here as well, Just to break these edges a bid more okay and more And on here too. Okay, let's go one or two steps back and create a few more. And obviously you can do this a bit more now than me. Okay, I'll school one or two steps back again. Okay, let's zoom Art. And that is basically how you add also the bubble effect. Remember, one more step. We still in the last less now will apply the same color turns to these blue elements that we have also with our shirt. So let's elect for all these relays here that we've created, this is again maybe also here fix the lost final here. Fix Take all of the's relays. Command G Put that together in a group and right graphic effects 17. Final Colour & Adjustments: in our finalists now will still focus again just on adding the right color to the shirt, necklace, wig and some small elements. So let's get started right away. We'll go all the way down here to the adjustments and select again solid color. So select the solid color. I'm just gonna hit okay right away and turn this off. Double click now onto the lay here that will tap it will bring you back into the color picker. And first of all, we're going to choose here a nice dark purple here from the wig. No, it's OK except this and obviously will have a completely canvas filled with that color. First of all, we need to set the blending options. So set the blending options all the way down to color. And now everything is in that color. But we only want to apply that obviously to the wig and also not 100% capacity. So what we'll do is first of all, just right here, 10%. Okay, let's have a look before and after before and after certain, obviously applies onto the whole image. Select the mosque and again invert and oppress command I to invert this and we have a black mosque now is basically hidden again. Let's also move in here. Take again the brush with B control Ault. Let's make the brush a bit bigger. Changes the hardness all the way down to 0%. So it's nice and soft and as well now also, switch foreground colors back to white. Make sure it's under 100% opacity, and I'm only brushing in the areas that I want. So basically meaning all the areas here from the wig. Okay, let me show this a bit easier for you guys. I'm gonna turn the capacity to 100%. So you guys can obviously see where it's affecting right away, okay? And I'm also spilling a little bit here onto my background. So again, doing this a bit rough. Now let's see. Rays into the opposite again with ex switch. The foreground colors make the brush a bit smaller, and we're just brushing away all the extra spill here that we don't want. Okay on also, apply that now into the wig. Obviously, let's make this a bit nice. Area at the top. Great. And now one more feature that you've most probably not noticed yet is that we've actually brushed this also over the her original. Here, here. So have a look over here. We've also brushed that in. So that's also important to brush it over that original here again, I'm gonna raise it a bit here, from the skin and also of here. Raise that a bit. And then also over here. Great. And I'll also take the opacity all the way down again, just to like 40 30%. And maybe for the hair behind this will do a double effect. So command J duplicate that layer. I'm gonna switch that off for the moment and just said this color feel here to only 10%. And that's only supposed to go onto the wig now? Yep. Don't say rust. Arise there. I'm gonna zoom over, have a look before and after. We can actually tweak this a bit more or something like 15 before and after. Great. So the color pops just a bit more, and the whole image gets more vibrant. Okay, let's select this. Basically gonna second elect the whole mosque here. Press command a on the keyboard in order to make a selection around the canvas and for the marking Tool it right, like Phil And when a field is completely black So we're back to a brand new layer mosque here. Okay, command D out of the selection. Let's zoom in B for the brush again, Remember, white foreground color at 100% opacity and basically just brushing over ALS. These little hazier. Okay? And let's do that also in this side, So just works a little bit better with the picture. Maybe not so much on the frame here, So let's take that out, OK? And on another side. Here, take that out, too. Okay, let's zoom out. And now this is obviously at 19% weaken. Still, tweak this up. Maybe until it suits here with the rest of the wig. So again, maybe around 35. Great. So that is all for just adding the color here to the wig? Yep. If I zoom out its little bit strong. So then I take it down even a bit more there on 15 actually. So we also have a bit of shadows here. Great. That's the first step. Let's go back and create another new Phil layer. So another solid color again this time hit. Okay, We can also turn the soft. We can actually duplicate these steps because we still need one for the necklace. We need one for the shirts and then also want for the lips. So press command J once and 1/3 time. So we have three of these layers now. Okay, But we won't work with those two last ones at the moment. Only again with the 1st 1 here. So double click on here. That's actually picked the shirt and it looks very bright. So let's actually go and select the blue color here. But we'll tweak earn blues a little bit. Maybe it's easier for us if we stick right away here with the blues from our graphic elements. So these are compared right away. Okay, Hit. Okay, switches on. Switch this all the way down to color. Blending option. And then again, remember to take down the pass ity press command I to invert this and again select the brush white foreground color, so switch with x control. Old yes. Hardness is still set to zero. And again all zoom and now and brush it 100% opacity. Just a bit more color onto the shirt and have a look right away. It looks way more amazing then before. Okay, let's do this a bit rougher. So we can and also later brush this out and clean this a bit. Okay, I'm brushing a bit more. Okay. Also brush at the top. So we get the color and everything and the bottom. So I'm doing this a bit rougher, like I said, and I'll switch again with ex foreground colors and I'm hiding again. Certain areas, like so for instance, here at the top. Okay, first of all, let's have a look. We don't want to this to apply to her neck, okay? And you basically adding now more and more color to your image if you want, you can also do this obviously to the background, which I have not done in the previous retouch ings or again now in this pro tutorial. But I guess if you want to do this even more vibrant the yellow you can also add their again again. Another color adjustment layer just for the yellow. Okay. Like so it's also working a bit here on her fingers and again. Remember, you don't need to be 100% of precise with this because you obviously tweaking down the color still in the opacity channel. Okay, so you can shed a little bit on this. A little good up more here and on here. Okay, let's also continue here on the arm. Other hand. Ah, a little bit more up. Yep. And obviously take a bit more time when you do this, like, not like me rushing through this. So a little bit more up here and a bit down. Also, it raised this knowledge, but here from the necklace because I did not want to add this to the necklace because the necklace obviously supposed to be a bit more purple. Hey, let's just reraise it all on the easel. Bolds okay? And also on this side again making my brush a bit smaller. Little bit more of here and here. And the little piece. Okay, then. Also the bottom that all looks fine. Maybe if you want to also Maybe not so much on these little buttons here. Maybe they supposed to be white. Okay, Also this one on this one over here. Great. Let's zoom out again. And that's how you add the color ready, remember, not 100% capacity. Let's maybe take this to 20 to have a look here before and after before and after. Maybe I'll tweak this a bit more to 30. Almost. Okay again before and after. Great. And works already a bit better with also a graphic. Elements here together. Now, next to begin double taken here again, we're gonna pick a bit of a pinkish color here. Let's make this a bit more vibrant. Okay? And the last one over here double tap. And also select a nice purple color again. They for the necklace. Okay, that's turn the slayers anyways turned off. So the pink layer for the lips again invert the layer mosque. And also the 2nd 1 in brother as well, which this one on, Let's move in a bit closer. Be for the brush. Select your mosque. White, foreground color, 100% capacity. And we're just brushing that a bit onto again. The lips. And what's happening now? We're doing a mistake. No, we just haven't changed the blending options to set the blending options all the way to color. Great. And right away you guys to see the effect is applying here. It's a bit strong for this image that's also raise a little bit again. I might do it just at a very, very low percentage, like 2 to 10%. 10% should, too as well. So before and after and again the necklaces wells which this also to color blending option . And then let's go all the way down and again be for the brush. Select the mosque, white, foreground color, 100% capacity. And I'm literally just brushing over here on the necklace and trying to cover all these little bulls here from the necklace, OK, and slowly moving my way up through this area. OK, but more. Let's do this. Great. Then we'll cover the other side a little bit too rough, going a step back there with Command Zet and of year, Remember again, my brush is completely feathered and this is painting at 100% opacity, OK, but more on slowly, like so great. That's basically it one step back to fix this properly and then also taken capacity, Don, maybe to 37%. I need to zoom out for that. I looked before, and often we can actually tweak this, but more this one so again, before and after you and I think around 50% that shines through really nicely. Let's select all of the's color adjustment layers, toe press command G. And we're just going to write your final color. Great. So let's Ahmad once more. And if the red on the skin is Justin haunts too much. Remember, you can always go back to this final color, create another adjustment layer here with hue and saturation, and only in the red turns take down the saturation a little bit more. So what I'm doing right now like a minus five There. Okay, So again, that is our final adjustment and are complete retouching for the last step of press commend All shift and e all together and right away have a mosque layer. So I'm gonna call this now final, and that is my final air for the whole retouching. So again, let's also head through once more again, just completing everything here. First of all, we started out just with our role conversion basic and bridge. Let's actually have a look quickly. This is the real before and after. So quite a lot that we've done in this whole image again. Raw conversion. Then we went over to help layer understanding what we want to read touch and in order again to not forget anything there. We went over here to cleaning and healing layer clean everything up. We went to hear retouching. We went over to liquefying and a master short cut again in the skin retouching. We went over to adding some color light control Dodge Burn. Also, some glasses fix, then final Crop and some adjustments. So graphic elements, then some final color as another pop, as you guys can also see here again before and after and our final final adjustment. So that's all for the pro tutorial. Thanks again for purchasing are pro to Tora and having interest to learn without Rita pro team. So, yeah, thanks again for watching guys hope to see you all in our next pro tutorial. One more thing, please consider heading over to our foxy hipster pro tutorial on the Web site and read a product. Come under the shop section, please head over to review and consider leaving us a review as well for this course. So, yeah, Thanks again, guys. And see you in the next tutorial. 18. Bonus Lesson - Wacom Tablet Setup: Here's a quick guide on what is away continues five. Pro Tablet and Hard Descended. Today's Video. We have awaken Ingenious five Pro Tablet, which is actually a graphic pen tablet. You can also say it's a tablet that has pen pressure. Sensitive people in on the Mass is being replaced by the pen. Also most used by photographers, graphic designers and read touches, and it's compatible with photo shop and light. Okay, so simply install the drivers, connect the cable or wirelessly, and let's head over to the desktop to the system. Preference. Another. We are lowered their stop. Let's head right away, down to the dock and select system preferences. The same goes again for Windows just fine system preferences. Then select the Welcome tablet and I us successfully in the preferences with Wake Um, tablet. Now let's start right away at the top physical device again, fully charged and currently connected with a cable, but also has a wireless option again. Then let's head over to the tool section again. Here you have the functions, meaning they express keys, the touch on the group in more about that later. It's not just festival with the functions, then also under functions the right away you get to see the applications. So this means now these applications are installed for only the functions here only the express keys and torturing. But it's elect, photo shop, CIA, six light room and again, Sisi, I'm gonna stick with CIA six. Or now Now another function tools. First of all, we have a few more options here at the top again. These are also self explanatory. But play a little bit with this in order to change this again. Remember, there are a 1,000,000 ways how to set up this way. Come tablet for your own preferences. Again, let's start first of all with the express keys and right away Start with the first hot key here or so at the top again. You have a few options here to choose from. First of all, clicks. He's drug. You can also pan and scroll, scroll up or down them in. You can launch an application. You can also launched launchpad again. Switch between applications, disable application defined and so on. A few settings that you can choose. I don't want to talk about every single one here. I basically just go with the touch on and off. So for me, I can switch quickly between the touch sensitivity. Then the same is going here for settings, precision mode, display toggle. These are pretty much all the standard settings that I keep for now. I also don't have this way come tablets set up to the full and maximum capability. For me, it's just set up for the normal basic stuff for photo shop. Right now, let's actually move over to the touch ring, which is more important and interesting for us. So basically, on the touch ring, you have four different toggle switches here at in the middle again the Ron bars in order to rotate again around so festival I have set up the left toggle switch here is under a keystroke. Let's select keystroke for me very important again to have this as my photo show brush. So when I'm working with the brush tool in photo shop, I can quickly change with my wheel here, up and down order to change the size of my brush. So for this, I've just added the normal key strokes, which are again, obviously on the keyboard, opening and closing bracket again. Put both of these in Rename this to photo show brush So I know what's happening. Hit OK and this is set up then for the 2nd 1 over here which they also tapped Tuggle around . It's cycling the layers so again said over here keystroke just to cycle again. This is currently but set up to the zoom So the bottom one is set up for scroll again. This is just normal zoom with a set key So zooming in and art on my layer then had canceled that is not set up for me The 3rd 1 over here is rotate so I can rotate the complete canvas again This is just set up as a normal standard preference from welcome tablet Then the fourth and last one is also set up for me for scroll So I can really quickly scroll through a ton off layers if I have a lot off lays in my photo shoot file. So again, this is also a basic setting from the Waken tablet. Great. So these are basically all that I use again just for the toggle and for the tach ring. So again, if I select here the toggle on the screen. You can see it right away, jumps between them. So just click on the toggle button in the middle and then use the wheel in order to change the sizes. Zoom, rotate or scroll. Then also, I don't want to cover everything here, but you have this play toggle, so you can also choose between the display serum Monitor one and two. You have the wireless options here to switch off power saving mode again. These are self explanatory to go through and on screen controls. If you're interested with this, work a little bit over here and set it up. Begin to your own preferences. I like, I said, Just keep it to the standard one. Let's go back to express keys and now head over right away to the touch sensitivity to again. You can also now use your welcome tablet, the center part here toe work with touch gestures to again versatile and able it here and again. Self explanatory point to speed, double tap time scrolling speed and point acceleration a little bit and change this if you want. Then over here standard gestures again. A few standard once pretty much the same again as apple devices. You can also have here tap right Click with two fingers again. Scroll, zoom, rotate. This is very self explanatory. Just walk through them, hover over it and see what the different gestures do. Or again, if you want to also your custom ones over here, which you can also set up. Then again, just for your own finger preferences. But for me, I keep it basically to the standard one and only now and then work with this. So switch this off again. And first of all, move over not of the grip in, which is very important for us. So now with the pen right away at the tip, feel here again the obviously you're welcome. Tablet has a pressure pen sensitivity built into the tablet. So this means when I'm with the pen now pressing down onto the tablet, it will also measure how hard I press on to the tablet. So again, if I press really hard, you guys consider goes right away to the maximum. But then I need to press really hard. So I like kind of try to find a middle place for this. So it's not too hard. So for me, this is well, like what I would press with and at the top here it's said to the second lost for me under firm. You can also customize this again for you, then a tip to double click. So basically click. You double tap really quickly onto the keyboard. This means again double click here. I would not keep this large because then it has a large distance between the clicks, and it's very frustrating, so I'll just keep it to off to the basic settings again. Also, the tilt sensitivity. This means again changing your pen, basically tilting the pen so I don't. Sometimes I do it sometimes not. So I keep this also in the middle, then also on the pen again. We have two buttons. Obviously, you can also adjust these again accordingly, so you can also tap on here and just choose a new preference here, minus set up to right click because I love to go with the index finger and really quickly just click on the back here. That's right away the right look over here and then also on the front, the double click from too lazy to double click like so or maybe used this outside of photo shop, a light room. I can easily just hit the front button, and it's a double click right there. Then also, let's head over to the raises stage again. If you turn your pen around right away at the back, you'll also have again a out of like a button. This is basically now currently set up just to the razor. If you want to hear also a few options, I kept it to the standard one, which is again. He raised us. You can quickly turn the pen around and photo shop and just see raise again, right on the left. Inside. You also see again here how strong. It's also again with the pen presence sensitivity on the tablet. I also keep this in the middle again nice and firm, so I can just see raise easily. And if I press harder, it goes obviously to the maximum. Now for the lost. An important part here is the mapping. So, first of all, orientation again express keys left right or whatever, if your left hand person and keep it to the left. If your right hand person may be to the right. Whatever is easier for you. I normally keep the pen in my right hand and in the left, my hand is free for the express keys on the keyboard shortcut. So I like to keep it all said to the left and then also some people use it with pen. Basically. Now the pen is right away. Your screen and with your photo shops. Greenness right away. Set to your wake. Um tablet. So you have these four little anchors here on the tablet, which means this is your complete screen. So if I move around now with the pen tool and go into the left corner, have a look right away on the screen My mouse is in the left side. So again, it's exactly my screen on the tablet. If I move all the way down to the left corner, right away again our masses in the left side Let's do that one more time Here to the right , again on in the top part all the time. It is right there on the screen. If I move now to the left corner at the bottom right away it is in the left corner. If I move back to the right. It's in the top, so you can either work like that if it's easier for you or if you want to. You can also work with the mouse mode that I use, because now I can freely walk around and photoshopped freely in photo shop because I mostly hold my hand on the tablet and keep it there all the time and just use small areas on the tablet to work on a raise and obviously worked with a pencil. And if I use their razors sometimes or even do small things with the pen tool, I go into the precision mode here with my toggle screen express keys again in order to make a very narrow field. And then I can just easily work in there. Let's go back to the grip in and also show you here a few more options to obviously change everything. I keep everything too fast and high so I can work really quickly here. And only do you do very big strokes on the tablet. Yeah, so that's basically it again under Pento. Also, you have different monitors. If you set this up before one monitor to that is thirdly up to you again? I like to keep this to mouse onto the full screen. Great. So that was a quick introduction. Hard to set this up under your system preferences. Also remember, guys, there's a 1,000,000 ways how you can set this up and really customize it for your own needs . But wait, Here's a quick warning. What you should not do with your way continues. Five. Protest. Do not keep drinks or any other liquid near If the liquid runs into the tablet. It's Do not use the pen all the time, meaning out of Photoshopped or life. They tend to get very worn out and off time. The lips start to get used up really quick. Also keep the use cable attached permanently, especially when you're working on a fixed work station. This way, your wireless battery stays consistent on the power side and last longer when you working while So guys, that's basically it for this lesson. The quick introduction onto what is a way continues five Pro tablet head over to our bonus section and in the list with added link. If you want to read up and know more about this with details and also, if you want to know directly, go to wake up