Professional Retouching Techniques in Photoshop | Marcin Mikus | Skillshare

Professional Retouching Techniques in Photoshop

Marcin Mikus, Retoucher and Photoshop Instructor

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61 Lessons (7h 3m)
    • 1. Introduction to The Course

      3:30
    • 2. Search and Open Images

      3:43
    • 3. Camera RAW Layout

      2:56
    • 4. White Balance is so Important!

      5:09
    • 5. Optics

      2:35
    • 6. Exposure Sliders

      6:01
    • 7. Pressence

      5:28
    • 8. Hue Saturation and Luminance

      3:50
    • 9. Calibration

      6:56
    • 10. Synchronising Adjustments

      2:54
    • 11. Camera Raw Walktrhough

      12:10
    • 12. Saving Images in Camera Raw

      6:30
    • 13. Lightroom Walkthrough

      8:27
    • 14. Exporting Images in Lightroom

      4:57
    • 15. What to Retouch

      3:45
    • 16. You need Tablet!

      4:51
    • 17. How to Work to work Non destructively

      2:46
    • 18. Healing Brush Tool and Spot Healing

      4:19
    • 19. Clone Stamp

      3:18
    • 20. Clean up Skin

      14:16
    • 21. Lips

      12:23
    • 22. Eyes

      5:24
    • 23. Hair - Part 1

      11:49
    • 24. Cross Hair

      12:18
    • 25. Eyebrows Retouching

      12:57
    • 26. Dust and Scratches - Hide Facial Hair

      9:04
    • 27. Fix color of the lips

      2:50
    • 28. Fix Skin Texture

      4:59
    • 29. Introduction to Frequency Separation

      9:31
    • 30. Skin Retouch with Frequency Separation

      17:50
    • 31. Frequency Separation - Hair Retouch

      6:55
    • 32. Blend Colors and Lights with Frequency Separation

      5:11
    • 33. Eyebrows Retouching - Again

      8:13
    • 34. Clean up Teeth

      5:52
    • 35. Hair Retouching II

      13:27
    • 36. My take on Frequency Separation

      4:13
    • 37. What is Dodge & Burn Retouching

      8:12
    • 38. Dodge Burn Notes

      5:44
    • 39. Perfect Brush for Dodge & Burn

      5:26
    • 40. Dodge & Burn Retouch

      10:37
    • 41. Dodge Burn Extras - Eyes, Eyebrows and Others

      3:49
    • 42. Introduction to Dodge & Burn on One Layer

      8:40
    • 43. Dodge & Burn training

      12:11
    • 44. Dodge Burn Process

      14:11
    • 45. Eyes & Eyebrows

      5:10
    • 46. Remeber about Color

      2:22
    • 47. Lets start with Adjustment Layers

      2:14
    • 48. Basic Ways of Adjusting Contrasts

      11:51
    • 49. Introduction to Luminosity Masks

      7:39
    • 50. Advanced Work with Luminosity Masks

      7:16
    • 51. Define Highlights with Color Range

      4:57
    • 52. Important note from Me

      1:48
    • 53. Intro to Colors in Photoshop

      3:18
    • 54. RGB Theory

      18:49
    • 55. Correcting Color on Highlights

      3:23
    • 56. Skin Tones

      6:32
    • 57. Other Adjustment Layers

      4:17
    • 58. Camera Raw Final Adjustments

      8:22
    • 59. Saving Images in Photoshop

      3:53
    • 60. Final Adjustments in Lightroom

      8:23
    • 61. Exporting Images in Lightroom

      2:32
15 students are watching this class

About This Class

Do You want to Learn, Portrait, Beauty, and Outdoor Retouching?

You are in the right place. I am Marcin Mikus, Photo Retoucher and Photoshop intructor. For Years I have been exploring photoshop to finally settle in retouching area. I know how difficult is to find the right course where You can learn retouching for dfferent kind of Photography - that’s why i came with this course where i cover different retouching with different images.

In this course You will get over 40 lessons and 6 hours of content. What’s best - You will also get high quality raw images - so You can follow me and my retouching process, as well as practice retouching on Your own. And of course - great actions and other ressources which allow You to speed up Your workflow!

Don’t worry if You are beginner cuz we are going to cover wholoe process from very beginning till the final touch ups. I will show You how to do raw processing using camera raw as well as capture one. And also, if You are a little bit more advanced user, I believe You can find a lot of new informations on processing and retouching Your Images and color grading techniques.

The course is separated from different sections, leading You from basic Portrait Retouching to Beauty and Outdoor Image retouching.

1. We will discover great software as capture one, I will show You pros and cons of this software of my choice for Raw Processing. Don't worry if You don't want to use capture one - I am also showing how to do Raw processing using Adobe Camera Raw.

2. We will be analysing each image before we start our retouching, so You will know what need to be done on specyfic image whether it's portrait, beauty or outdoor image. After that we will start retouching process - where I will show You the best tools for skin and hair retouching without any confusing techniques that might lead You in the worng directions.

3. One of most important retouching technique is dodge & burn. In this course we will truly master this technique! You will see how You should dodge & burn different images. How much need to be done on specyfic image - to not overdo or underdo Your retouch! I am not presenting You many different ways, I am choosing one - most effective to make Your retouch easy and comfortable.

4. Through the lessons I will teach You different methods working with lights and shadows so You can know what works best for any image! We will compare and see reall examples of applying contrasts to the Images.

5. Every single retouch will be finished up with final color corrections. I will show You most effective adjustment layers for color grading. How to work with specyfic color as well how to select specyfic area for Your color corrections - which is going to give You most satisfying results!

And of course, You will get High Quality Raw Images, Actions, and other resources, so Your retouch will be fast and easy as never!

If You want to become retoucher, or just retouch images as a hobby. This is Your chance.

Transcripts

1. Introduction to The Course: Do you want to learn professional retouching? If the answer is yes, you are in the best place to start. My name is matching IN professional, retouched. And before we start this course, I want to tell you a few words about myself, what I do, and what is discourse about. As I already mentioned, professional recapture, actively working in the industry. I work with top photographers and top fashion magazines, but you don't have to take my words for it. And you can see it yourself in my portfolio. As you can see, I worked recently with such magazines as Icon, Gracia, El numero, Voc, and many, many others. I am also Photoshop educator with eight years of experience. I started in 2012 by uploading Photoshop tutorials on my YouTube channel. And till this day, I shoulder free Photoshop tutorials here on skill share. I'll share my premium courses with a little bit more demanding audience on professional non-destructive retouching, and also on Photoshop and Lightroom. And now I'm offering to you my flagship retouching course. It's over 60 high-quality video lessons. And this is not everything because I'm sharing with you actions that help you to speed up your workflow. And I'm also sharing high-quality images. So you can follow along with the course or even practice in the spare time at your own pace. So in this course you will get complete knowledge from 0 to professional. I'm going to tell you everything about cameras and Lightroom. We are going to do row conversion. After that, we are going to move to Photoshop. And I'm going to show you my full Photoshop retouching process. So what I'm going to show you here is clean up process. I'm going to show you how to clean up the skin in non-destructive way. How to clean a background, her eyebrows, leaps, eyes, and anything else. After that, I'm going to show you how to do nondestructive Dodge and Burn, retouching, how to adjust contrast, work with colors and of course, final adjustments. We are going to work on two different examples. So I can show you some different techniques as you can see on this example. I'm also going to show you how to clean up the image. But this time I'm going to show you a little bit different techniques. So on previous image, I'm showing you how to clean up image on the empty layer. And on this image, I will show you how to clean up the image using frequency separation technique in the right way. What else? In previous image example, I'm showing you how to do Dodge and Burn retouching using adjustment layers. And on this image example, I am going to show you how to do Dodge and Burn retouching on an empty layer. After that, of course, the same how to adjust contrast haulers and do final adjustments. If this is something for you, don't wait anymore and let's start the chorus because it's really amazing knowledge that will last you for years and it gives you a lot of creative opportunities in the photography industry. 2. Search and Open Images: There is two ways how we can start working on our images. If you're quite experienced photographer, you we'll be shooting in the raw file. And of course, as we start working with the raw files, at first, we need to do the role conversion and prepare the images for the future work in Photoshop. If you are retouched or in most of the cases, you will start working the same way. You will receive the raw files. Then you have to do the rock conversion and prepare images for future reattach in Photoshop. But also if you are retouched or it might happen that you will receive images in different formats. You might receive tif files. Then of course you cannot do row conversion anymore, and you start straight from Photoshop. Also, you might receive some different format. It could be PNG, it could be JPEG format. And then of course, you will move straight to Photoshop. In this course, we will be starting from the raw conversion. So at first I'm going to show you how to do their proper role conversion. How to prepare your images to make sure they look perfect before starting reattach in Photoshop. So I like to start working with Adobe Bridge. As I work with camera, Udemy breach allow you to easily locate images you want to work with. So let's say you choose the images on your computer that you want to retire, then you place them in some certain folders. So for example, I have the folder titled images. Then I can enter this folder and I want to work on the studio images and the images I went to work with are here. While I like to start with, Adobe Bridge is not only because I can view the images. If I don't like some image, I can simply hit right and remove it from here. I can copy this to other location, but also I can have all metadata of the image over here. Not that it's so important band, we can have all of the information about the images when it comes to the size, when it comes to the camera, when it comes to the lens, size, beat death, and everything else. So if you want to know everything about the image, all information you will have here. Once the images are chosen or we have Do, we can selling them all. And if we want to start working with camera, we will start with camera in Lightroom. That will be of course a little bit different size which are going to discuss as well. Now, just opening. But when it comes to working with camera or Lightroom, does to software, of course, use the same engine. So at first, I'm going to start with camera. And also I'm going to tell you a little bit later how to start working with Lightroom. In the case, Lightroom is the software you feel more comfortable with. So as we start in with camera, selecting all of the images here. After I selected them all, and I'm working with Wacom tablet, I press Control and heat with the pen on my tablet. You can also hit, right, if you work in with the mouse or pad on the stage. And then he'd open in camera and distri images will be open over here. And we will be ready to start working with them and preparing them for the future work in Photoshop. 3. Camera RAW Layout: As you can see, you are working on new cameras software. So at first I am going to explain to you the layout of the software. As you can see, in the center, we have our image itself. And below that, we have also choice of the other images. Why it's good to work with all of the images at once. Because once you adjust the setting swans, you do everything on one image. You can synchronize the settings with the other images, which can save you a lot of time. And then after that you can ofcourse and jazz this a little bit more to make sure the images look absolutely perfect. So this is when it comes to the centre and the bottom. On the right hand side, over here, we have the panels. And this is most important area of work. And it's all the same as in Lightroom. In the panels we do actual work. So using this different panels, we can open them and close them. And as you can see, we have different options this, so using this panels, we will be able to adjust all of the settings. First, we can adjust the white balance, we can adjust the lights, colors, we can adjust the optics, geometry or anything we want. So here is the place where we will do actual work in this area, the panels is most important area of camera. And of course, the Lightroom which will be developed panel feather on the right-hand side, on the very top, we have some of the tools. So the first tool is actually added. If we have chosen this edit option, we will see our panels below that we have some other tools. Later on, I will tell you a little bit more about each of these tools and I will tell you, of course, everything you need to know about this panels and these moment once importance to know. In the center, we have the image. Below. We have the choice of our images that we can hide. On the right-hand side, we have all of the panels, so our work in area and feather on the right side, we have all of the tools. Of course, we have also on the top some options for saving images as well. We can also some more settings that we can see about camera preferences, like general settings, file handling, performance, et cetera. And of course, on the bottom right hand side we can cancel two close camera. We can hit done to save the adjustments that we did. Or choose Open to open this later in Photoshop. So now let's move to the next lesson and do some first adjustments on our images. 4. White Balance is so Important!: Two things. I start with, white balance and color profile. They are often overlooked and very much underrated. With white balance, we can make sure that the colors on the image look natural and perfect for future retouching in Photoshop. And with the profile, we can make sure that the Adobe software read the colors in the way we want. So I'm going to start with the profile. By default, we will always have Adobe color and this is good, but we want to compare this to some other profiles or profile to make sure that this will be a right choice. So to see other profiles we can sit on this, choose Browse or choose the squares on the side over here. So in Favorites, and they'll be chosen for us and they'll be color with some other profiles. You can have a look for them, but I do not think they give you the natural results and I wouldn't recommend any of them. In fact, they are. One thing I'm doing here. I compare Adobe color to the profile camera matching section, which is camera standard. So once again, you can have look through all of them. But many forecast on these two because i don't recall anytime that in camera I used an orders than these two. So to compare, we can see that camera standard reads lines a little bit different and the colors when it comes to the lights, I can see the shadows are a little bit deeper and I really like it. And when it comes to the color, as you can see with Adobe color, we had some of these yellow light around the face and cameras standard gives much more natural result in this case. So this is why choosing cameras standard for this. Now let's go back and move to the white balance. With white balance, of course, we have some presets like auto and some others. I wouldn't recommend using this. And also I wouldn't recommend using Auto because auto tried to locate the pure white on the image and, and just the rest of the colors to choose the white balance thinking on this one spot. But it doesn't mean that this is how your image should look. This is not the doesn't mean that it was what you planned on the set. So I always try to choose by myself the white balance. Let's go to as shot, this is what we were starting with. So looking at this image, I feel it's still too yellow. So the temperature is too high. And I would start with this. I will lower this because I feel the background should be blue. This was, this was rather blue background and also the skin tones. I want them to be closer to. Nice natural result. Also when it comes to the Tintin, going to add few points to the magenta side. So the skin Thomas can be not as yellow and move towards this orange tons and little bit more. And now I think this close to perfect, maybe a little bit higher for the temperature, 5,100 for this image. So now I want to apply the same settings to the other images to make sure it works everywhere. So to do this, starting with the first image, then I'm going to press shift and choose the last one. Then choose these three dots and choose synchronized settings. So in here, we could uncheck them and just choose the two things we want to synchronize. But of course we don't have anything else done, so it doesn't matter. We can keep check all. And only profile and white balance will be synchronized because this is only two things we've done for now. So I'm going to hit OK. This image was exactly the same, so it looks perfect when it comes to this image. Well, there will be some more work to do, especially with the lines. But also, I think that temperature for this image should be slightly lower and this will look better compare to other images. But of course, we'll figure it out all as we will be progressing with our work. This is the first step dad always do. Don't ever overlooked this step. It doesn't mean you have to change the white balance, but it means you have to make sure that the white balance is right on the image. And often it's right at the start, but in many cases it's not right. So this is why I always pay attention to these things. 5. Optics: After this first step, before I started doing anything more, what I like to do is to skip the work in the Basic panel just for now. Skip some of the other panels and check the optics panel before it was known as a lens correction. And it's really powerful when it comes to fixing some of the Vineet dad, our image minds to have and to fix some of the distortion. So the easiest start and something that I do really often is simply use profile correction and have a look for yourself if you think it helps to your image or not. Because as you can see, it can help with some of the distortion. And it is the sort out, the problem with the vignette in the other checkbox remove chromatic aberration is not for us right now. It is useful when we have some problems with our lines. You might have seen this problem when on the edges we can get some red or cyan color, so the RGB lines doesn't seem to get well together. And this box would help you with fixing this sort of issue. Also below the fringing. Sometimes on the image, many I would say outdoor images. On the edges we might get green or purple free. And with these sliders, you are able to remove, for example, the purple fringe and choose where to remove it by adjusting deciders here. And also green infringing and choosing the color of the green infringing. But once again, this is only when we have such an issue on the image. And all I do here personally is use profile correction when working with studio images. If we don't want to use it, we can fix it. Choosing Manuel. And then we can adjust the distortion by ourselves and also fix vignetting by ourselves. If you want to know my recommendation, I wouldn't really do it because we don't know what's the right just by looking at the image. So all I would recommend USE profile correction. And if it helps to our image, this is good. So after optics is done, I can close it and go back and move to another step. 6. Exposure Sliders: Back to the Basic panel, where we are going to talk about the light. Sliders from the top exposure contrast highlights, shadow, white, and black is important to say that the image is connection of different lines to be precise. Red light, green light, and blue light. And these three lines together give us our image. All of these lines or rather distribution of the slides we can see on the histogram on the top over here, just above the panels in camera. So as you can see, the image is dominated by the dark panels, which are located on the left side. And we have less of the bright panels as we will be working with this siders. This relation of their lines over here might change depending if we will be brightening or darkened image or manipulating with the highlights or shadows. So starting from the first one, we have exposure. It simply level flight to reach your object is. So if I will be lower in exposure, as you can see, I will get complete darkness and going opposite how will get strongly overexposed image. So here we can simply correct the exposure values. If the image is overexposed or underexposed. And it's worth to mention that it's easier to fix under exposed image, then overexposed image, then we have the contrast. So simply with the contrast, we can make the image more flat when it comes to the lines and you can see it on the histogram as everything moved towards the meet tons and increasing the contrast, we will extend the highlights and shadows so the contrast will be stronger. For reattaching over here. I like to keep contrast rather low and for sure I'm not increasing drastically the contrast at this stage. And because we want to see all of the details on the image. So if we make the image more contrasted, the details from the shadows and highlights can disappear. And here we are. When it comes to their highlights, let's have a look how it works. So with the highlights, when we lower, then we remove the lines from the highlight areas, is overexposed on the highlighted area. And this might be very helpful. And going up, we will increase the level of the light as you can see on the highlights area. So usually when the highlights are too strong, I can lower this. But for this image, as you can see, the highlights are rather Okay. I can see all of the details so there is no need to do anything. And opposite to this will be shadows. Now we will be affecting only the shadows. And as you can see going to the left, I will be moving the dark pixels more towards the shadow area and the effect will be very small. But when I go to the right, as you can see, I will be moving the dark pixels more towards the mid-term. So as I went to see some more details in the shadows, for example, on the hair, I will increase the shadows. And then below we have whites and blacks, which is basically how we will be moving the pixels on the image towards the brightness or darkness. Let's have a look. If we lower wise, there is not strong effect because we will just take this bright pixels and move it towards the meet tons are lethal. So the effect is not really strong, but we'll see strong effect once we move towards whites. And as you can see, all of the pixels, we'll be moving towards the bright side because they will try to get as close to the white color as possible. So the image will get strongly overexposed. And I would never use this slider to increase their level of brightness, but I might decrease the whites if I need to see some more details in there bright areas. But as I said, the effect will be very settled. And in opposition to this, we have blacks. But also this time when I will be increasing the slider of the blanks, as you can see, effect. It's very settled. We get the dark pixels and move them slightly towards the meet tons. So effect similar to the shadows, but as you can see, shadows are strictly forecast just on this dark area. And with the blacks. The bigger forecast is on all of the image. You can clearly see this. So we don't get this trunk halo effect. And going opposite, we get all pixels and we getting them as close to the complete darkness as possible. And the effect will be very strong. So as i want to bring up some more details may be I will increase the blacks 25 and overall also for the shadows eigenvalue 28. So as you can see, I flatten this image and it'll get more. And my point, and this stage is to make image natural and easy to read that. So I don't go crazy with the settings. I kinda very settled. And I make sure that I see all the details later on when I will reattach the image. So simply make all you want on this image to be visible. Visible, so you don't have problem later with retouching. 7. Pressence: Next thing I want to talk about in this Basic panel is the presence. So vibrance, saturation. What is the differences between them? And how we can use them for our image. And also, I'm going to tell you quickly about this texture sliders like textural clarity and The Hague. So vibrance and saturation will affect the saturation of the image bad. They will affect this differently. So they saturation, for example, will have a stronger effect on the yellows. And also it might change the hue values of the color. The saturation. Let's move this to 100. And as I said, it will have shrunk effect on the yellows. We don't have the yellow color on this image, but it also has strong effect on the oranges, reds, and also on the greens. And it doesn't have as much effect on the blues. So we can see the blue color over here did not change so much in terms of the saturation. And also looking at the skin, we cannot assume that the hue of that color of the skin changed. And it'll be when we go down, the changes are settled and they lead to saturation minus 100, which will be fully desaturated image. So go back to 0. For images. For portrait images, I like much more to use vibrance. So vibrance affect all colors equally. It affects mainly the colors that are slightly desaturated. It affects them more, and it affects the colors that are saturated less. And it also preserve the skin tones in there. Very nice way. So when we work on the image like this one, we will be able to affect the background, but we will not affect the skin tones as match. So let's have a look when I move it to 100. As you can see, very strong effect on the blue color. And as you can see, it all equalized because as I said to you, it mainly affects the colors that are the saturated, then it's really visible here. And also looking at the skin, we did not affect so much. So for this image, I will increase the vibrance and maybe meant to 40 and this moments trunk increase. But now we have really nice relation between the blue and the background and the skin tone. So when we would go down with vibrance, we also cannot IS that we do preserve oranges, especially on the ellipse. It's visible because we had a lot of orange over here. So it's nicely preserved over here. But of course, we don't use decider when we want to desaturate image because of the unequal effects. So it's really great when we want to increase the saturation to use vibrance. And when we want to decrease desaturation, it's really good to use saturation slider. Then above that, we have three more sliders like texture, clarity and the haze. As the name says, they will be mainly affecting their texture of the unions. So I'm going to zoom in a little bit. It will be easier to present. Cider texture will be affecting small areas of the image, like facial hair, pours hair and everything that doesn't have more than just a few pixels. Of course, if we don't work with the portraits. And that will other elements and also going opposite, it will affect the same areas, ban in opposite way. So we will be D sharpening this small areas not being bigger than just few pixels. I wouldn't recommend using this at this stage, you don't want to have to sharpen the image before you start retouching it just unpractical and not really comfortable. It would be very difficult to return to this way. Another slider is clarity. Quite similar, but it does few morphing. So first of all, when it comes to sharpening, it doesn't catch the small areas, but it grabs the bigger area, so more larger areas of the pixels and it builds the sharpening around them. Because of this, it might also creates some halo effect that you can notice. And another thing that the clarity does, it increases the contrast, but not the same way as the contrast sign there, but it increases the contrast around the midtone areas. So this is why we get this strong gritty effect. And of course going down, it will give us positive result. When it comes to D. Hayes, as the name says, this is for the images that have some haste. So that wouldn't be the case with the portraits that could happen with some landscapes. And this allows us to remove the hace. It will increase the contrast in quite weird way. It might change their colors of the image as well. And also it will work in opposite way. If we move the slider down. As I said before, when it comes to this three sliders for rock conversion and preparing image for retouching in Photoshop. This is not something I would use at this stage. 8. Hue Saturation and Luminance: In this lesson, we will talk about color mixer, which is one of my favorite panels in camera. So before we start, we need to answer the question, what is the color or what is the color made of their colors made of three components, which is hue, saturation and illuminates. Hue is the actual tons. So it could be their orange skin tone. And we can manipulate with this to drying it more into the red side or yellow side. Then there is the saturation, which is intensity or the color. And is there luminance of the color. So how bright the color would be. And current mixer allow us to work with this component, changing the colors, changing their saturation, and changing the illuminance. We can work with two modes. Saturation, Luminance, or the color. So when we choose the color, will be working on each color separately and then work in a hue saturation and luminance of this colour, for example, red, orange, et cetera. I like to work with hue, saturation, luminance. And I'd like to take her at first of the Hue, then go to the saturation of the color and the end, the luminance. So starting with the huge, what I wanted to do, I want to maybe make the red, a little bit more red going into the purple side. When it comes to the oranges, I usually would work with this, but in this case, what I see here, maybe I will close it so it can be better visible. Have a look at the arms. They have quite a lot of yellow tons of occured. While phase do not have much of this. So instead of oranges, I wanted to go to yellows and drag it a lot, maybe even to minus 80. And as you can see, I was able to fix this yellow color on the arms. Promptly, their face God, the more orange as well. But this is the change I wanted to apply. And Don Juan, this yellow color, so this is what I felt its rights to do to fix it. When it comes to their blue, I also want to lower the hue for the blue, and I will lower the hue for the purples here. So this is something like this. Before and after. When it comes to the saturation, I'm not going to do so much here. I'm going to increase the saturation on the red for five. It can help make this cheekbones and leaps may be a little bit more visible. Also, I will increase the saturation on the blues to Turkey. Together with the vibrance it will give to the background really nice, saturated color that will work very well with the skin tones here. And when it comes to luminance going to lower the rats. As you can see, when I do this, I make the cheekbones alittle bit more visible. So not such a strong value but just minus five. Very small difference. So this is, it may be when looking at this background, this moment it looks may be too much going in to science. So we can lower this to minus ten and this moment. But of course this is not everything. When it comes to camera. We are going to do few more steps when it comes to their background. So later on, we might need to come back to Color Mixer and revise some of the steps that we did here. 9. Calibration: Now we are going to move to the very bottom to calibration panel. I like to use this panel when I want to do something conditional wave the colors. But of course it's very powerful panel when it comes to color gradient and working with the lights on your image. Not many people know how does it work? So in this lesson, I'm going to tell you what will happen to the image and what effect it has on the image when we will be moving this sliders over here. So starting from the top, we have one slider under the name chandelier. So as the name says, working with this sliders will be affecting shadows. So it will be affecting this dark pixels over here, going to the right. As you can see, we will be making the shadows getting more into magenta. And you can see it on the histogram. Not much happened was the bright pixels, but only the dark pixels would change the relation between these pixels. And we get the magenta in the shadows. Going to the opposite side, we will get this green town to the shadows. And once again, the relation between the lights in the shadow area will be changing. Below that, we have more cider, so we have read primary, Green Primary, and blue primary. Important to understand here that these are not the colours, These are the lights. So as I said before, the image is made of three lines. Red light, green light, and blue light. Them connected together give you the image. So by working with deciders, we can adjust the values of these lines. So for example, when working with red primary and when I will be moving slider on the hue over here, what I will be changing, I will be changing the values of the red pixels on the image. So we're exist many direct pixels. You can seat on the histogram. But probably the easiest way to understand this is by looking at the image. So when it comes to the red light, the red pixels, most of them will be on the skin tone. So whenever you work with the portrait, we can assume that most of the red pixels will be on the skin tones. But of course, we still have some of their red light in the background. And if we change the color, the shape of this pixels, we changed the color of the image. So now, if I will manipulate with the hue of the red pixels, as you can see, strongest effect on the model's face. But there is also change of the background because the red pixels exist everywhere. And that's shown on the histogram here. And when we move it, as you can see, the histogram changes because now to change the color, we need to change the mix of the lines. So we simply change the hue of the red pixels going to the opposite side, as you can see, the hue to this way. So we change the hue. The red pixels more into yellow. And because of this, the background become more vividly this time. So when it comes to saturation slider this time, what we will be doing this, we increased the saturation of the red pixels. So there will not be much of a change in the colors itself, but only change in their saturation. So where the red pixels exist, then the saturation increases. The same idea is behind the other sliders. So when it comes to Green Primary, now, we can change the hue of the green pixels and they simply have different distribution on the image. So now as you can see on the modal space, we clearly have less of the green pixels on the model phase. And also not as much in the background that quite evenly distributed across the image. And as we change the hue of the green, it has different effects of the image because of course it's very different than the red light. The same with the saturation. We can increase the saturation around the areas where the green pixels exist. And the same when it comes to the blue. Here, you can see very different effect on the background, very strong effect on the background, and not very strong effect on the model skin tons. Why is that? Because when we have the blue color, of course we can assume that there will be a lot of blue light and lot of blue pixels. Of course, it doesn't mean that when we will be working with this slider, we are working on the color. This is wrong thinking. And what we do here, we work on the blue pixels exist in, on the image, and this pixels will exist everywhere on the blue background, on the yellow colors, on the orange skin tones and in other areas. So wrongly thinking, when we work with these sliders, we actually work on the colors. We work on the lines. So we located the certain pixels and then we are able to change the huge of this pixels. And because of this, change the outcome of how the image looks like. And the same here with the saturation. So as you can see, working with calibration gives you a lot of possibilities when it comes to colors. What I like to do here, especially for the raw conversion of portrait images, I'd like to add a little bit of the magenta to the shadows. I feel this is the missing piece of Adobe software. So Adobe engine seems to not add for me enough magenta to the shadows. So this is why I like to add this here. Of course, if you are retouched or do not experiment too much if you are a photographer, and that would be a little bit easier than you can experiment a little bit more over here, but do not overlook the calibration. And as I added some of these magenta and went to go to Color Mixer as well. And I will change the hue of the blues because this magenta in the shadows did change the background. And it'll be, so as you can see, very small change I do here. But of course I had to explain to you how the calibration works, even though I do very minor changes here. 10. Synchronising Adjustments: And at this moment, this is everything I wanted to do to my images. So as I was using only this image as the reference, now I have to match the settings with the other images. So I'm going to do first, I'm going to start with this image. Then I'm going to select all of them. I will choose this three dots and I will synchronize all of the settings. As you remember, in this last image we handled it will be different white balance. So I'm not going to match the white balance to not change this. And now, as you can see, comparing these two images, they look absolutely perfect. They look exactly the same because they have exactly the same light. But when it comes to this image, there is quite significant difference. So I have to fix this. Starting from the exposure, this image was a little bit overexposed. So I have to fix this one. I'm going to lower exposure are on this value. And I feel it has less contrast when compared to other images. This is why I am going to increase the contrast. Maybe the value eight or even ten will be perfect. And what I see here, looking at the background, the background has a different hue when compare this images. So I'm going to calibrate. And I will increase the magenta over here for the shadows. Then I will go to Color Mixer. And in Color Mixer, there's also a few things I want to do, so I'm going to lower the blue. So the background seems completely different. That's why we have to do some more work here. And now I think It's matching quite well. When it comes to saturation. I think there might be some small differences in the saturation here. I could looking at the hair, looking at the skin as well. I think this image could have unequal beat more saturation to start with, but maybe it's actually quite okay. Also, for the other values, it seems not too bad. So this is what I want to do. And this momentum thiophene, they are matching to each other. So this is most important. All of the images have to look the same. So now let's move to the next lesson and talk about some more things about cameras that were not necessarily useful this time. But maybe in the future. 11. Camera Raw Walktrhough: As you could notice, I have skipped some of the panels in camera, such as curve, detail and some other. And in this lesson I'm going to tell you why I did not use some of the panels and also I am going to tell you how they work to give you full picture on camera. So starting with the curve, this is the first very powerful panel that I did not use. When it comes to Basic panel, I feel the tools that the Basic Panel offer are absolutely enough to achieve nice and natural results on the image. So even if the curve is more powerful, I don't really feel it's useful when it comes to preparing image for future retouched in Photoshop. This is simply more complicated than just moving sliders in the Basic panel. And it could take too much time. So how curved panel works? First of all, we have two options for the curve. First is parametric curves that allow us to work precisely with deciders depending on which area of the image we want to effect. So you have these three blocks over here, and this block split the image into four different parts. These different parts are shadows from the left than darks and lights and highlights on the right side. Of course, we can manipulate with the blocks to adjust this for our own purposes. And when we move the slider over here, as you can see, if wanted to bring back some shadows and dark, we can simply move the sliders where whether we want to increase the light or decrease the light, the more advanced curve will be the point curve, which is exactly the same as in Photoshop. And the point curve allows us to work precisely with this curve by choosing points across the curve and manipulating with the light. And once again, if we wanted to bring up the light, we drag it up or darken, decrease the light, we will go down. So this way, we would increase the contrast. This way, we could decrease the contrast in the center. Of course, as always, we see the histogram that tells us how the lines are distributed over the image. So one important thing to know how it works, up as increasing brightness down, decrease in brightness. And of course, from here, we will make the image more contrasty, here, less contrasty, and opposite here. Also, we can split this to three different lines selectively, such as red light, green light, and blue light. And as you can see in this new version, we see exactly what will happen to the image. So if want to increase the amount of the red light, we will go up here in the red. And if we decrease the red light, the image will become colder. Not because we add in other lines, but because we decreasing the red light here. So the image not only become colder, but also become darker as you can see. And the idea behind this will be exactly the same. As with RGB curve. So here I increased, for example, red light around the highlights, and I decrease the red light in the shadows. So the same with green, increasing green light or decreasing green light and blue increasing blue light, or decreasing blue light. Of course, we know that distribution of each line of the images are little bit different. And as you can see, we don't want to do very complicated color grading and this stage when we prepare image for the reattach. So I'm going to close the curve now. The next one is detail. So we have quite a few sliders. First is the sharpening. And I'm going to tell you straight away, why is keep sharpening? Similarly as with the presence in the Basic panel when we have texture and some other sliders. And as you can see here, texture clarity and D Hayes, I don't want to work on the texture of the image before I start retouching. So this is the simple reason why I do not work with the sharpening. But here, of course, we can choose the amount of the sharpening will the first slider. We can choose the radius around which area we want to build up the sharpening. So the smaller radius we pick up the smaller details, the bigger radius we build. The sharpening around the bigger areas, something like compare the texture to clarity. We can recover details and by dragging with this masking, it will automatically choose the areas that have more edges to sharpen them. We have also noise reduction that can be useful when we work with very dark image that has some noise. And we need to use the noise reduction or colour noise reduction. Sometimes also when we work with our images, sometimes on the part of the close we can get some of these weird no colour noise reduction and color noise. And with these sliders, we are able to remove those things. So as you can see, for professional studio portrait, this is not something that we would work in camera. We don't get much of their colour noise problems on such an images. And this image is supposed to not have luminosity noise because they should be done in the right way and the sharpening is not something we want to increase at this stage. Split toning. Once again, I don't want to colour grade the image and the state remains the image as natural as possible. And split toning allow you to colour grade the image with selection for the highlights and the shadows. So first slider allow you to choose the hue for the highlights that you'd like to have increased the saturation of this hue. And the bottom allow you to choose the hue for the shadows and then saturation for this you have chosen. So if the results sometimes are good, you might like the image, but I wouldn't recommend using this. Once again, at this stage, you might change your mind. Your customer might not like the color. So this is not something you would like to work with and the stage. And of course, just to mention how it works. In the center, you can choose the balance between the shadows, the chosen color for the shadows and highlights. So let's recent this because as I said, this is not something we will do for this image and move to the next. So geometry, it's quite useful when we need to crop the image or fix the perspective, especially when we work with some outer image and we have horizon that is not straight. The transformations that you can work with here allow you to fix this image because you can rotate this. You can change the scale. So as you can see, this is something very useful and I use it often, sometimes at the end when I need to do some small corrections. When I'm asked to fix the perspective. And of course, we can use the auto options that we have here. But as you can see now, it wouldn't work because we have just to do image. We don't have horizon. So it wouldn't find the point to which it should straight the image. But as I said, rather useful but just not at this time. And of course, we have affects. We can apply some grain to the image. And as much as I like a prime grain to the image, why would they apply grain before I reattach the skin? It would be very uncomfortable. If I apply the grain to reattach the skin simply, we would be not able to see the skin and we will be not able to reattach this in the right way. So the grain, of course, but just not noun, grain, is the, something that we would add at the very end of the reattach and we will talk more about grain. But once again, when you retire, you want to keep the image asking as possible, no grain knows, no crazy effects. So keep it simple. It's not, not a moment for the FX and just not yet. So further we have some tools over here and the first one will be added that allow us to see our panels. Then of course, we have crop. And using the crop, we can choose the crop for our image. If we don't like the frame, we can change the perspective. And maybe we want to change the ratio into a different one so we can use the crop. I can tell you from my own experience when it comes to the crop. I prefer to crop the image and the very end. But I know the people who like to crop the image before. So this is really up to you. But as I'm never sure what crop I want, and sometimes the photographer is also not sure what crop they want. So it's good to keep the image original. And you can decide on the crop a little bit later. Work on the angle as well. So not something I would use now. And then we have other tools like healing tool. But photoshop is far more superior when it comes to using recharging tools. This healing tool and clone is exactly the same thing as in Lightroom. And if you ever use Lightroom, You know that cleaning up the skin is not very comfortable and doesn't allow you to reattach fast. Then we have some other tools like we have the adjustment brush, so we can choose the adjustment in the certain area. We have some other filters, so we have graduated filter, we have radial filter, we have read, read I removal. We have snapshots. So finally, they remove the snapshots from panels because before it was in the panels in camera. But they're not very useful, especially not now. Simply. We can create them. For example, I applied some settings now. So we can create the snapshots, weave the effect that we have here. So if I would reset everything here, as you can see, reset default. And I have some snapshot saved. As you can see, I have the settings saved here, but this is not something I find very useful. The saving snapshots, especially when we just prepared the images for reattach. And then we have some other options like presence. So if we have some presence for Lightroom and camera, and this is where they are stored. And we don't use any presence when we prepare image for retouching. Then below that hand tool we can move the image. We have toggle sampler to see the values of colors. And as you can see, not something very useful. So always when we work, we are focused on the panels because this is where we prepare image for retouching. This is where we prepare lights and colors to make sure that the image look absolutely perfect. 12. Saving Images in Camera Raw: After we did everything we had to do in camera. In this lesson, I'm going to show you how to save the files in camera to start working in Photoshop. So first, I saved everything in camera, I chose done to save all the settings. And now in the same folder as the rough as I'm going to create a new folder. I'm going to choose the name as Cr studio. That stands for camera studio. So I have this folder ready and I want to save these files to this folder. So I'm going to open this in camera. No. So I'm going to open this in camera roll. And we have a few different options how to open images. First one, of course, is simply by choosing open in camera. If we choose open, their file will be moved to Photoshop. And this isn't, this is ready to work and then we will have to save it. Once again as the PSD file or as the T fall, as we will be building up the layers here. So this is the first way I'm going to close. Now. Now open again. If want to work in non-destructive way, for example, if you are not sure if the settings that you did now are right. You can also press shift on the keyboard and open this as the object. To be honest, I don't really think it's very useful when it comes to retouching. Because once you start retouching, you are going to build up the layers here. And then you cannot go back anyway and change anything because it will not look right. So you cannot do a step back once you start the work. But the smart object, if you are undecided, allow you to go back and adjust some more of the settings, as I said, for retouching, I don't really think it's very useful. So now I'm going to show you how I actually save all of this to prepare for Photoshop work. Of course, I want to save all of them at once. So what I'm going to do, I'm going to select them all. We can choose the safe options here in the top right corner. And I believe we have also save settings over here as we choose these three dots. So let's choose this safe options. So, and the top we have preset. We don't want to change anything here. We don't want to save it in any preset, but we want to choose the destination where we want to save the images. And as you can see, I'm going to choose the new location. So I'm selecting the folder. And I want to find the folder that I have just created for this. So I'm going to courses. I need to find the images. And I created this folder, CR studio. So I'm choosing this folder. This is the location. Then the format. Of course, when we do retention, we don't want to save it as JPEG. We want to choose between PSD or PY file. So PSD is Photoshop and teeth is more universal. So I'm choosing the TIF and just because it's universal. And somehow I got used to saving this as a thief. In terms of quality, there will be no difference between teeth and Photoshop, but of course TIF will work. I'm better with other software. So if you plan to open this in other softwares, you might not necessarily choose Photoshop, but in terms of quantity, it will be the safe. So TIF as much better quality than JPEG, the same as with PSD. Psd is much better than JPEG. So I'm choosing format as T. And as I save it in the tif, I will start working on these files. And then when I will be working in saving this, when it comes to TIF file and PSD file, we can save our project together with the layers so we will not lose any work. I'm going to preserve all of the metadata. I'm not going to do any compression color space. I tend to work with Adobe RGB. This is also most universal. Most of the people will work with Adobe RGB. Some people tell you that you should work with profit or RGB, which is largest coral space. But to be honest, this is not the case. Whether you choose Adobe RGB or profit RGB, it's okay. But as I said, more people will use Adobe RGB. Just dont choose as RGB, which is the smallest coral Spanish, as a depth, going to two 16-bit. But I know many people that choose AID BY just to save the size. There is not such a big difference in the quality, but when we choose to reattach image is good to keep 16-bit Sam, sometimes it might actually help and if we can get more quality, and if we don't crab on the space, 16-bit is the death to go with. Image sizing. Of course, we do not resize this and resolution. I will be working with 300 pixels per inch. You don't want to work with seven to the two pixels per inch. For Japan, that format would be, for example, 350 pixels, about 300 pixels per inch will be reversal. So this is it. I'm going to choose. And now the tif files, as you can see them being saved over here. And within seconds, all of them should be saved and we will see how they look in our folder. So I'm going to choose nano to see RStudio. And as you can see, these three images are ready for reattach in Photoshop. 13. Lightroom Walkthrough: Now, in case you prefer to do your role conversion using Lightroom software, we are going to have our walkthrough, the Lightroom Develop panel. And when it comes to this panel comparing these two camera, this is exactly the same thing. It uses, exactly the same engine. So all of the panels are the same. They have the same options and even more, they are synchronized between camera and Lightroom, especially after the recent update of camera. Even the panels now look very similar. So starting with the library first, we need to import images to the camera, changing the Import button, and then of course, I have to find them on my drive. So located where I have the images I'm working with in this course. Sanctions in images. And as you can see, we can choose how many images we wanted to important. Here is the first advantage of Lightroom. We can search through them easily. It's a little bit better than camera, because when we do it from camera, we have to start with Adobe Bridge, which is separate software. And in Lightroom, We have all sorted over here. So we can check all images if wanted to upload all, we can uncheck all and then just choose few in case we want this. If we have checked all and we don't want any mutual two, then we can uncheck one or two. Then we're going to hit import as I'm importing all of them. And now the images are being imported. There is absolutely no reason to do any quick development. So let's move to develop panel. And what you can see is happening when I click on the image. The settings that we were doing in camera are applied to this images. And we can open this. As you can see, the settings are applied. So I'm going to have walkthrough the panels so you can see how they look. You can see the settings are the same and maybe there are some differences. So starting from the basic panel, as you can see, everything is placed in the same order as it is in camera. And the few differences in camera, we have a profile excluded and it's on the top of the panels, but everything else is the same. We have white balance and we have nicely segregated the light work, which is the ton, presence and vibrant. And also when it comes to auto adjustments, they are included now in the town while in camera, it is on the top. Moving on. The next one will be the same, is the tonic purify and also similarly segregated here. The first one will be parametric Tang curve with the histogram in the middle and the sliders on the bottom. Then we have point curve that work exactly the same by creating points on the curve and Justin everything here. So there is absolutely no difference between this or camera curve. The one difference is when you try to reset this in camera, we can just pull it down as you can see, using the Lightroom, you can't do it. You have to double heat. On the point. And also red channel, green and blue with the help as the colors here. The next one. And here's a little bit of a difference because the next one in camera would be the detail. And here we have hue saturation slash color, which is of course the Color Mixer. And we have the same option. So first of all, we can work using separate hue saturation luminance values and unjust thirst, the hue saturation then luminance. Or we can work as the color and work separately on each of the color. Of course, when it comes to hue, saturation, luminance, we can establish all of them and have everything from top to bottom at one. So next one, split, tune in exactly the same thing looking at it will be different. And here we have also these boxes, as you can see. So instead of choosing hue on the sliders, we can heat on the square here and choose the color that we want to apply for the split tuning and of course for rock conversion, for development of raw files are not undoing a split, tuning into the images, I don't want to apply an artificial color here. So the next one is the detail. As I said, when it comes to the detail and when it comes to sharpening images, nice reduction. And this is not something that you would do prepare in your image for retouching, especially when it comes to sharpening, when it comes to noise reduction. If the images are done in the right environment and you will not have any noise, you will not get it annoys or you will not have the colour noise unless maybe that would be a film image. But then of course we do not develop this using Lightroom the same way. So then we have an Lens Corrections, which is now under the name upticks in camera. And it's exactly the same thing. But now in camera, all of this is make smaller. So we have to heat the Enable Profile correction to see all of the options band. As you can see here. It's all visible and it just brighten up when we heat than this. And when it comes to manual, as you can see, all of these sliders we have unfolded here, unlike in the new camera. So the next one, Transform panel, which is now under the name of geometrics in camera. But exactly the same thing. Here. Everything is unfolded. As you can see in cameras, everything seems to be tied. So we don't see this all sliders At first, we have to unfold them. And on the top we can also of course choose the old telephone to straighten out the image may be a little bit. We can scale the image using sliders. We can rotate this if want to straighten this up or change perspective, of course, we will not be doing any stretches to the image when we think of professional work. And because we want to keep the right perspectives, right sizes of the models of the image of the object. Moving on. Then we have affects. And as I told before, here, we can apply whether posco divinity or grain when it comes to post-calving Latina. And this wouldn't be read professional look to achieve. And when it comes to the grain, as I say, I'm a huge fan. But when it comes to the grain is some feet you would rather apply at the very end after you finish retouching. After that, the last panel calibration, as you can see, exactly the same looking as in camera, are very similar, but the sliders in exactly the same order, there is absolutely no difference between that. So as you can see, two softwares, camera, Lightroom, they using exactly the same engine. If you do the work in camera, would like to open this raw files later in Lightroom. And then all of the settings will be exactly the same. So there is absolutely no difference. Some people prefer to use cameras. Some people find light from a little bit more intuitive. Lightroom will have some more options when it comes to storing images and when it comes to opening images, when it comes to catalogues. So Lightroom is simply bigger software. But when it comes to developed panel, these two things are exactly the same. So on the left side we also have presets and snapshots. We can consider them as some extra panels here. Below we have history, so that will be history of the steps that we are doing. And above our panels we have the tools. So we have crop tool will have spot healing, we will have filters, will have Adjustment Brush and other things exactly the same that they are in camera. 14. Exporting Images in Lightroom: In this lesson, I'm going to show you how to save images in Lightroom. So I'm going to show you how to open image straight from Lightroom and Photoshop and also how to export images to your hard drive. So we are going to start with opening image in Photoshop. We can hit right on the image or we can also, he tried on the small Timna below. Once we tried, we will have some option. And what we're interested in is this edit in go, right? And as you can see, we have a few other options. We have option-like edit in Adobe Photoshop 20-20, which is my current version of Photoshop, or open a Smart Object in Photoshop. So similar as we can do using cameras. We can open this as an image or we can open this as an object. I'm not going to show you each of these because the process is exactly the same. Once we hit the Photoshop is open and the image will be open in Photoshop. So it might last a moment, but as you can see, after a few moments, you will be moved to Photoshop with the image. So let's go back to the Lightroom. We can also do it with multiple images, but of course then Photoshop would be a little bit heavy, could work slower, especially food go with smart objects. But now I'm going to show you how to export images to the disk so we don't have to go back and forth, but we can once export images and then start the work in Photoshop. So I'm selecting all of the images below. So I'm pressing Shift starting from first image to the last one, makes through all of the images are selected. I'm going to File and then I'm choosing export. So it's really important to make sure that every feature will be correct. First of all, on the very top, we choose the location. So I'm going to choose, I need to find on the commutator where I want to save it. So I'm going to save it in the same location as my other images. So I am choosing this folder. And also we have option here as put in subfolder. So this is really useful as always, and I'm going to check this. And I will name this as studio L are like studio Lightroom. So I know it was exported from Lightroom. And below. We can rename this. So we have few options here. We can just stick to our filename, or we have some other options. We can completely change it. We can keep filename and have the sequence. We can just have the date and filename and some other options. As you know, I like to keep the name as it is. It's easy to locate this and I'm just exporting this to work in Photoshop. So going below File Settings, something really important, image format, TIF, of course, my favorite format, same quantity as PSD file, but I can open it on its own. I don't need Photoshop to open this. And JPEG PNG, dance is not really as high in quantity as this format. So the choice is obvious. Color space we already discussed most universal Adobe RGB always tried to work with Adobe RGB because most of my customers use this color space. So when we send the images between each other, we want to have the same color space, so one of us will not see the colors a little bit different, which happened in the past. Beat death. 16-bit. I'm not resizing days. I want to keep resolution and 300 and everything qr not as important. I'm just going to keep metadata. It doesn't change anything and it doesn't affect our workflow. So once these important steps are done, I hit export. It might last a little bit. You can see on the top it is exporting five files. As this phi's are quite big in size. We are saving them in beak format, and we are saving them as 16 beat death images. So that last a little bit longer. Once it's done, we can locate the images on our drive. So I'm going to use Adobe Bridge for this. As you can see, I have the images here. Stood your Lightroom. All of the images were exported here and are ready for work in Photoshop. 15. What to Retouch: Starting with Photoshop, we need to know what needs to be done on the image. And first of all, as we will be cleaning up this image, we need to know what needs to be done in terms of retouching. One of the most common mistakes is, for example, retouching face and leaving everything else and everything else is quite alot because we have a torso, We have the arms, we have the hair, we have the background. So make sure all of these points are checked at first, I always check the background. So gentlemen, and it's often skipped because it's difficult to notice. And it's not the fact that our background was dirty. But the thing is often on our lens, we might have some dust reminded gets some dust on the sensor. And after that, we cannot use this in Photoshop in form of this weird darker dots. So when we will be retouching, we need to make sure that we will remove all of these dots from the background and anything else and it did that would appear there needs to be retouched. Then the next step will be skin retouching. And when I say skin, I mean quite a few things. So we have some spots. It could be pimples, it could be some tiny scars that just appeared there. And as you can see, we have quite a few of them. But it's not only the spots and pimples. But looking, for example, on this side of the face, we can notice a lot of small hair and they can be a little bit distracting. And we need to take care of those things as well. The other thing, we can notice some dirt from the makeup, so there's much more things than just spots. And of course, when we'll be doing this. And that it's reduction autonomy, the face, but also chest, arms and other things. Of course, when it comes to the malls and all of the things that appeared there naturally and exist there everyday on the model's face or body. We keep as it is. The next step will be the retouching her. So as you can see, we have a lot of Flyways. I'm not saying that we have to make everything tidy here because often it will result in the worst effect than if we wouldn't do it. But we have to tidy the her just a little bit. The ones that stand out. And also when zooming, as you can see, we can see flyways over here. So we need to make sure that we'll hair the hair will look smooth and we will not have so many of these flyways. So that will be next step. When it comes to the browser. We always have to pay attention to them. And I have two different browser for sure. I will have to take care of this a little bit. And also take care of this, take care of this holes that we have over here. And at the end. The other thing that I can see here is the leap. So sometimes you need to work on the Leap line also. We have some hair are on here, so I will pay attention to this area as well. And in the major part of this course, I will be working on this image. This one's a little bit different and it's good to present you different techniques as we will be doing everything in non-destructive way and professional way. We will be using the basic retouching tools in Photoshop van. There will be some tools I want to show you and I don't want to mix up these two techniques. So I will sometimes showing you different technique on the different image. 16. You need Tablet!: I want to make this video a little bit personal. And I want to talk directly to you about few things in relation to professional retouching. I want to talk about the tools that will help you and are really essential when it comes to working in a professional way and achieving the good results. So when we work on our laptops, computers there is futile. So we could use, Of course, there is the mouse. There would be the trackpad of the laptop. But when we think of retouching in the right way and retouching in professional way. There is one tool that we really need. And this is this. So what I'm holding in my hand is graphic tablet by Wacom. And it's the basic one is read the cheapest tablet that I bought. And let's talk about this a little bit more. So when would we touch? We need to be really fast. We need to work with the pen pressure. So when we need to paint on something, we need to have the feeling that the pen pressure gives us. But especially as I said, speed, being precise, pen pressure and comfort when painting on the image. So if we would work with the mouse, and unfortunately it doesn't work. And let me just show you here right now when we clean up the pimples. As you can see what, what happens here, we click by click and the process of retouching would be really slow. We are not able to move the mouse quickly over the image and do really a lot of clicks to clean a lot of spots, even though if the speed is quite good, it won't be as good as this tablet. Because with this tablet, when we work, when we clean the spots on the image, we can just present here. And of course, when we press, we can do it far faster than we would use the mouse, except the fact that we can do it faster. So we can clean up the image faster. Once we can do here, we can drag depend. So when we return to the hair, sometimes we need to drag something so we will have more precision when retouching despots. Also, there is another process that will be called Dodge and Burn retouching. So when dungeon in Berlin, we actually paint on the image and when we take the mouse, we are not able to click and painted carefully with the pen pressure. So imagine when we take the paint on the brush or on the pen and then we need to distribute this on the painting or on the image. And when using the mouse, it doesn't give you this possibilities. It doesn't have this capabilities to use the paint or to apply the effort. It could be delighted with different pressure depending on the area of the image. So this is why you always want to make sure that you will be working with Wacom tablet and you will be working with the pen. You can work faster. You can be precise and you can use the pen pressure. And when it comes to the tablet itself, I always been working with the basic and the cheapest option that Wacom offers here. There's some pro tablets. But to be honest, when it comes to reattach in, all you need is to be able to work with the pen. So you don't need this extra buttons dance on pro tablets offer you and there is no reason to spend too much money for the best tablet there could be, because all you need to do is to paint. You don't need the extra options. So I never want my students to buy unnecessary standards. Get yourself some basic tablet. Even I have quite a lot of experience. I always work with the basic tablets and you can actually see it's quite used. So it seems this is the favorite part I like to use when retouching my images. And probably I should get the new tablet because this one is already quite used. So this is what I wanted to say when it comes to professional retouching. And when you use the mouse, I understand. When we got used to the mouse, it seems easier at first, it's hard to start with a tablet, but if you think of the carrier, whereas the retouched or you want to recharge your images in really precise and professional way. As photographer, you won't be able to do it with the mouse and the tank track pants. So you really need the tablet and think about this when it comes to color grading, all of these other things you can do using mouse and trackpad. But when it comes to retouching skin and doing that and burn process, you really need the tablet. So I wanted to address this to you before we start reattaching our images. 17. How to Work to work Non destructively: The rescue essentials that you need to know about retouching. So first, essential is you always want to work in non-destructive way and to do it when you open the image, you never wanted to affect this background layer and lacking in Photoshop, you are able to do it by creating multiple layers, by working on an empty layer. So there's many ways and the best way will be working on the empty layer above this background. Sometimes when we need to use the background, oh, we have option that we can duplicate the background by pressing Command or Control and j on the keyboard. And as you can see right now, we could use this layer and to work on this image without affecting our background. For retouching, I create an empty layer. So to do this, I'm going to hit the small icon on the bottom, create an empty layer. And I'm already going to name it as clean up because this is what we are going to start with. So for working in empty layer, we need to use that proper tools that allow us to work on the empty layer. And luckily most powerful tools such as human brush tool and clone stamp work on the empty layer. The two that doesn't work is the Pashto lackey, This is the least powerful out of this tree. But we will be able to use it on some technique that is not necessarily non-destructive. But I will include this because I know many people love working with frequency separation. So it's important for me to show how to work with this in the right way. So you will work in non-destructive way even when you work with frequency separation. So these two tools, hidden brush, cron stamp, and there are small differences that we are going to talk about. But when you using this and when working on empty layer, you need to make sure that on the top in the sample, you have checked current below. It means that when you will be working on this image, you will be affecting this top layer and taking the sample from below. So what you will do on this layer, you will be doing all of the process on the empty layer. But it will be considering the background layer or other layers below when you will be applying anything and why I preferred to work with current below and not, for example, all layers. That when I create some layer on the top, I will not be taking the color sample from the layers that are above and could change the results. So let's move to the next lesson and start reattaching our image. 18. Healing Brush Tool and Spot Healing: First, I am going to tell you how Healing Brush Tool works. And this is the manger tool that is used for skin retouching. And it will work best on that texture that is similar or flat. So for example, when using this on the background, we have the flat texture and it would be easy to cover any spots or any dust that would appear on the sensor. When it comes to the skin. It is not flat textured, band the skin texture similar to each other. So when we're working on this, there will not be an issue. But when we would work on the hair where we have a lot of differences between the texture that would become difficult or also, and we would come to the edge of the hair and tried to clean something here that would be difficult because we have big difference between the hair and the background. Also big difference between the eyebrows and the skin. So the pros and cons, working with union branch and I created this very simple file to show you how it works. So as I said, it works best on the texture that is the same. So for example, when I take the sample from somewhere over here and we need to take the sample to use healing brush. I'm going to press out corruption and take the sample on this area. As you can see, whether it's white or black here, it has the same texture. So doing so, if I need to cover the spot, I can cover this spot here because I took the texture from here and the color is automatically adjusted to the surrounding color. So now we've taken another sample. I can go here. And as you can see, I'm also able to cover this because the texture is taken from this space, which is the same as here, but the color is adjusted to the surrounding area. Now, if I would try to go here, what happens? I am blurring this out. And the reason for this is because I took the texture from this area and try to apply to the area with different texture. And it trying it's best to adjust the color, but it does strangle. So it will be easy to work on this fact texture, more difficult on the edges. As you can see, whether from this side or from this retry would have to be really precise. And as you can see, would be able to do it on the edge, but only on the very straight edge when it comes to more complicated texture, would not be able to do it. So this is simple work. How does it, how does it work? So even though we have complicated texture, but very solid, as you can see, if I take sample from here, pressing other option and applying it here, the difference will not be as beak because the texture is similar. And that would be the scheme. Even though it has the texture, the texture on the skin is similar. So thanks to that, we are still able to work. Other tool very similar to that will be Spot Healing Brush Tool. When choosing this, we have to make sure to sample or layers. And now all of this process and that happens with you in Rochdale will be unequal beat, more automated. So when we try to cover the spot, it will recognize the texture here and also adjust the color to the surrounding color. So when we have some simple area to kin, we can just go quickly and unjust area. There. Problem would appear when we would work maybe on some more complicated areas as well, when we need to really carefully adjusted the texture from the other area. But as you can see for most of the cases, so for example, when we would work on the skin, we want to work fast, whether we use helium rational or spot herein rational, most of the results will be better. Spot Healing Brush Tool would work better when it comes to verify texture and very simple texture. But on the skin when we need to be argued to be more precise. Here in branch two, could be a little bit better. 19. Clone Stamp: Another tool that is equally as popular for retouching as helium branch will be constant. And to switch their constant, we can locate this, of course, on the left side in our toolbar. Or we can just press on the keyboard if want to switch back to Human branch, that will be J. So what are the differences between them? As we established with helium brush, we know it works best when the texture is the same. Because it takes the sample of the texture, copy the texture, and adjust the color to the surrounding color of the object. When it comes to stamp. It's a little bit more basic, but it can be useful when working with the areas that have more edges. For example, when reattaching the Hare, actually the clone stamp could be more powerful. So how does it work when it comes to very simple and completely flat texture, like we have here. There would be not beak of a difference because what we do when we take the sample with clone stamp. So first of all, we also take the sample texture. In this case, there is no difference between helium brush and Palestine, but there's other things. We also take the sample of the color so as Healing Brush duplicate on it this one thing when it comes to clone stamp, it, duplicate two-finger texture and the color. So on the flat texture, it will work perfect. It will work perfect when it comes to the edge, as you can see here, we would be able to cover this. But when we sweetly between the areas that are very different, not only in the texture, but different in the color, that could be troublesome. So in previous case, when I took the sample of the texture from here, I could heal the things with the other color that have the same texture. In the case of crown stamp. If I take the sample here and try to cover something with the different color, as you can see, I'm applying this different colour to other part. And the same if I will switch the textures as you can see. So what is happening? We copy everything. And of course we can switch between hard edged brash or soft edge brush. But the main point is clone stamp. Copy everything. So for the skin that would be troublesome because when I go to the skin and I tried to fix this part over here, if I would take the sample from this area and cover it here. As you can see, maybe I fix the texture a little bit, but I also duplicate the color. So it simply doesn't work. But when it comes to this space where I need to be very precise, where I need to really work closely on the edge to cover this healing brush wouldn't work well because it would mix up the colors. But then working with the clone stamp, I wouldn't be able to solve such an issue. 20. Clean up Skin: Now we are going to start retouching this image. So to remind few things, we are going to start on an empty layer. The background is not too complicated. So first I'm going to take care of the background and after that I'm going to move to the skin. And also we will be using human brush tool and Spot Healing Brush Tool for this. One thing to know that whenever we clean the background or dealing with the skin and working with helium rational, we want to make sure that we work with hard edged brush so we will not blew out the skin texture. So starting here, doing the background using Pacinian brush, It's important to zoom in so we can see everything clearly. And I just said on the background, we don't have too many things. With spotting and brush tool. I would be able to clean up some of these flyways here. And this moment I'm not doing too much on the hair because there will be time to do more or a little bit later. And now as it's done, let's move to the skin. So I could use to doing skin with helium brush tool. This is simply the way that I prefer to deal with this. So let's start, of course, hard-edged brush as the sample Karen below empty layer here. And let's start cleaning up. So some spots here. The things I mentioned, and as you can see, I like to use helium brush to hear. Because by intuition, I know where I want to take the samples. Even though when it comes to populating brush tool, it works with really good engine. So it does do good job. But the way we get used to it's really important because and that will define our future work. So I got used to work in this way. You will be using more of spot human rational. It will get used to work in different ways. So the first thing I'm taken care of is despots, pimples, and anything that really stands out. Not talking about the scarce, and I'm not talking about their hair at this moment. At first. Let's deal with the spots so we don't want to mix up our work. And let's keep it clear and simple. And it'll be here. So I have response. Overall, the model doesn't have to battle of the skin. And there would be questioned why. What is the skin got worse? What if the skin is really troublesome? Donna answers, then we will only have a little bit more work, but using the basic retouching tools in Photoshop is the best way to clean up the image non-destructive way. Here I have this a scar. So I'm taking care of the scar here now. When it comes to the light, as you can see, it's not perfect at this moment, but the skin will get perfect when we'll be working with Dutch and burn retouching. So don't worry about all of their lighting perfections because these things will get fixed a little bit later. So a little more than just a spot. Spots. We have some of these, we'd hire some shine. So I'm taking care of this. We are going to be low here. Some more things. Let's get to the neck. And when it comes to this neck lines, depending on the type of this, if I have soft visible like this one, I'm going to take care of them. I have some of the hair here. Tried to remove as much as possible. But when it comes to this her I don't think there is neat. But of course, if we want to remove them, we can do it. And also the best way to do it at this moment will be Healing Brush Tool. And soon after I'm going to switch to clone stamp. And I will be mixing these two different tools because there is more things to do. And for example, as I said before, now I got closer to the edge. So it would be best for me to switch because close to the edge, hidden brash will not work as well. So I'm going to press S on the keyboard switch to clone stamp. And when I work with clone stamp, I prefer to work with soft edges brush. And the reason for this is because I need some smooth transitions going feather in the hair here. So I don't want to have really cut out effect. You can have a look what would happen if I am going to do it with the heart digit brush? As you can see, the transition is to clear. It cannot be like this. So I'm switching into soft edges brush. And you have the answer how, how I work with Healing Brush Tool? I work with hard edged branch when it comes to clone stamp. I prefer to work with soft edges brush, and as you can see, I'm able to precisely deal with these specific areas. Let's go back to here and branch and we have some more things to do. So getting close to under amps and we might actually crop this out. But when we have a little bit more visible, it's important to make sure that all of these look natural so we don't want to flood this out. And because simply and that would look a little bit weird. So moreover here a few of the hair, I have some red dot here. But overall, not as much clean up except tidying up some of these hair. One long her over here. Let's clean this up as well so that you can not some, not really cleaning up all of the hair band. I call this process tidying this up. So we didn't have too much of the hair done and at the start. But it's important that they will, they will look well. When I got into the hair, going to switch to clone stamp. And I will show you what I do. I'm painting with the software git branch with the direction of the her, then I can nicely. Land is fly away. If it was too difficult at the start. Don't worry, because we will have specially designed lesson for Henry touching. So just some of this point. I want to do now, few of this hair. And later on we will do more. So let's go back to the phase because there is some more things that we need to take care of. We have some of these hair. So everything that I can do using Healing Brush hill, close to the eyebrow, I'm doing this. The things that I can't, I will be switching to clone stamp. So for example, I have this Hare and I'm doing with him as much as I can, but as you can see, I have one thing, one thing to fix here. So then I switched to clone stamp, Helion brush here and here. And then to blend it in, I can switch to constant and do it this way. Some more hair here. Let's clean this up from the skin. Little bit more and a few more here. Once it's done, I'm going to switch to clone stamp and paint it over. And now it does look much better. So getting closer to the eyebrows, let's make sure that we don't have this small hairs that are visible here. So as you can see, whether it's the model or the makeup artist. But simply speaking, the eyebrows were not really treated properly before shooting. So this is why we need to take care of some of that white hair here. And let's clean this up. When I work with this tiny hair. But I make sure that I do is that they simply trying to make the smallest size of the brush to be precise. When I work on some other areas, like the bigger size of the brush. And we have one troublesome thing here with this eyebrows. As you can see, they don't match to each other. So that will, that will drank others attention unless we are going to fix it at this stage, I will try to fix it just a little bit more as much as I can. I want to remove the things that stand out here. And to be I don't really understand the decision of the makeup artist. But maybe she wasn't sure how to deal with this eyebrow, but maybe she had vision like this, but I'm going to fix it. This to eyebrows, need to be smooth. This left eyebrow and the model phase needs to be same as smooth as the right eyebrow on the model phase. So just a little bit. I'm not doing too much here. Just I'm making myself. Favor for later when we gonna take care of the eyebrows a little bit more. So a little bit here. With the clone stamp. Also, what we need to take care of this around the face. We have this very thin hair, so I'm going to take care of this a little bit. When it comes to the tiny her on the phase, I will take care of this a little bit later with some special techniques. Here. We don't have as many. And now I want to show you how I would deal with this over here. So actually that would be quite difficult to remove all of them using helium brush. And what I can, I try to do using helium brush, but I won't be able to do everything that is way. So first of all, the bigger hair I treat with healing brush the same way. I will treat the skin of whole course, I will remind to you, always hard-edged brush. So I never change. In Henan brash, hard edged brushed, soft brush. So some more, few more spots here. So we'll be noticing spots all through our work. And now I want to soften the hair a little bit here. So what I would do, I'm going to press S on the keyboard to switch to clone stamp. And I'm going to softly, likely as I'm work with the Wacom tablet, I will use the soft pen pressure and I tried to blend, blend some areas in. So let's have, look, I'm taking the clone here and I'm trying to blend it in. So thanks to this, I am in fact ruining some texture. But the other thing is the benefit removing this really attention dragging her. So I am going to do a little bit more of this. Not to get rid of everything, but just the major problems that take the attention away. I'm going to treat softly with the constant. So as you know the basics and that I do here, regardless the skin on this image. I'm going to speed up this process a little bit and make sure that I take care of skin properly. And then we must do their part. 21. Lips: In this lesson, I will show you how to reattach leaps. So let's zoom in on this area. To zoom in, we can just press on the keyboard and drag on the tablet. So as you can see, we have a lot of hair are on the leaps and for sure we need to sort this out. So I'm going to show you two ways of dealing with this. When you are a little bit more advanced, possibly. You would be able to sort this out without any help, just with basic retouching tools. But at the start sometimes it's good to use some extra technique that will help us to solve it. I am going to start from basic, so we need to clean up some of these spots here. We have some hair and there is no reason to do anything else than working with basic retouching tools. So I'm going to clean up these few points here. And as you can see, it works just as well. So this small spots that we have here, this is not really big problem. That will be easy. And also on the edge here, I can see we are able to do it the same way. If want to smooth this out, we can switch to the clone stamp and tried to make it a better line with the clone stamp. That's not always easy. But we'd be able to improve this just a little bit. Now going to the other side, we have some more switching back to healing brush. And I'm trying to solve one I can use injust Healing Brush. And this is also not bad. So as I said, I believe if we get advanced enough we are able to deal with this. We've found any help just using this basic retouching tools. But when this becomes too big of an issue, and as you can see, this image has a lot of the small hair. It's, it's very detailed image, very high quantity. So I'm going to make selection around this and I will try to solve the leap line. But this is also a challenge because when we will be doing this, we need to make sure that it will not look artificial. For this, I will be using the pen tool that allow us to precisely select the area around. And I will explain to you how does depend to works. Pentose simply allows us to make selection, creating the dots. We can also make it curvy. When will be dragging the point. What's important when, once we make it curvy, it's difficult to make another point. As you can see, another point will come curvy as well. So in this case, we will be able to modify this by pressing command or control. On this line here and then we are able to create a straight line. So these are the basic of how Penzu works and now let's try to make the selection. I'm going to start here and go into the corner. So it's important to not make too many of selections and rather do a long strokes. Because the longer strokes you make and the effect might be a little bit more natural. I'm going to modify this here. So I can start the curve from the start. And I'm going down to here, maybe not thus far, somewhere here. And we need to really look closely. And the Leap line here, that looks fine. Modify this here. But we can affect, affect that curve here. So make sure to correct this. I can use this from this side. Okay? Maybe I need to pick more. This way. To the last step back before make mistake, you can just press command or control and set on the keyboard and step forward, Shift, Command Control Shift and sat. Here, just straight line. This area is not really troublesome here. So I can do few steps like this. And this quick steps here. Because this area will be really simple to kidnap. Once I'm here, time to get back to creating some curve. So to the corner, it's quite far around here. And let's make it nice. This is the challenge here. This is really most troubling area of this is correct. This here grabbed from this side. And now here, not as difficult, but retouching this part will be quite challenging as well. And at the end here, we have nothing to retire. So I'm just going to make some straight line selection. Once it's done, we are going to press Control on our keyboard and then heat on the graphic tablet. Or he tried if somehow you are doing this using mouse and then make selection. And this part is crucial. We don't want feather radius and 0 because that would be completely straight edge. So we don't want this. We want the federate use depending on the size of the image. This image is. I'm afraid the feather radius one would be still too strong. Primary somewhere to three. I will go with three here. We can always check what would work best. So tried to choose the feather radius, see how it works. Then eventually, do us step back. But I believe for this image, the feather radius at three pixels will work best. And now let's try to fix it here. And it doesn't mean we don't have to be careful, we still trying to do our best. So now I'm going back to clone stamp. And I'm trying to feel the leaves here and it will be more. But I tried to do it also the best without losing the texture here, here, a little bit more. But on this side we don't need to do as much work. And few here, it looks it looks not too bad, so maybe a little bit more here. On the other side, there will be more work. So here I'm going to start from here. And I'm trying to cover these hair. Zoom in if needed. Cover this here. And at the same time I noticed some spots over here. Let's fill this area just a little bit, but don't feel this fully, it will look not natural. So we want to preserve the natural capabilities, want to preserve sort of natural loop. So it's not about making it perfect actually, it's more important to keep it real than making it perfect. So we have this hair under to solve it. What I am going to do, I'm going to invert the selection likely we can do it. Selection tool, the same press, right? And to sell acc inverse. And then I'm going down here, starting from the simple area here, covering this hair because I don't want them. Simply would be not as strong. I wouldn't mind them, but they're too strong. So no other option we have here. Then removing this, I might pay some texture, but I wouldn't worry about this. It's not ideal to lose some texture, but we will be able to recover some of these iter. And we'll be able to make it look natural as it would always look this way. And another side, I believe the other side will be a little bit more difficult. So if clone stamp here, I want to cover it all. And it's important to pay attention to this area. As you can see, this shadow is quite smooth. So we went to, we want to make the smooth moves here and do the proper transition of this shadow. So once again, we will lose some texture, but likely on the bottom we have plenty of that. So we will be able to recover this texture and a little bit more here. And the bigger size, something like this. Not too bad at all. I can see I have some of this insight. We will, we will deal with that. But first let's deal with some of these here. So trying to destroy a little bit of texture here, but very carefully because it will look bad if we make it too flat, especially if we destroy the shadows so we want to read sometimes, but let's not destroy all of this shadows here. In fact, I can even use Eraser tool here. And maybe do it better with hidden brush, more natural effect. And we will fix it later. Because we also be doing Dodge and Burn R3 touching. So it will help us to get the really perfect result here. Now I am going to invert the selection again because I want to deal with this area inside, so silica inverse. And I am going to here and I will reattach this small Heaviside here. Just like this. Sometimes we need to do a step back corrected and move on. And that would be it. So I think I didn't do as much. And that's perfect because we don't want to ruin this. So let's have a look how it looks. And nice edges don't look too artificial as you can see. We have some of these natural imperfections. I don't like the word imperfections. We just simply did as much as we should do. Because if we do more, that would look now good. And you might trust me with this. So few more corrections here. We can solve the blend the edges using clone stamp. And this is how I deal with the leaves when I have some traveling areas around these. Now, let's move to the next lesson and solve the other issues on this image. 22. Eyes: In this lesson, we will clean up the ice. And of course I'm talking about the white eyeballs. When the image quality is good enough, we will be able to see some veins. It's really rare that we would not see them, that they would not be there. And there is other problem that could be avoided. As you can see, the model has lenses. So if you're a photographer, and if this is possible, it's always better to remove the lenses before shooting. So let's try to take care of this also, some other elements, as you can see, we have some of the eyelashes here. In this area that could be removed. We have some dots here, so the smaller elements can be removed as well as you can see here. And dot here. And this small hair and everything that I can do trying to do with healing, brush the things I can't and move into constant. And when it comes to the veins, trying to keep it as natural as possible and only retouched them when I know they might be too distracting. So I'm going to start with the lens. That should be easy. As you can see, we have edge of the lens, so I'm trying to clean up this edge. And once it will be removed, the work for now will be done. We will have this color over here that for sure later on we'll have to take care of this. But now let just clean this up. And as we clean up this edge, I got this vein here. That dose does not match anything else. So as much as I can with helium branch I'm trying to remove. He was difficult. So I might get this color. So I could switch to clone stamp. And then with Clone Stamp, I'm trying to cover the shade over here. I'm being really careful now because I don't want to ruin the texture here, but I also don't want this color here. So let's have a look before, after few more changes, trying to work more on the edge here to make that transition better. A little bit more here. So this was kind of and avoidable and it looks better. But the transition now between the area that we cleaned here and these vanes here is not perfect. So now I have to make sure the transition will be smooth. So what I will do here, I'm going to use clone stamp. And I'm going to blend this e1. So I'm going to keep this vanes here a little bit visible. But the transition will be better. So you can see right now I did not remove all of them. That would be too much. But the major veins, the distracting one I do remove and now going to another eye. Same problem. We have the lens that we need to remove. So I'm starting with this and this small veins over here. The absolutely fine, but I have this bigger vane that is under the lens. So I'm going to work on this specifically here. And as you can see, this is simple process because it's so similar to the skin retouching and we have a lot of flood texture here. So in some cases that would be even easier. But in some cases it can be more difficult. So let's blend this softly. Let's go to the other side here. And this line here, we need to remove lackey. We have some wide background here, not the background because it's eyeball. So the removing this was not a problem. And now we can even polish this on the bottom here softly because all of these need to be natural. So I cannot press too strong like this one and leave the white dot. If this problem happens too many times, that means that would be the time to switch to smaller flow. And now it looks better. We have some colors that we could work on a little bit more. We can just leave some touch up to white and this if we need. But also we can use later some other adjustment layers that will help us to solve this issue. So when it comes to the ice, I will have a look around the eyes, few dots. I will clean that up together with the skin as the retouching will be progressing. But when it comes to the eyes and the eyeballs, now, I'm satisfied with what we got and we can move on to the next element. 23. Hair - Part 1: Other element i will be doing on this empty layer is her retouching. And this might be a little bit more difficult, but I will try to slowly explain what exactly I'm doing. And I hope over time, once you practice a little bit more, the Henry touching will be as simple as it is for me. So let's zoom in and see what we need to do at first. So we didn't really have the hairdresser probably on the set of this image. So I can notice a lot of flyways over here and they are a little bit distracting. So we have to tidy up not only this hair that we have on the background here, but also when we zoom in, as you can see, this cross fly away here. They need to be blended in a nicely together with the rest of the herd. Also, we will have some issues like over here, we have some outstanding hair over here, share a little bit more of this flyaway. So I'm going to show you how I deal with this. And also if the hair that I have on the edges here. So this flyways here. Let's start from the edges. And what I want to do, I don't really want to have artificial effects, so I wouldn't cut this out strictly over here. It would not look very nice. So I'm trying to do it simply this way. As you can see, using very basic techniques and trying to cover this unequal bead here to make it nice and smooth. The other ways, if one to have smooth transition between the hair and the background, I like to switch to clone stamp, of course, soft edge of the brush. And then we can try to blend into the background a little bit more, as you can see. So we will not really have this cutout hair and really harsh transition. So we can do the same way, mix up the tools to blend the images. Here I have this Her, it, it's really weird here, so I need to blend this in. And a little bit here. When it comes to this part, this group of hair here, it would be okay to leave them as they are quite natural. But if want to remove them, we need to make sure we do it in the right way. So I'm doing this with healing brush away from the edge. Once I get close to the edge, going to switch to clone stamp. And make sure I'm doing it right. So I'm going to go a little bit further. And I'm going to count them somewhere here. Maybe even a little bit more, because it will be impossible to notice the end here. Here we have shadow. So that goes together quite well. Some more work with the constant. And here, I just want to blend this in a little bit better. There is also some other way we can do to blend the hair. And this is simply using brush. So often, when I have exactly the same color of the background, I can use the, use the brush to blend this in, but we need to be careful looking at the changing background. So for example, if we have simple area, I can go with the branch and also soft edge it brush. We can take the sample, the color, and as you can see, we could cover this here. But once we go too far, one side or another, as you can see, we mix the colors. So we would have to be careful with this. And we would have to make sure that in the area we have similar color. But when I had similar backgrounds, there was times that I was doing it this way. But for this image would be a little bit difficult. So going along here, it could be better. So I'm going to take care of this. And in the area like this, what I'm going to do, I'm going to use pen tool and make the selection starting from this. Now I don't have to really make any curve of this tool, but I'm just going to make the selection like this. It will look natural, I'm sure of this. So I selected this part of the hair. I'm going to make selection 3pq cells. I'm going to keep this the same. And now using clone stamp, I'm going paint over here. Once again, we need to be careful similar as in the case of the brush, to keep taking sample. All the color and the texture. So I'm going to make sure the flowers at a 100%, I need to cover it. Well, let's have a look. If the color is fine, it looks fine. So now, as you can see, it looks okay. It's quite strongly cut out, but it does look natural. So this is very important. And here, going to the bottom, the hair naturally are being a little bit more messy. We can blend this a little bit better, but it's really important to not get too far. That would be a huge mistake. And everyone could see it, that it doesn't look natural. Also here, I have some hair close to the edge. So I'm going to make the selection this way. And up here. Not too far. Just something like this. Because I don't want to cut out this nice and natural hair. Makes election this time. We'll have the feather rate is at two pixels. Because here I have quite strong edge. Clean up here. Then clone stamp and clean up more. Being careful here, I don't want to have color differences in this area. And now we can take care of the rest. So I'm going to cover this part of the hair here as well. And of course, as close to the edge as possible. So we can have natural color effect. When it comes to the rest of the hair, I don't need the selection. Going to remove the selection. If it's too much. If you get the edge, that seems to be a little bit too strong. I would recommend you not necessarily using Eraser tool, but I would recommend you creating the mask on this layer. So when we create the mask, let me show you how it looks. Hits icon on the bottom. And when the mask is color white, then it means everything that is on this layer is visible. But when we tend this into black, pressing Command or Control and I to invert things. As you can see, everything we did here is invisible. So I'm going to do asked him back or invert this again by pressing command or control. And I, and I can paint on this, making sure this area is selected with Brush That will be colored black. To choose the color blank you can heat here, choose black or press D to reset the colors and x to switch them. Then, as you can see, I can paint a little bit here, found to bring back some of the hair. If I'm concerned about the fact if it looks natural or not, if want to cover it back, we will paint it back with color white. So remember about this. Don't, don't get confusing here. So if we want to bring this back, you will have to paint on this mask. When we work on the layer, we work here. When we work on the mask, we work here. So going further, what I am going to do, I'm going to use clone stamp again and try to make sure this hair do not stand out as far as things that I can do. I will prefer to use in healing brush a little bit more here. They stand out too much onto blend them in. Switch into Healing Brush, which is better actually because it allows us to adjust the color, but sometimes it won't work well. And here, clone stamp again. And trying to candidates here. And I can see I did some mistake here because the light doesn't look very well. I could do a step back or trying to fix it manually, maybe making bigger size of the brush. And trying to make some nicer transition it here, making it darker. Few more hair to cover a little bit too bright day, getting too much of my attention. So something like this. I don't want them fully removed. I don't think that would look well. I just want them to be less visible. Going up a few more Harris year. So I'll first just blend this in. I don't want to use pen to again, I believe in my powers that I can do it manually. Just something like this. And maybe dark and the edge Ali to beat jazz IDs. So it won't be too distracting. Let's have a look now. Maybe here on the very top, a little bit more work. I will use constant. Just IDs closer to them. Once again, if you don't really feel confident with clone stamp yet, I recommend you doing selections by Pen tool. It will allow you to be a little bit careful with what we do is a little bit here. And I am done when it comes to the background. So I'm going to split this and as we move to the next lesson. In the next lesson, I want to reattach the hair that we have inside. So we will reattach all of these flyways and crosshair that are shiny inside. So then we can make it better and we can make it smooth. 24. Cross Hair: We will continue retouching her. Once we finished retouching this flyways to the background, now, let's move inside and we have a lot of this crosshair. So the result of this small flyways that seems to be a little bit more shiny. So we need to take care of this. And of course, the best way to do it. We'll be working with clone stamp. We will be working with soft engine branch because we will want to imitate the small hair that we have inside. So if you are working, having the mask over here, make sure you work on the actual layer. We don't want to work on the mask. Let's zoom in and let me explain how to use clone stamp to reattach this small her. I'm going to move to some area that has some more visible hair. Maybe on this side we have some more light. Let's zoom in. And as we have this small Herod dot cross, we want to make sure that the clone stamp, the size of the brush, is small enough that it could imitate the hair. Also, of course, working with the tablet will be very important here because we want to have the feeling like we use a pen or a brush so we can use the pen pressure. So then I'm going to take the clone and paint over the area that I want to cover. And going here, as you can see, sometimes I need to press harder, but overall, small size and really dedicate work here to cover this. So this is what I do. And as you can see, we have before and after doing this really soft strokes allow us to blend in this stray head. Of course, when we have really dark background, we can simply use the Healing Brush and we will be able to cover this. So this is the basic ways of working. If one to have maybe unequal beat more control. And we can also change the Blending Mode into darkening. So change branding to darken. And when you will be working on this brighter, you make sure that you blend them inside this darker, but once you get into the hairs that are darker, you will have no effect on this. So this is optional because it would rarely happen, but maybe sometimes it's worth to make sure that we do this. But once we continue the work, don't forget to change it back to normal blended model. So I'm choosing to work with normal bending mode. And I will try to do this work and sort out some of these messages, of course, keeping them natural. So as you can see, together with the direction of the hair shear is not too bad. Some shiny area here. When it comes to this messy moments like this one with the blank background, what I would do just covered them. It won't be visible. And here some of the hair, since he usually a little bit longer process. But also it's important to not overdo it. Because it will not look nice. So make sure you only read touching this hair that bother you. And nothing more than that. We don't have to do every single hair. Because if you do, I can tell you the effect will be a little bit artificial and there's many, many probably touches that actually overdo it. And I don't think it's the right way. If you think you know, in successful and having your work are appreciated. And little bit more here. So as you can see, this small hair here. Thus so salt barely visible, they need to stay there. This is the natural way of them being when it comes to this one. I also wouldn't really blend them into match because they're soft, natural. Eventually, I could just condom here when it gets dark. Or Then there was bigger brush a little bit more. But overall, I want to keep it natural. I have problem of this hair over here. They don't look nice. I want to cover them, is the way to do. Clone stamp has blended into darkness. Just like this. So when it comes to this area, I can easily sort this out with bigger size of the brush or healing brush. So we have a lot of mass. Scientists want to darken this area. Stamps so it wants to drive too much attention, but solving each hair separately now here, as you can see, would be really time-consuming. So I don't think that would be a great idea to do it. I think what we want to do, want to generally hide them and blend them nicely so they still look naturally as you can see what I'm doing. So little bit beaker size of the brush, and what I need the brush to be small. I will do it. So we need to really stay creative with how we think and how we see the image. Grandfather, some of the herd here. Some mistakes. At first, this process might be a little bit difficult. But once you get used to, it will become easy. It's important that always you can flip your screen. So I know some people find it easier. One they will be flipping the screen using the tablet. But I never was doing this. And depending on how your hands will get used to you, we'll stick to this because for example, for me now flipping the screen and always painting in the same direction, for example, would be difficult. So I found it easy to. Keep it solid and just do how I like to do it. Here. I have a lot of this and I don't think I would really try to blend in all of them. Especially that this image as not necessarily very traditional beauty image. So this is not that everything has to be sleek, everything has to be smooth. It's rather, if it would serve as the beauty image, it would be more of a natural image as we have natural hair, there wasn't really her job done. Makeup is rather settled, maybe exempted leaps. So something like this. I just tried to hide them better. And now going to the other side. One of the biggest mistake you could do is to do too much and because of this too loose texture of the hair. So if you lose in this, if you don't feel experienced, it's often better to leave them as they are. This would be my recommendation. So don't try to force the process of reattaching the hair. If you don't feel good yet, you might practice, but don't do it on your images because it will hurt them. Not physically, but the perception of your work will be here. Blended. These scientists really troublesome. You can see it. A lot of hair that stands out. Of course, this is not done. The one technique I'm going to leave you with here, because there's morphemes. I will want to show you how you can smooth out the hair. Some techniques that will be shortcuts. But it's important for me to give you the basics here. So you need to learn the right ways of retouching and the shortcuts will be just for help. And we will have them in the other sections. Also. There is, if I would have to be really precise, getting with even smaller size of the brush, trying to reattach every single hair, the work often lose the point because we'd spend simply too much time. And I can tell you from experience that most of the work that the race existing for retouching business, even for photographers, is the work that will be fashion related. So with the fashion, the thing is you need to work fast to deliver. And most important, think in the fashion photography will be clothing. So spending a few hours on reattaching hair would not be good idea. The maximum what you want to spend here is 15 minutes and nothing more on the beauty images. That's what I'm saying when when taking care of the hair, if there was needed. But if you need to spend more, maybe is not the right way. So here I'm not really trying to make those moves. Just blend this in here. And here. Here the bigger size, I just wanted to darken these scientists. And few of these on the bottom here. Now I'm going to finish, I have one last part to take care of. You can zoom out because the point is always to look at the image when we zoom out. And this is before and after. As you can see, biggest effect we had on this flyways that goes to the background. But also huge effect inside. As you can see, the hair got smooth a little bit more here. And as I said, I'm going to deal with this bottom over here. And now we can move to the next lesson. 25. Eyebrows Retouching: In this lesson, I will show you how we can fix the issue of having two different eyebrows. So first, let's zoom-in. As you can see, the left eyebrow Of the model is completely different or it's rather Dan in very different way. And I want to match this to the right eyebrow off the model. So first of all, we can try to reattach this. We can try to paint some of the eyebrows. But for me, the better option would be trying to cut this part of the eyebrow and somehow match it to the other one. This is difficult task, especially when the model doesn't look straight to the camera and we have different perspectives. But we will try to do it, we will try to move it and maybe use free transform tool to adjust this to this part. So first, as we were working on this cleanup layer, we cannot cut this out from this area. We have the option we can candidates out from the background or we can create the stamp on the very top. So what I'm going to do, I'm going to make the selection. I wanted to check if I did a lot of retouching here, but seems I didn't do it from the background. So and I'm going to do, I'm going to choose some selection tool. It could be last, so too could be anything else. It could be the Pen tool that we were using. And then I'm just going to grab this summer here site and need the all of these, maybe even less. Somewhere around here. A little bit of the skin, I need the skin to make the smooth transition. Okay, it's not perfect, but now let's do it a layer via copy. We don't want to cut this out from our background because we want to keep it intact. I'm gonna name this as the Brown. And I'm going to move this above. So I would really prefer to have everything under one layer, but sometimes this is not the case, so we have this part. It looks weird for sure it doesn't match, so we need to flip this to make it in the right direction. So this part, we need to start somewhere here and it needs to go in the direction of this eyebrow. So the best way to do it is to, to selection tool. He tried and choose free transform. So we free transform, we can manipulate this a free bodies, and at the end, we can change the perspective. So as you can see, I'm flipping. I can't change the perspective, but what I would do here, I would grab command or control. And I will try to move this to the other side this way. Let's try to keep the right perspective of this, right for my Denny finished. So once again, and we got it. It's not bad if we need to manipulate this more. We can always grab it again. Move it. Remember to change perspective, we will always have to press command or control. So now I will have to manage this somewhere here. It will not be an easy task and I wouldn't really trumps just yet because there is much more fish to the US. You can see we have difference in color. We have a little bit of the difference in shape. So there will be quite an adjusting. And also this left eyebrow seems to be weaker. So have to actually build up some more hair later. But first thing, let's try to make it similarity in size that would start somewhere here. And after this way. Now it seems about right. I'm going to remove the selection around that I had and place it down here. If we cannot place it in the right way, what I would recommend switching blended mode of this brow, too soft, light or overlay and as you can see, it will be slightly transparent. So as we have the slight transparency, we can match, it may be better when we work with the blending mode normal, as you can see, we can also lower opacity to see how it will feed. I think it's quite well-matched icon, zoom this in a little bit thicker. So I'm going to hit Free Transform again. I will try to make it bigger because it's still, it's still need to match better. I feel now it has similar size. Okay? Before, after seems to be matching. So now on this layer, I'm going to create a Layer Mask and paint around with the color black. Of course, when it comes to this brow, we could also place it below or we could start with it. But as you can see, we already did some cleaning them before. So we have to decide if want to start cleaning up from the start and fix it, or we wanted to do it above. Then the choice is really up to you. So you can choose how you started. As I created already. The mask. I'm going to choose the black color of the brush. And with soft edges brush, I'm going to paint it around. Psi can manage this nicely. Here. We have some different colors here, and that's ok. That's how it will be. Will have to do more work here obviously. But first thing we need to try to match it the best we can. Lucky on the bottom, I don't have many different hair, so I can go closer and I can match the shadow. Here I have already other hair. What it means, maybe I should move it a little bit more. This side. Phi again, matched here. Coverage is here. And it looks not too bad. Of course we have different lines, but we got the success because we were able to place it in the right spot. So to not make big mess onto move this below. And I'm just going to use the eraser tool and I remove what I have done here. So now I don't have to create more layers. But with this layer I have here, I will start everything again. So what I'm going to do, I'm going to clean this amplifier. Of course, if you maybe want to be a little bit more precise, you can create more layers. But what I value myself most is to keep it in a nice order. I don't like to have too many layers. It's more layers, more confusion. And if I can solve it here, I will try to do it here. I'll try my best doing it here. So it's not bad. I'm, I'm not really worried about colors. And because this is one of the easiest things that we will be able to fix a little bit later. And it came that this vow was just perfect match. The location is the same, the start is the same. The thicknesses the same. Seems to be maybe a little bit lower. But I would do here. It doesn't bother us too much. Maybe this way would be a little bit better. And here I will have to build some more hair or make it slightly bigger. Like let's do a little bit more cleaning around. Make sure we work on this cleanup layer. And make sure the signs of the previous bro previous brow disappeared. So this is it. We have some feeling inside. I'm not going to create the hair just yet. But if we need to create more hair, we can, for example, choose the small size of the brush, take the color of the hair and paint some of them this way. And as you can see, even if we not too talented in painting, we can create some natural-looking eyebrows. This is a little bit too thin, so I would have to have the bigger size, something like this. And don't build too many of them, it will look artificial. And the best way to actually make it darker is just to use the light and not trying to paint to many of the fake her. What I am going to do on this cleaner player, I'm going to make sure both of the eyebrows are clean. So I'm also going to clean around here. As you can see, the shape. The makeup wasn't really done. That perfect. What I'm going to do on this side, I'm going to make the selection here like this. And I will try to improve this shape here. Make selection federal radius at two. And let's see if we can do it nicely. I need to do select inverse, work on the outside. Something like this. So i look, if it's not too straight now, I think it works. You can blend it in nicer. And now I am quite satisfied with diagrams. On this one, I'm going to use clone stamp a little bit more to make the impression of the hair a little bit thicker and duplicate some more hair. Some of the right eyebrow. And here we have this darker spot. I wouldn't worry about this too much. We can just blend it in a little bit with the clone stamp. But the best is to leave this for a little bit later, and we will be able to solve this working with Dodge and Burn. So now we did what we had to do. As you can see from the distance, this is huge difference. Now you know how to fix the problem with the eyebrows. When we have two different eyebrows, you know how to manage them and what's most important to, you know, how to make them nice and smooth. 26. Dust and Scratches - Hide Facial Hair: In this lesson, I will show you an amazing technique that will help you to deal with many problems of the small hair. So looking at this image, as you can see, we have a lot of these small hair around the face. Sometimes this problem can appear on the arms. Sometimes you might have too many of the crosshair in the header area. So the technique I'm going to show you will help you with all of these. First of all, we need to make sure that we will create the actual layer on the top. Before that, make sure that this layer now is selected. And if you work on Apple device, you have to press then Command Option Shift and E. If you work on Windows device that will be control out shift and eat altogether when this top layer is selected. So then we'll get this layer on the top. That will be final result of what we did. I'm going to rename this and we'll name this dust and scratches because this is what we are going to do, is I'm going to work with this filter that help to deal with this. And now if you feel confident, you might work on the actual layer. But if you want to have more control and work in non-destructive way, I would recommend to he tried and Convert to Smart Object. So when you work with the smart object and the amount of the filter, the FFT you apply is not right. And then you can go back to this and correct the values. And this is of course the optional thing to do on your image because not every image has the problem of the hair. So remember treat this as the, as the option that you have, but not as the major technique that you have to use every single time, because you will not use it that much. But it's good to know that this thing exists some going into the filter. Noise, dust and scratches. So here we will have two sliders. First one will be the radius. And radius is basically the area around how many pixels you want to have your effects. So if we're going to choose one pixel, is going to choose the areas of one pixels. That would mean it will not affect the big flat area of the image bad. It would look for these very fine details on the texture. It could be very fine hair, it could be some really small noise in the background. So if I keep the one peak so that would be barely visible because that would locate on this very fine details. If I will go up with the radius, as you can see, this skin is starting to blur out because it's located in the bigger areas. Now, the areas that consist 12 pixels, so it gets this bigger areas and blurs them out. So I don't really want to have high values here. But I want to work on this small details. Radius one would be too slow. I can't see too small. I can't see the effect. If I would go to three pixels, maybe. That's now visible. Somewhere to three pixels, I think will do the job. As I want to be asked non-destructive as possible, I will go with the lower value. And when it comes to threshold, threshold is basically the difference here. So when we keep the threshold and 0, the effect will affect everything because it won't recognize the difference. If we drag the threshold, the effect will only be recognizing the areas that have the difference. So, for example, the area that consists of white color and different texture to the area that consists darker color. So and 0, it would affect both areas equally. But as I go up, it will recognize the difference between the white hair and the red tone background here. So as you can see, this can nicely define the texture. And thanks to days, we don't really have to be as destructive. I could go probably even higher with the radius here. As I can see, the effect is very settled. And now able to get rid of some of these area. I will see how it works if I lower the threshold. And I'm afraid that could be a little bit too much for sure. This area is to match, but don't worry about this because we will be masking the image a little higher. I will see how the threshold 12 loop. And I'm gonna go with initial 15. Now. I'm going to hit OK. So it's not finished effect. But I want to see and the small areas as you can see, we were able to nicely hide this. I also want to check out her. And as you can see, these areas that were shiny, this crosshair were also able to hide them. So now we can create the mask and we can paint on this mask so we can hide the areas that we don't want to see and keep everything else that we wanted to see. So I'm creating the mask now. And I'm going to start from the hair. I'm going to invert this mask to the color black because of course I want to start with the bigger picture. And when it comes to the hair, of course, I will not paint over here. I want this visible so I cannot hide the natural shine it has. And don't ever think about this because it will destroy your image. So this technique is destructive. That's why we have to be very careful how we use this. Then I'm going to choose some brush and of course, press x to switch the color. And we've smaller size. I'm going to paint on the areas that I want to hide. I will see if I could do it here. Nice blend a little bit here, a little bit here. And because I have some of these HER2 high and of course on the cheek bone here, I want to hide these areas out to save myself some work. So this is dangerous, it is destructive. But if we will be careful here, we can really save ourselves some work. I have some of these thin hair here, so I could use it here. I'm being careful to not get into this highlights here because as you can see, I could remove this, wanted nice gloss. So I'm not getting too far, but just this areas, maybe this too visible colors as you can see, I would be able to hide some of them. I'm not getting here, I don't want to hide this. Shine here around the leaps over here. Maybe I could do a little bit better job. A little bit here. And that would be it. I will check the other side of the hair. These are too big, but maybe some of these smaller ones here. I could blend them in a little bit better as you can see, really easy. And a little bit here. So not here, that would be too far. And a little bit here. And that would be it. So I'm not doing too much on the hair. We don't want to ruin the natural loop that we have here two bit here, we have some of this crosshair that bother me. And that's it. The truth is, we could reattach the hair this way. But when we would reattach heard this way, we would have to make the size of the brush small and have to paint with the direction of the hair. But that would be the striking because we would affect the texture and that is visible. So this is why I prefer to reattach this using Chrome stamp. I think I can be much more precise and clone stamp, but this is great technique. If we have to sort out some of these very small details that simply would be too many on the image to do it manually. 27. Fix color of the lips: In this lesson, I will show you how to feel the color gaps in the lipstick. Let's zoom in this image. And as you can see, we have some of the gaps, some of the column gaps, they might appear actually everywhere. And it's good to take care of this, even if those things are not really visible in the final result is good to make sure that we covered this in case that would be the problem. For this, we need to create a new empty layer. So I'm going to hit this icon, create a new empty layer. And I'm going to rename this to leaps. Once it is done, I'm going to change blending mode from normal to color. So blending color doesn't affect the luminosity values, but only affect the saturation and color values. So when we are going to choose the color of the leaps and apply it here, we are going to apply the same color than the rest of the ellipse has. But when it comes to the lights, we are going to preserve the same that are now. So I'm going to zoom even closer. As I need to choose the brush. We can press B on the keyboard. And then I need to take the sample of the color. And the color needs to be similar to the one border into the area where we need to feel the color. So I'm going to choose this color somewhere from here. It needs to be really good. Color choice. Maybe even here would be better. And then as you can see, I will paint it over. You need to make sure that we're not going overboard or anything like this. We can take a few samples of the color on the way to make sure we do it better. And here, because sometimes on one side, the color could be maybe a little bit different than on the other, so we can take few samples. But overall, as the tunnel, the lipstick is the same. That wouldn't that wouldn't really change that much. But if want to make sure. And this is it, as you can see, very simple way of fixing things and very effective. So few Moore's over here, I have few more areas to fix. And that would be it. We can go closer to the edge. And it's really perfect way of doing things and complicated. And this would be, so if you need to fix the color, this is how you do it. 28. Fix Skin Texture: When retouching what could happen to us, you could lose some of the texture. Of course, we always try to reattach in non-destructive way, and we always try to preserve the texture. But sometimes it won't work, especially in the cases when the skin would be really rough. Or we wouldn't have a lot of these tiny hair as we had here. And as you can see, in some areas are on the leaps. We did lose some of the texture, although I think it's a pretty good job and I could barely notice this, but it's important to know how to fix this part in case we would need this. So first of all, I want to create the image on the very top. Why need the image? Because I will have to take this texture from somewhere and the best place to take this texture is this image, some other parts of the skin. So if I would work on Mac, if I work on Mac, that would be Command Option Shift and IE. And on Windows device that would be Control Shift and E. So I'm not going to use all of this layer, although we could, I'm not a fan of this because we would increase the size of the image. So I will keep this name as the layer number one. But what I'm going to do, I'm going to go filter now and I'm going to choose Other and high-pass. So high-pass allow us to turn this image into domain in the texture, we still have some of the color and this is visible on the image. The same thing happen if we work with techniques like frequency separation. We still have some of the color, especially this orange tones. But we still can eliminate enough of the color to create the texture when it comes to their radius, we don't want to have it too small because the skin will get to filtrated and we don't want to have these too high because it will lose its purpose. So we want to have it maybe around ten pixels. If beak image, it could be 15 pixels. Actually in this case 15, even too much from what I see. So I go with ten pixels, I'm going to hit OK. And of course, if you would like to work a little bit more carefully before converting this to high pass filter. We can convert this to the smart object. But as I said, this is simple task and there is no need to do it on whole layer. So once it's done, what I wanted to do here, I want to cut the part of the skin. I could move this and replace the skin, but this image is huge. I don't want to increase their file size to match. So I'm choosing last SO2. And next to the area that I want to work on, I'm going to cut some of the texture here. Then he tried layer via copy. And I'm going to rename this as texture. And that could have number one. Number two, if we will have more of the areas like this. Once it's done, it looks like this. What I will do now, I will change the Blending Mode and we can change the Blending Mode to some of these contrasting bending modes. It could be overlaid. The effect will be strong. Soft light. If we don't want a strong effect, Hard Light, Vivid Light, Linear Light, all of these effects will give us really strong results. I can start with soft light, and more likely I will stick with soft light because I don't think I need as much of the texture, so I am going to drag it down now. Create a mask here. Invert this. And paint in the area with white color of the brush to bring back some texture, just IDs. And as you can see, this truly simple task to do. And if it's not enough, we can change it. We can change it to overlay. And the texture will be stronger. We can change it to highlight. It will be even more vivid light, linear lines. So as you can see, depending on what we choose, vivid light as you can see, increase the saturation to match. So hard light, soft light bulb works quite well. If we go with harder and you need to lower the opacity a little bit later. You can, of course do it. So this is how I usually duplicate the texture. This is how I fix that texture in the certain areas if I lose it. So simple task, especially if we have a lot of texture on the image, we can fix this small area. So have a last look. Before and after. Now. If you lose some of the texture on the image, you now know how you can replace it. 29. Introduction to Frequency Separation: In this lesson, we are going to move to another image. And we are going to start from cleaning up process, but this time I'm going to do it a little bit different way. So instead of doing this on empty layer, I'm going to show you frequency separation technique. And this is important for me because I know there is still a lot of people that I like to use frequency separation. And I want to do the part on frequency separation to make sure that you will use this in the right way because this technique is often wrongly used and it's often overused. So in this section, I will show you how you can clean up the image using frequency separation technique and how to use it in the right way. I'm also going to tell you what are the pros of using frequency separation technique and what are the cons of using frequency separation technique? Because there will be few For sure. So first of all, we are not going to start with empty layer on the top band. We will have to create the layers for the frequency separation. And I'm not sure why exactly it is called a frequency separation because what exactly we will be doing, we will be creating to actual layers that contains this image. One layer we are going to blur out slightly and the other layer we go into sharpen. So as we will connect this one layer, we blurred out and keep the colors. And other layer we sharpen. But we tried to exclude most of the colors. In connection. These two images will give us the Regular. So this is important to know. We don't split actually frequencies. We split the color, but not fully. And we split the texture. But once again, not fully ANY. We'll see this in the process. So what we should do here, first of all, as we start with the background layer, we need to duplicate this. To do it, we just need to press Command or Control. And Jay, on our keyboard, and I can name this as the low or bluer or color, anything you would like you that make you feel comfortable. So the one layer and another layer, I'm going to rename as the height. Don't worry if it's a little bit confusing because I'm going to give you actions in this course. So you don't have to do all of this process every single time in case you choose to work with frequency separation. So as I created this low and high layer, and as I said, I want to split this values in two different values. So the bottom layer will be blurred out and we keep mainly the color that exist here, but probably a little bit of texture in some of the areas. So on the lower layer, I'm going to filter blur and Gaussian bluer. It's important to zoom in closer before we do it so we can actually see the texture. Go to Gaussian Blur. And we want to choose the radius of this blur that allow us to blur out the details that are here. But we see the overall shape. So with the radius ten, this is large image. So keep in mind this is really large image. I still see a lot of imperfection, so I'm going a little bit higher, maybe 12, maybe even 15 in this case. And as you can see, that the changes are very settled. Even if I would go to 20 and that would be absolutely fine. But better to keep it not too high because we don't really want to work destructive. The lower values you will have, the effect from this low layer that will be going through will be just smaller. So somewhere between 15 to 18, I believe, would be the right value. In here. I still can see some of the details, so maybe a little higher. 16-17, something guarantees. Then I'm going to hit OK. And then I'm going to the other layer. And as this layer was blurring out the texture muscle this because as you can see some of the details we still have here on this layer, I will try to boost the texture. So I will try to remove most of the colour, but keep the very strong texture here. So making sure this high layer is selected, then I'm going to image and apply image. And now we need to choose in the source, of course, we need to choose the layer that we want to take the details from because we need to, as you know, we brought out this low layer. So as the source, we need to take details from the slow layer, so we will exclude what we did on this lower layer here. Then another thing is how we want to blend these two layer. And here's two options. As you remember, we work with 16-bit image. So four 16-bit, they're blending will be, and here the scale, remember to change to number two. By default it should we probably one and something like this, so we won't see much, it will be completely different defects. So scale T2 and this box invert will be checked. So when you see the image looking this way, this means you did, right? So you need to see it. If you work with eight-bit image, the value will be different than you go with Subtract. Scale will be also two. Men, the offset will be one to eight. And this box to be checked. And as you can see, I have exactly the same result. So what we need to have, we just need to see this image, this gray image. And many would claim that this layer contains only the texture. And I want to prove to you that this is not true. We can then leaps. Look at the ice and as you can see, a lot of this strong tons that exist on the image go through, especially as you can see, oranges here and there. So we still have the color around the nanos, around the ellipse, around the eyes inside the ice. And it gives you a little bit of halo effect here. But the color is still here, even if it's only 5% or less, it's still here. So in not fully separate these two values that I'm going to hit OK. And of course we don't want to see this image, especially that we don't want to sharpen this image, but we could do it based on this layer, this one to show you, we can change by him and maybe to overlay. Of course this is not right moment to sharpen image, but you could do it. But also you could get the halo effect and stronger effect on the lips instead of the skin. So that's not the best idea to sharpen the image. But what we do here, for sure we don't keep it normal. We switch blending mode to linear light. And as you can see, once I do it, I get back to my original result. So let's put these two in the group. I'm going to select the high priest shift on control, low command or control g to make it into the group will remain this group as fs, casually as frequency separation. And this is before and after. And this group will be our work in place. So we will be working on this high layer. Maybe we can try to do something on the lower layer. But you will see why better avoid this. And inside, we can also create some empty layer. We want to fix something fixed on color or maybe work a little bit more with clone stamp helium brush, we could do it as you remember working on them, two-layer choosing current below. If you don't want to create this from the start, the good news is, I will be sharing the actions with you. So once you install the actions to your computer, you can choose the frequency separation action for 16 bit or eight bit and played. So of course we will choose the blue here. That's very settled one. And then we end up with ready layers. So now let's move to the next lesson and started doing retouching process. 30. Skin Retouch with Frequency Separation: Now I'm going to start cleanup process using frequency separation and important things to know what we can do with frequency separation and what would be difficult when it comes to skin retouching, that will be very easy to do using frequency separation. And when it comes to the hair, we can sort out this cross flyways but inside the hair area. But when it comes to the hair on the background, that would be not the best idea to do it using frequency separation because it's easier to do it on the empty layer. But we will be doing everything step-by-step. And in this case I'm going to start from skin retouching. And when it comes to skin retouching, we have to work a little bit different way that when we are working before. So once again, we will be working using Henan brush tool and clone stamp. But the first difference is when we work, we have to change the sample to current layer. Why we have to do it? Because as you can see when we work with frequency separation, we work on actual layers. So mainly we will be using this layer on the top that contains most of the imperfections because the texture is strongly visible here. And to work on the actual layer, we have to work with current layer. We will also do some of the work on this layer in-between that is titled tons. But I'm going to rename this into medium. Because also we can sort a bunch of other things, not only the tons, so medium maybe would be more relevant here. And also when it comes to clone Stamp, once again, the sample will be current layer. The other field that we want to pay attention to is hard edged brush. So as I always use hard-edged branch when it comes to healing brush, when it comes to clone stamp, that's not always the case. So what I'm going to do, I'm going to choose Hart entered brush from general brushes. And now the question is, do I use helium branch on the skin the same way as I do on the empty layer. Or rather I will work with the clone stamp. And the answer is, in case of this technique, that will not make too much of a difference whether you work using helium brush or clone stamp. As you remember Healing Brush, take the sample of the texture and adjust the color. But of course, as we will be working mainly on this layer on the top, there is not so much color, so that doesn't make too much of a difference. But we want to be able to match the color to the surrounding color. So this is the Kahn here when it comes to healing brush, clone stamp similar because we have color separate but they're lethal. Remaining color that we have here will be also included in the constant because as you know, we own, we take the sample of the texture and the color aswell. So Clone Stamp might have slightly stronger effect in this case, but overall, there is not so much difference between them. So I'm going to start working with the constant hard-edged brush. Of course, opacity and flow at 100%. So you want to make sure that the hardness is at 100%. As you can see, whether I work with this one or this one doesn't make the France that effect is very similar. But working with the clone stamp, we might get a little bit stronger effect. What's important here, we want to work with the current layer. We want to make sure that it's hard to git branch. And we want to make sure that we will be working precisely here. So at first, as you can see, sorting out all of the spots, all of the pimples. And other thing that I would have to say here, don't let it go through big areas because you might destroy the texture. And going with the clone stamp, that could be easy because we copy the texture. And lastly, it's difficult to make the mistake because all of these tones and colors are below. So even if we drag too far and the mistake will not be as b. So that's the con working with hidden branch that sometimes we can go, it'll be too far. That would not be the case with healing brush because working with the Helion brush would have to take more samples and dragging on something called the Healing Brush, as you can see, doesn't necessarily give the same result because Healing Brush still trying to recognize and match this area to the surrounding area, as you can see, with clone stamp, recover it a little bit better. So all I'm doing now is clean and amp this image. And of course I'm talking about the skin. We are not going to take care of other things in this lesson, but just the skin. A little bit here. And before I will clean up all of the schema, I want to clean up the major spots. And after that, I want to move to this difficult parts when we have some of the hair. So areas like this. And this will be the first of this technique of the frequency separation here. Because when it comes to the small Harish where there would be difficult to clean up using empty layer because we would be duplicating the colour when we will be using clone stamp on the empty layer. But now this natural color below the hair will stay the same because it's here. So this area will be sought that out easily using this technique. As you can see, we don't really have to pay too much attention. Of course we do have, but as you can see, sorting out this her imperfections, it's so much easier than using an empty layer. And this will be the major advantage here also when it comes to some other HER We can use this technique, but I would be careful here because they are really dense here. So our tried to sort this out a little bit later, for example, by changing the feature of the brush and making it a little bit soft edge it. So we can rule this out a little bit. But for now, we do quite well despite having a lot of this her. So as you can see, for this sort of skin work, when we have a lot of heroin, we have a lot of imperfections. The frequency separation technique does seem to be helping us a lot. Also on the background here. But this will be difficult over here for this area. We still can manage this, but I just want to show you when it comes to the hair on the very different background. Because of the field that will have the color below, we are unable to fully remove this. This is why I'm not going to use this technique for the hair that gets into the background. Also here. Go into clean empties her. But once again, a little bit difficult because it's just so similar to the rest. So we would have to be very careful here. Make the size of the brush a little bit smaller. And let's try to clean the sample with very small size because we want to be very careful here. As you remember in this area, we did have some color. So in this case, we would be affecting some of the colors here. This is why when it comes to these hair, you need to make the size of the branch very small. And be very careful when we clean this up. And you can see this is actually distractive. So we'll have two more. And doing Dutch and burning and some other things. Unless you don't want to do it this way. Of course, there's techniques that you can use. In this case, for example, you could even solve this out using the dust and scratches. I believe that could help us a little bit. It will be affecting the texture. But still we have the themes to fix in this case. So that wouldn't make much of a difference and maybe building up the new texture would be the better option. But let's try to do it. It's not too bad. When we look from the perspective order here. And what I would do now, as I'm approaching the end here, I'm going to change the hardness into the soft engine brush. Possibly I'm going to choose my Dutch and burn Branch. And what I'm going to do, I will try to blend it softly. This would be difficult using frequency separation. But this doing will help us to get the best results. Have a look. And once I do it here on this diagram, I can go down to this other layer that we are going to talk a little bit more later, change to their current below. And now you can see kind of blend the color, unequal being better. And a little bit here. And this way of working can see given us really nice results. So close to this edge here, working with the hair, we might switch to soft edge and brush. I even think, I don't have to start with hand hygiene brush here. But I could try to sort this out with soft digit brush. Maybe not with my Dutch and Ben brush, but just with the soft round. Because and the way in the final result we will affect the texture here, whether we like it or not. And it's easy to sort this out inside the ellipse because of the fact that we have some color on the leap. So it's not too difficult to get there. More here. I will try to speak to somebody. It will be more to not make this process too long. But there was quite a lot of hair. It's important to remember that all of the techniques that we used for Henry moving, in this case in the lessons when we were working on empty layer, are totally fine to use. In this case, if you find the d and I believe some of the techniques is actually easier to use. So let's try to blend this here. I will switch to once again, my induction burn brush, which is really soft. And it helped us blend this in as you can see, much better. Something like this, but I see the loss of texture. So step back, switch to soft round here. And let's use the soft round for this area. And that's, that's really good. Now, as you can see, we manage without order the Higgs removing this harris. So that was a long process, a little bit boring, but now let's go back to hard round and continue cleanup. When it comes to this area, as you can see, really simple. And it's not often that would happen that you would get this tiny hair under the leaps. If you don't really feel that comfortable working with frequency separation certain under small areas. As I said remember, maybe dust and scratches would work here. So that technique that could work better than frequency separation on that. But I don't really want to mix up too many layers. And here we have the same thing that happened when we tried to work on the background. So I have signed this area here not for frequency separation. Let's not try to do it because we will mess this up a little bit more here. So I have few more areas to solve around this skin, this small hair on the scheme that will not be a problem. We will be able to cover them. Sphere S here maybe. And also don't forget about the chest. On the chest, I can make bigger size of the brush. I don't have to be so precise because we have less texture here. And then with this beaker size of the brush, I will try to solve the major issues. So I have some red spot here that was a little too big because I have a lot of her in this area. So something like this. And this line over here, I will try to blend Italians would be better. Just this way. Some of the hair on the chest. And we kind of find the major spots. Even from the distance with bigger size of the brush, you can continue cleaning the sample. So this is how I work on the skin using frequency separation. You could see there was few points of this triangle because we work with the clone stamp. And you saw the struggle of applying strong effect that we have to adjust. So now I am going to do unequal bit more cleaning on my own for a few minutes to not extend this lesson for too much. And in the next lesson we will try to sort out some other area of the image, like the hair, because frequency separation will work really well on the areas like this one when we have a lot of texture and who are not experienced researchers. So we cannot solve this on the empty layer. The frequency separation could help us with this. 31. Frequency Separation - Hair Retouch: In this lesson, I'm going to show you how to use frequency separation to clean up her. So let's zoom in. And of course I'm talking about some of these flyways, some of these crosshair and similar as before, we will be working using clone stamp. But this time, this will be easier because when it comes to the hair and you are unexperienced, recapture, cleaning up the hair on the empty layer. Using constant might be a little bit difficult. So it takes time and practice to get there. But before that, if there is really some hair that you need to do, I would recommend working this way. So for example, when it comes to frequency separation, and we have simple hairline days still working with hard digit branch current layer. What we can do, simply cleaning this way. And as you can see, the results are pretty good when it comes to the crossfire. Also, as you can see, the result might be good, but we can get this edge. So in this case, we can change the brush to soft engine brush a little bit smaller, and go this direction so we will lose some of the texture. But as you can see, we can do it with a single stroke so it doesn't have to paint it exactly with the direction of the hair. And it would be easier for us to sort these issues. So I am going to do it with all of the other hair. So you can see here a little bit too soft. So I'm going to switch this. And I will try to work this out. So this brighter over here. I have a lot of crosshair over here. Some of them on the skin that I did not sort out. I need to mention that this is not professional technique. So don't treat this as the key to the professional retouching. But frequency separation is something more of retouching when we are not experienced just yet when we need some more lessons and we didn't get there just yet when it comes to clean up. And of course, there is often a conversation that maybe the frequency separation is replacement for Dutch and Ben dutch and burn down to make it clear. And for all that, data and band and frequency separation have no similarities. This is two different stamps in retouching. So frequency separation could help us basically with the cleaning up process while conduction band is the step after that. So there is no comparison to this to some more hair over here. I'm going to work more with the soft dendrite brush just to make it a little bit quicker and to not extend this lesson too much. So a look from the distance blends this inner, It'll be better here. Let's go over that a little bit here. So as you can see, I don't have to waste the time. And results are quicker when we have the area that is too dense with one color. So for example, bright hair on the dark background that will be troublesome. So in this case, we have to sort it out other way. Sort out the hair that are relatively similar brightness, and then frequency separation will be superior. I'm going to increase the harness a little bit more. So I have some of these cross her over here. Not some, but quite a lot. And especially here. And then go to this brighter spot and a little bit more visible. I want to blend them in. As you can see, really when it comes to similar brightness values, the frequency separation will be great. Don't overuse it on in the background. So here it won't work so well. So we need to keep this in mind. We will have this shade left over here. You see? So this is not perfect. But everything else. The most difficult parts we can sort out here. So as I'm finishing up, let's compare what we did with the hair before, after, as you can see, where able to hide really nicely Some of these flyways. So what I'm going to do next, I'm going to move and actually add up some other layers to this frequency separation so we can clean up some of the other areas. But before that, I want to show you how you can use creativity, some of these other layers to make sure you still work in, in non-destructive way. So if you want to use these layers below, I'm going to show you how to do it to not destroy your image. 32. Blend Colors and Lights with Frequency Separation: Now I am going to show you how to use these layers below the top layer in frequency separation group to blend in the tons. And I have few elements that I would like to, correct. And as you can see, this model doesn't really have the AI circles, but we have quite a strong highlights here. So I want to knock them down a little bit. Of course not to overdo it just a little bit less of the highlights. Another element I have here, I have this shadow then doesn't seem to be working well here. It not part of the makeup. So we just had some darker spot here. So as you can see, we could make it better and blend is in. At first I'm going to show you how you can do it using this layer in-between that could provide you with non-destructive results if you do it correctly. So first, this highlights here, I will be working with clone stamp. And as we work with the empty layer, of course we cannot work on the current layer, so we need to work on carrying below. I'm also going to use soft engine brush. In this case, I'm going to work with my Dodge and Burn branch. A little bit bigger size. And then I'm going to take the crown and see if I can add some of the color, some of the scholar next to it below. So you can see before, after. It seems to be working well, if we get too strong of an effect, remember that you can always lower the flow. And on the other side I'm going to do similar just to make it smaller, but it's not as strong as on this side. So we should do more work on the site. And as you can see, it does look a little bit better. It does not take that much of our attention here. I believe I could go and it'll too far. So to do it. I want to polish this a little bit more here. And there is another element there is this shadow. And I'm going to show you even better thing. I'm going to show you how we can use patch tool with frequency separation. As you remember, Pashto can only be used on actual layer. So it means it could be used with this layer's, whether it's top layer, we can do it when reattaching the texture. And we can do it below here if we want to blend some colors. So one thing we could do here to make it more non-destructive, we can duplicate this bottom layer. When we do it, we wouldn't be an effect in this layer. And if we do mistake, we can always remove this layer. So I am going to do, I'm going to press Command or Control and Jade duplicate this and I'm working, I'm going to work on this copy. Now. I'm going to choose patch tool and zoom in. I'm going to mark this area around, grab it and move. And then as you can see, the colors nicely blend in. And it will work well with many of the areas. As you can see, we have some shadow here. So we can actually fix a lot of the shadows that doesn't work well. And I recommend to work with Pashto on this layer below instead of the top layer if want to get the better results in preserving and texture. So here I have some shadows. I could blend this in a little bit more and a little bit here. As you can see, I'm able to cover all of these problems with the light. So it's really not as difficult to preserve the lines, but we need to work in the right way. So when working with frequency separation, we often tend to do a lot of mistakes. And that's especially due to low quality tutorials that teach us to blur out the image, especially when it comes to this low layer. And this is not the right way. We don't want to blur out anything because we don't want to change the natural shadows that exist on the image. We don't want to change the natural colors on the image, but we can work with patch to, to actually blend this aligns nicely here. So I got a little too far. And going up. And as you can see, simply, this just work. Perfect. So I will have a look around this image, see what I can do where I can improve some of these, some of these colors. And then we are going to move to the next step. 33. Eyebrows Retouching - Again: In this lesson, I'm going to do something that we already did. When we look at the eyebrows. As you can see, we have the same problem as with the previous image. The left eyebrow on the model phase doesn't match to the right and I'm not sure what is the case. Maybe the model itself has the eyebrow like this. That doesn't really want to get cons on the one side. That's why it's standing up, but we can fix it. So I'm going to use the same technique as I was doing before. We can't do it using a frequency separation because as you know, when it comes to high layer, we want to be able to cut out the colors that exist here, so we won't be able to match it. For this, we need to have an actual layer. I'm not going to take the sample from the background. What I am going to do, I'm going to create an actual layer on the very top. To do this, make sure the last layer or last group is selected. Then I am going to press Command Option Shift and working on my own book of course that would be Control, Alt Shift and E if working on Windows device. So I have the final layer, as you can see, and from this, I'm going to cut out the eyebrow from this side. So best way to do it, I'm going to go with last SO2. And as I don't need all of this, I'm going to start somewhere here and make the nice selection with nice portion of the skin. So it will be easy to match later. Once the selection is done, I'm going to try and do layer via Copy. Once I did this, I can remove the previous layer. I don't need that much. I don't need this size of this file to be beakers are that's why I remove it. I'm going to name this eyebrow and now grab it and move it to the other side. So now the fun part which is adjusting the perspective, of course the same as before. We are going to use Free Transform to do it at first. So he tried to choose the free transform and then press Shift to be able to flip the perspective. We need to make sure that the size of this will be matching, that it won't be too long, too short or anything like this. If it needs to be bigger, we will extend the size. But first we need to check if it will match. From what I can see, it could be a little bit bigger. And now I can see it's actually quite much in nicely. I can see right here that it just look really smooth how it goes. So I'm going to hit OK and I want to see if the length is okay. And it seems we got perfect match without even trying too hard. So this is good sign. Sometimes the world goes really smooth. So what I'm going to do now, I'm going to create the mask. And this mask will try to blend this skin a little bit better. There is also other way because we can blend this mask. Cleaning tools. We retouching tools, we can do it using clone stamp Healing Brush. And as you can see, we're lucky because we have this eyebrows standing up here. And we have this. Layer here, we can nicely covered. So this time I'm not go into mascot here, but I will leave this area on the top because it will allow me to replace the skin. Let's have a look at the skin color is a little bit different, so many to plant as well. But let's try to adjust this part and mascot and it would be better. So I'm going to work on the brush. Of course, we work with black color of the brush. And first here on the bottom, I need to paint on this. Make sure if it doesn't work, it means the mask is not selected. So we want the mask to be selected here. And as you can see, look, looks like it would be the Brush itself. Like it would be the bow itself. Perfect. It's really hard to tell. It's on the same eyebrow. Sorry little bit here on the top. But I don't want to get too high as you can see. We get the hair visible. So what I'm going to do, I'm going to do it a little bit different. Instead of trying to mask this area, this is enough. It's really nice much. So after, of course, for this layer, we cannot use frequency separation. So on top of that, we need to create the clean up layer. And this is where we end. And this is the way, if you need to work with frequency separation, which I always recommend to work on empty layer because you can save the space, your file will be smaller. And the truth is when working with frequency separation, the file sizes get bigger. So as long as we can work on empty layer, don't complicate your working. If we do work with frequency separation, best to do it at first and finish the subject. Then we can match the eyebrows and on the top and cleaning up. So on the screen map we do everything that we couldn't do. For example, now, I'm going to blend the skin nice here. So I'm doing soft edge bash, maybe I can make it a little bit harder. So the transition for this will be better. Current below. And I will try to blend in. The skin here. Seems to work quite well. Not convinced about this area. I can try to use a brush here and brink some more texture here. So that would be it. Let's go back to the cleaner player. And I'm just going to use Eraser tool and remove what I did here. I can do it a little bit better. And now on the screen a player, I will blend this. I'm going to work with healing brush to make sure our men precise in absolute current below. And I'm going to clean this area around. I didn't expect for this eyebrow. It will be so simple for us. But as you can see, some cleaning to do here. We can mix it. We can use hidden brush together with cron stamp. And this is what I will do for this harsh area here, I will move to class Tampa, and you can just solve the soft edge brash blend is here and it will be better so we don't have such a strong texture. If you don't feel comfortable making the texture and it'll beat suffer on the empty layer. You can always go to the frequency separation and do the same on frequency separation, you might have more control if you are, if you're a beginner and it'll be here. And then you just have to work on here, of course, filename, the color and other things. But overall, as you can see, the eyebrows look absolutely beautiful. 34. Clean up Teeth: At this point, I'm sure you feel confident about most of the things when it comes to cleaning up the image. We have some more elements. One of these elements will be cleaning up the TIF. And there is no difference between cleaning up using frequency separation technique or doing this on an empty layer. In fact, in many cases, doing this on an empty layer could be even easier. Because as you can see, we won't be doing anything else here. Then using basic retouching tools. Of course, as I prefer to keep everything tight and I was already working using frequency separation here. I'm going to do this the same way. So working with frequency separation. And of course we will be doing this on the top layer here. So it doesn't matter if I have some empty layers on the top because this group can go through it as long as we're not doing any work in this area. So I'm making sure I'm starting with the top layer in frequency separation. And for this, once again, we can work with Healing Brush Tool or clone stamp depending on what we need to do. Everything can be done using Chrome stamp. But for those small elements, I prefer to use hidden brush. Of course, I need to make sure I change it on current layer. Otherwise, I get the problem, as you can see just before. So this elements that are inside I can solve using helium brush. I'm splitting this into two different tools to show you how to do it in case you would be working on an empty layer as well, with the difference that the sample would be different here. So now we work using current layer on empty layer that would be current below. So make sure everything inside here is cleaned. And of course, close to the edges. Using helium brush sometimes would not give us the ones that result. Luckily, when it comes to frequency separation, even when will we would be using Healing Brush That would work when we work with empty layer and not necessarily. So always. To make sure we not making mistake, we can change to clone stamp. For these, we don't have to have hard-edged branch. And with the clone stamp, we can try to make sure that we make hedges straight. And it will be over here. We have some imperfections here, so I'm going to clean this up. I think this part over here also could be removed. We will have some color going through it. Working on the empty layer, we would have not experienced that. So just let's make sure that it all look natural. Just like this. I'm going to cover this area as well. We have just one spot, but looking from the distance, it doesn't look like the light reflection. So this is why the side into covered this part here. Just like this. Once again, using frequency separation wouldn't mind which tool you are going to use, whether it's healing brush or clone stamp on the empty layer for this human brush would be slightly better. Now let's move to this two edges. So because I got used to, I'm going to continue doing this with a clone stamp. So this is difficult part what we want to do here, as we don't have very even line. I'm going to paint inside closely the edge first and then on the bottom, also inside closely to the edge. And then if I can build up some of the edge here, I can try to do it just like this. And that will look good enough. Let's get closer here and make sure the edges perfect. So now looking from the distance, the T fluke, okay, we have some discolorations here so we can of course cover these areas that we are not satisfied with. I can see some of the problem here as well. And after that, as you can see, the cleanup would be done. And some colour here as well. If it wouldn't work now we can fix it later when we will be doing other color works. But when working on empty layer, and this could be a little bit easier because simply we can cover it better using clone stamp. But overall, as you can see, we removed all of the imperfections that we have on the teeth. And now we're ready to move to the next lesson. 35. Hair Retouching II: We are slowly approaching the finish of this cleanup process. And now I want to take care of the background Herzl as we were able to deal with this her inside most of them because of course not all of them. I was telling you about the hair that are bright on the completely dark background. The frequency separation will not be the perfect tool for that, and it's better to do it on the empty layer. And also the hair that are here on the background. So in this lesson, I'm going to take care of this. And at this moment you already have the experience because it's our second try to do it. I'm going to switch to the pen tool because some of these hair here might be a little bit difficult. So I can make it simple. I can just mark the background. So then the cleanup process will be a little bit easier with the pen to I don't really have to be very precise here. I'm going to cut it here. So I have some of these stray her. But I feel this is a little bit to match that to too messy. So for sure we need to take care of this as you can see approaching here. Also, if we remove this area, we won't have any negative effect on that. So going up here, and let's see what to do over here. Because that is some sort of the problem. Here. We have two Meno them. So he could decide we can leave it as it is, or we can cut the line here. I'm going to cut this out here. Of course, you don't have to do exactly the same thing. In decision. How much you want to remove. I'm removing this because the hair here between there is some other options so we can cut out this area. We can leave this area and feel the hair inside and then we could liquefy this area. So there is few the options that we can actually deal with this part of the hair. But I'm going to make the selection thirst. And I'm going to Candice somewhere here. And I will have a look how it looks. If it will not look good, what I'm going to do, I'm just going to simply bring it back. And first I'm going to do the selection here and now go down to the bottom. Main selection. So he tried shoes may selection. And as we speak, this is beaking Mitch, feather radius to treat will be absolutely fine outgo of two. But this image, as I said, is huge size so I can go three pixels. And as I work on empty layer, of course, Karen below the same. I'm going to do this for the clone stamp. So let's start removing this, this hair that goes further away. I can easily sort using helium rash, but of course when I will be getting close to the edge and that could be more difficult. And also it will be difficult because we really dense we the hair over here. So my first idea would be. The clone stamp. But when we do the clone stamp, but you can notice you got take the sample. If I would work with this, as you can see, duplicate the other hair because this is really dense area. Some also thinking, what if I will try with the brush here? And we're going to increase the flow. And I will try to make the color right. So I get this color first. Try to blend in and make this color seconds try to blend in. So what I'm doing, I'm taking the samples and I go along with the real color. We really have to be careful because even though right now it looks okay. When we go, go on Fed and fader, we can notice the difference. So still, even now it looks good. We'll only be able to see it later. Once it becomes easier. I switched to clone stamp clustering pen human Russia. Of course these two, which are the base. And here, what I'm going to do, of course, I'm going to remove this hair at first and later. We can see and it's much or not. Also, we have some problem. The background here. It's it's banding a little bit. I can see this bandanna little bit here, which is not perfect, but when we zoom in, it does disappear. So it seems to be only the problem of the screen. Sometimes check it. It might be misleading because sometimes there is just difference with the shadows and we might think it's actual bundling, but then it comes down. There is no bending and everything is absolutely fine. It looks not, but to me, the bottom might be troublesome, so I'm going to do some more touch ups here. So the idea is, let's remove and have a look. I can see the color looks smooth. Doesn't look weird. And this is the this is what I tried to do here. Looking at this area, it's a little harsh, so it looks a little bit fake. What I'm going to do, I will create the mascot first, and I wanted to see if I can make it better, maybe if I do the soft edge here. So by color, let's have a look. And we make it or not. And here it's not too bad, but maybe something like this. And here we had this big amount of the hair. So here I don't think and make it really that's moves. I will try to remove muscle does here and here. You can leave it smooth acetates. And that would be the best book. I assume. So. Have a look on the top Continuing, Going back to the layer, I do clean up. The stop for now I'm going to keep it as it is. Maybe will crop it whenever. No. And then the other side so the other side is a little bit, I would say easier. Maybe we have some difference in colors. So that could be the difficulty, but except that after having some experience that some things that we already did, I believe we can sort this out. So let's market around to the top for sure. When it comes to this portrait, the image is a little bit more challenging in terms of the hair. And this lesson could be a little bit longer, but I also believe this is important to see the whole process how I do it. So you can know you can do the things right later. Once again, make selection. Let's go with four pixels. I think that would be fine isolated the transition, still quite hard. So I can go with four pixels here. And I'm going to start with our branch here. I have some different colors, so I will try to paint and make nice and smooth transition. So I'm starting with the brush. I'm using this color here. And I'm going to paint this way first, chance like this. Then I am going to take this color and paint here. But we really need to make sure that we take in the sample of the right color. Sometimes we press on and the color appears different. So pay attention. Look closely. If the color you're working with is the right one, so close to the edge here, as you can see, the blue color is a little bit brighter. So that's why I had to look closely and switch this to, so this is brighter, this is darker here. And I'm going to switch to and then brush again. I have some single flyways and also clone stamp. So here and here. And on the top here, this single flyways, if we want to be precise, we really countries smallest size of the brush. Once again, from the distance we can see some funding. When we get closer we see it's just a issue not related to the image itself. A little bit more here. And that would be it for now. But of course we will have few areas to check. So before I turn it off onto closely, that looks fine. And so we have some of the crosshair here. We will have to fix it, we will have to work with it a little bit more. What I'm going to do, I'm going to continue on the screen a player. And in the areas where I have this cross her, I would just paint this way. So I make sure this hair will not be cut out sharply on the edge. First, let's deal with the edge here. So few more like this. And after that, of course, what we need to do is the fink hours talking to you before about this hair inside. So easy. When this bright flare on a dark background, we could even use the healing brush. We can use cron standpoint. It's easy enough. We can really go with Healing Brush and as you can see, it will work just fine. When it's closer to the edge. What I would recommend you to do clone stamp. And let's darken this. Let's blend this. So I don't want this bright straight hair here. I want this to be proper shadow here. So we just trying to blend it. Make sure the color is right. So when it's dark, it means to be, when it's black, it's black. You don't really want to get the brown color or anything like this. If it's brown, You don't want to have the black color. And the other side, we also have a similar problem over here. I'm not going to fully remove them maybe, but I will try to blend this in a little bit better. Make sure it's trade. Always when, when something comes at the, as the difficulty we can make the selection, we can use pen tool. So there's always different ways on how to deal with the feelings. And got some issues with the edge here. They think that now is better. This one going to leave as it is. And this one's here also will stay as they are. When it comes to the top, I can try to tidy sum of them. And it's very top. I'm going to leave and see a little bit later. If I cut them out, if it looks better, it's important to confer, but we know what to do and there is no reason to extend this lesson. But looking now, as you can see before or after, this image look far better and this moment. So now you know how to reach her on the portrait image. 36. My take on Frequency Separation: Before we move to the next section, I want to tell you a few words about frequency separation from my own experience and why. Sometimes you should not use it. So let's zoom on this image. So we'll have a little bit nicer view. And first of all, when we clean up the image, the best way to do it is to do it on the empty layer. And there is no question about this. This is the best way to clean up the image. Why? Because most non-destructive, you just create one layer. If you do mistake, you can mask it, you can remove it. You can do as stem back. And also when you master the basic retouching tools such as human brash and clone stamp. You are able to do most of the things you can clean up her, you can clean up the background, you can clean up the skin. So there is not real advantage of frequency separation, except one thing, that frequency separation makes it easier in some cases to reattach her. And it makes it easier in some cases to retention skin. But it doesn't mean that it will give you perfect results when it comes to the skin. And I want to talk about dangerous of it. So first of all, you need to remember that using this low layer is never really recommended when it comes to the skin. And it comes to retouching spot pimples, especially when it comes to blurring out this bottom layer. It will leave you with unpleasant results and filtrated skin, except that you might end up with wrong collides and colors on the image, especially when it comes to the portrait. And then you would think that doing this on the top layer remove all of these problems. So we clean up the image on the top layer, but there is one danger of it. And I see it often on people's images. So when using the top layer, we would be working with hard digit brush. And what is important to remember when we clean up the image. We need to make sure that we clean up spot after spots. So we will be cleaning, pimples, would be cleaned, map the scars. But once we give up on being really selective and start retouching quickly all of the skin without paying attention and cleaning up only the things that we need to, we end up with the skin that all around has similar texture. Because as you know, clone stamp copy the texture and everything else very well the same about healing brush, but especially when it comes to frequency separation, more likely, we are using clone stamp. So then we clone the skin from one area. And often we do not take enough clones. Applying this to the other area, because it seems so easy. Many people forget that you actually have to take the clans to leave it with perfect results. And at the end, we will end up having the same texture on the cheeks, on the nose, and on the forehead. But the truth is, in real life we never have the same texture in these different parts of the portrait. So it's really important to know how to use it when we get lazy and we start doing bigger strokes, we start using bigger size of the brush. We will end up with very similar texture all around the portrait. And it is not a good thing. It might look nice that the texture is really nice, uniform. And it might get appreciated on some social media. But the fact is, it is not high-quality work and it's not high-end work. So if you want to be really professional, if you want to deliver high-end work and treated the images, how they deserve to be treated. To make them look natural and beautiful, you need to keep these things in mind. 37. What is Dodge & Burn Retouching: In this section, we are going to talk about Dodge and Burn retouching. So what is tangent burn retouching? How does it work? And how to build up the layers for this technique. Looking at the image, even after we clean up all of the spots, we can notice there is still a lot of imperfections and this imperfections are caused by differences in the exposure. For example, let me zoom in on this area above the eyebrow. As you can see, the texture is all fine here. We don't have any spot, but this area is a little bit darker. So on the one way to solve this would be making this area a little bit brighter. So, and in the exposure to this area. Then, when it comes to these areas over here, as you can see, we have a lot of bright spots. Don't, uh, one way to solve it would be decreasing the exporter value in these few very selected areas. To help you understand how Dodge and Burn works, I created this project with 50% gray layer and two caravan Jasmine layers, y curve adjustment layers, curves allow us to work precisely with the lines. So when we do Dodge and Burn, we wanted a tool that allow us to work precisely and that allow us to adjust the light precisely to the certain level. I have created the masks on this layers. Actually we have the masks understand, but I changed them. So what do we make the mask? When we turn the white mask in two-color blank, the effect on this layer will not be visible. So even if we manipulate with this and the mask is dark, never does not visible. But when we paint on this mask with color white, the effort will be visible in these areas painted with white. Understand, this might be a little bit confusing, but you will see some more examples. So I press outer option, as you can see on this Dutch layer, I made the white sign dash on the mask. So I'm going to grab this curve adjustment layer exactly in the center and drag it down. What is happening? I am making this area in white brighter. So when I will be working on my image and I will be painted on the mask. I can selectively brighten the chosen areas. And the same when it comes to burn. I will make the curve and I will darken this. And then of course, selectively paint in some areas to make it darker. So this is how it works. As you can see, the idea is very simple, manipulating exposure values to fix the imperfections on the image. So we are going to start with curve adjustment layers, but I will make it a little bit different for this work and I will explain why. Of course, at the start, we choose to curve adjustment layers. One will be Dutch and the other will be burn. So if I increase this damage, I will brighten. Remember, and the very center, you want to be very precise with the lines. You want them equally distributed on the image. When it comes to burn, I will make it darker. So now I could simply invert this masks to do it, press Command or Control and I on the chosen mask and the same will burn. And then if I choose a brush, white color of the brush, I can press D to recent them and paint on this image. On the Bern. I make the area darker. On the Dutch. I make the chosen area brighter. So this is what we are going to do on this image. As I said, I will do something a little bit different. So I'm not going to invert this mass, so I'm going to do a step back. And what I will do will be a little bit more precise, but it's not necessary if you want to work with simple two layers. I am going to place this layers to the group. To place it to the group. I'm going to press Command or Control and G. So now I have Dutch in the group. I'm going to rename this as Dutch. And the same for the burn. As you can see, I still didn't invert any 70K here, but we can and the masks on the group and inverted then. So if I'm going to add the mask and invert this, the result is the same and the same for the burn. So why identities, as I mentioned, it's not really as necessary. But sometimes when we work on the picture that has a lot of saturation, so very saturated skin, very rich image. Often the model has some tan or has dark, dark, darker skin. When we will be doing Dodge and Burn, we might change saturation values just a little bit and that would be visible. So for this, I'd like to open hue saturation layer here. Good, namely saturation, saturation damage. So then when I will be working on this, for example here, and I see may be saturation value in this area would change. I can use this slider to adjust the saturation a little bit better. So for dungeon, usually the skin would appear more saturated, so it will be lowering this if we need it. But as I said, in most of the cases, there is no need. And I keep this layers here just as the help in case those things will happen. Also, what I need to say, I will deliver you this layers has the action, so you can now known the actions. And in matching Nikos actions at the very top, you can choose Dodge and Burn. And you don't have to start it from the beginning. But as you can see, your layers will be here. Also below I have this black and white Health layer. So it's difficult to notice this. Exposure differences. Understand what is good to do to create help layer. The help layer will be simply black and white layers. So I'm choosing hue saturation, the saturate, the image, changed the bending mode to colour, so we will not affect any light values. And then what I could do, I will rename this BW help layer. Now, we can see much better because now we can see just the lights. If we need more, we can now add some curve adjustment layer and maybe darken this and add contrast. So then we see even better all of these imperfections here. But this I also provide as the action. So if you want this help, you can just choose black and white help layer. And this will be together in the group. So we have black and white layer. We have one curve that will darken the image and one that will both the contrast. And of course we can manipulate with them. And we will be able to work much better and see things much better. So now, as the layers are ready, and let's move to the next lesson. And let's talk about what needs to be dashed and what needs to be burned on this image. Using some nodes. 38. Dodge Burn Notes: Now, let's try to understand what needs to be taken care of using Dutch and burn retouching. First, I'm going to look up the face. And I'm going to create another layer just for help. We're going to remove this a little bit later. And I am going to rename this into notes so we can write on this, we can mark some areas on this. So two colors, so we know how to work with it. One color will be blue and that will be four burn, and one color will be red. And this will be for Dutch. I'm going to start with the color blue. So let's choose 240, nice, pure blue color. And now, as we know, when it comes to the Berlin, We need to darken up those feeds. So as you can see, these areas here that appear to be just a little bit too bright, a little bit shiny. So we have few of them. I'm not going to mark all of them. What I want you to understand is how they look. Here we have this area that stands out. Make sure that you don't overdo it. It's really important here we have some areas, as you can see. Here. We have some of these areas that are a little bit brighter. Of course, when you read her the image, this is important to know. You don't have to mark up the image for yourself. That would be only waste of time. So we do it now just to understand how these areas would look. And here we have some highlights. But when it comes to this area, it doesn't mean that we have to darken this app. We would end up with flat forehead. So we need to make sure that the highlights stay as they are. So when you work, you need to be very careful to make sure that you're not going to make the image file, so we'll not go into dark and this big area here. But unless we're going to work on these small areas here, and they may make smooth transition. So I will choose the red color in this case. And quirk on this small areas here again, as you can see here is some dark. And we're talking about this when we were working on the eyebrow. And here we have some of these small areas that we need to brighter up. As you can see. Also when it comes to this area, we have the small dark lines here. And once we work on them, once we reattach them, we will be able to get really nice and smooth transition here so we don't have to make the fin flat. You need to locate these spots and it's easy to see them and work on these areas. The same here as you can see, little departure going here. As you can see, I have this dark spot here and here. I can actually work on this a little bit more to make it better. So always make sure that you think when you work, you think what looks natural. So that would be the phase. Then go into the chest. Of course, we have the same areas here. As you can see, no difference is the same, but there will be a little bit less. And another mistake that many would do here, we have two dark this Q2 41. Other mistake that is very common. People would do the face and forget about rest of the face. You don't want to be one of these people. You want to make sure that you do it right. So here, as you can see, a little bit bright, and then with the red again a little bit here. So we have this bond, a marking, this bigger areas now because on the chest, on the neck, they tend to be a little bit bigger. So don't forget about this. Don't overdo it. Don't skip. On some spot. This is important. If you can't see in the shadow area something we will be manipulating with this curve. If we need to see more, if we need to work on the shadows. And as you can see, here is another part I will have to work on and here. So I guess this gives you a pretty good idea how to work with Dutch and burn. How to understand the spots. And then we will be able to slowly work. So, you know that some areas will have to be brighten up, some areas will have to be darkened, but of course, we don't want to flatten the image. So we also 1B doing some really heavy hand Dodge and Burn retouching. This is mistake. And not only beginner mistake, but I know many retailers who have quite a heavy hand and spend half an hour, even one hour doing Dutch and bandits. That's too much half an hour. Would it be okay for some portraits, especially for beauty portraits, but doing more than that will leave you with over done work. We don't want this and we wanted to avoid this. So now let's move to the next lesson and start retouching the image. 39. Perfect Brush for Dodge & Burn: Another thing that is really important to be successful doing Dodge and Burn reattach is the brush. So in this lesson, I'm going to show you how I prepare my brush. How look the branch that you can, of course, download, because the brush I'm using in this course is available for download. Also, we are going to discuss the difference between opacity and flow. So starting with the brush, of course, using this Dodge and Burn branch. And as you can see, it looks very specific. It's extremely soft, pressure sensitive. So how I made this brush? Let's open this brush settings over here. And there's three elements I had to adjust. So I started, of course, with hard engine brush. And the first thing you need to make sure when making the good brush for Dodge and Burn is having control. We need to have the pen pressure. So this is also why it's important to work with Wacom tablet and why Wacom tablet is actually required when we want to do Dodge and Burn because we have to have this pen pressure sensitivity here. Another thing that I set up here is diameter. As you can see, the higher we go, the bigger the diameter is. And I believe even working with a 100% diameter is quite ok. I like to have a little bit less than a 100%, so I can have more control when it comes to reattach in different size of the transitions. It could be R and 50%, 60 percent, maybe a little bit more than that, but this is my settings that I keep. Another setting that I have here. I have just activated the transfer. So this is really important to give the good shape for your branch and to activate this pen pressure without that will be just painting with pretty much regular brush. And I can show you this on the example here. As you can see, it would be just solid brush. Once I activate the transfer. As you can see, I'm able to have the control over this brush. And once again, we found that the transfer, the painting is very solid. So once you have this control, also I have this option built-up. This is we found bill campus. You can see when I stop, nothing happened. When I have this built-up. As I hold on, I'm building up the effect. This is not as important, but this does help in some of the things. And also, I like to have this smooth. So can see we found that and we've smooth inactivated. The strokes seemed to be only to beat better. Is there a difference itself here, we can't see it. So once again, smoothing. We found smoothing. As you can see, the strokes way better when this is activated. I'm going to remove this now and start from beginning. Because as we know how the brush looks like and how I feel, the brass should look for data and very touched. Now let's compare these two values on the very top. So we have opacity and the flow as it's at 100% bro, both, as you can see, will be just painting strongly with a 100% of course, depending of the pen pressure because we have also this part activated. If I press strongly, we'll cover this a 100%. What if I lower opacity, maybe down to 20%? What will happen even if I press strongly? As you can see, I will be painting just with 20%. And the more I paint and paint, nothing will change. I will have to release the pen and start again to make it darker. Some people like to work this way, it gives them good control. But there is a difference because when I switch to the flow, in the flow, we will be able to continue and build up the effect. We found pulling up penn above the tablet so we can just continue painting over. This is why for my work, I like to regulate the flow and have really smooth workflow. So all of these things connected, brush settings, really important. Having shaped dynamic send, setup, transfer, built-up, smoothen, it all, connects into our having the perfect branch and then manipulating with the flow value give me really good workflow. So thanks to that, I'm able to do data and burn really fast. 40. Dodge & Burn Retouch: And now we will start doing the Dodge and Burn process on the image. So I'm going to zoom in a little bit and I'm going to start from the face. Important thing to do is to non zoom into closely because then it's really easy to overdo the Celtx and area. We want to avoid this. So I'm going to start with the Dutch. I'm going to choose a brush. We can press B on the keyboard, reset the colors, pressing dy. And to switch the colors will be working with my soft edges, Dodge and Burn brash available for you. And also, I'm going to lower the flow of this branch to 5%. I find 5% comfortable for myself. Everywhere between one to ten is good. So if you feel comfortable working with flow 1%, that's okay. For me. It's a little too low. I would spend too much time painting. If you feel 3% is good or 10% is good, it's really up to you. I like to work with 5% flow. So then I'm just going to start painting in the areas that need to be brighten up. Just like here as you can see, I'm not really zoom into clothes. And other thing to notice, I'm not working with extremely small size of the brush. Of course, it depends on the picture, but I never wants to work with a few pixel size brash. It's just the way to disaster. So you don't want to work with too small of a brush. You want to see the picture have bigger size and work this way. So then we can make sure that the final result will be natural. So let's do it. And as you can see are we'll be switching between Dodge and Burn regularly. And if you could see how I work using the tablet, I'm pressing really softly. So this is important to remember. You don't want to press too strong on the tablet. And the beginning when we do not get used to match, that could happen. But of course, once we get used to, this is really soft strokes. So I'm not pressing strong, as you can see, I'm just society brushing off these areas that needs to be brushed. So in here, I want to brighten this app and some other areas softly brush in it to make it a little bit darker. And we can see before, after as you can see, when we do it, we can't see the difference. But once we do a little bit more than we changed before, after, the difference is huge. So I will be continuing this process. I'm going to stick to this recording talking for a few more minutes when we do check the important things. And after that. We'll speed up the video because for this image, the process could take probably 20, maybe even 30 minutes of retouching. Because as I said before, beak size of the image, a lot of things to work with. So that could be a little bit longer. Of course, around the hairline, we can see a lot of imperfections that we need to take care of. So it's important to look closely to the hairline if there's things that we need to, we need to work on. Of course here we have the shadows. So what I would do this curve adjustment layer and brighten this up a little bit so I can see this area a little bit more. So let's zoom and brush it here. Burning few of the parts here. I can turn it off. I can't see this shadow here. I need to take care of. And as you can see, I'm going to write in this app a little bit more in this area. And I will be manipulating with this curves for the best results of course. So here I have this patches. So this area will be, or it will be difficult, I might get slightly smaller with the size of the brush here. As we have more details to work on, as you can see, we have quite a big pores and it's not about removing pores. But this big pores also could cause some extra blotching as here, especially in connection with the uneven makeup. If I need to go closer to the shadows here, of course, I can turn off one of the curve layer or I can even bright and amp the image a little bit more. And then I will be able to work in this area if I need to get deeper in the shadows. So what I would do, I would use this curve layer to brighten this up. And as you can see, I can see much deeper in the shadows then. So work smart, use this Help layer for your own advantage so you will be able to see a little bit more. You don't have to stick with the same adjustments but manipulate them. So you make sure that cleaning up East is simple process or rather dodging and burning is simple process because it is down. One difficulty is we need to learn this. But once we practice, not necessarily every day, but few times a week will get better. And this process will not be as demanding its time taking. But it's not difficult. So I will be doing this all process around the face when it comes to the chest and the neck, of course, there is also a lot of things to do, but not as many us on the face. So we'll go a little bit here so you can see how I work around the neck and around the chest. And then I'm going to make this video go a little bit faster. So you can see around the edges, around the under arms, we might need to polish the finger E to be better. Now, I work with on the chest, of course, I can go with relatively big size of the brush because we don't have so many patches, so much bloodshed as as it would appear on the face. So now you work how I work. And I'm going to speed up this video and continued the process. So let's have a look where we are at this Dutch. And much more to do. I hate. Hi. Okay. 41. Dodge Burn Extras - Eyes, Eyebrows and Others: This is the result we got doing Dodge and Burn retouching. And I'm really satisfied as you can see, this is before, and this is after a few more things. I have to say it's good to have a look on the coloured image after all. So you can see if we can improve some areas. You can see here I have this dark spot. I can probably brighten it a little bit more and make this area a little bit better. But what I want to talk is filling up the lights or pushing it into the darkness in some other areas, like the eyebrows. I was talking about this and the very beginning that sometimes we'll have these gaps here. So we can do it using the burn group that we have here. And we can try to do it on the same group to make a darker just like this. If this would be not enough, we can always create another layer and our condition. So we can create as many of these dodge or burn layers as we need. Usually, I tried to do everything on the same layers. I don't try to make too many layers, but of course we can make more of them. The other feet I like to do is add in a little bit of light into the ice, but this is really important how we do it. So we need to be very precise. We need to understand how the light is reflected inside the eyes. So once again, this time, I'm moving to the dance and I will do this using the Dodge. The flow once again, around 20, could be 30. The i reflect the light mainly on the bottom. On the top we have some of the shadow, so there will be less of the light. So I would have to brighten this up somewhere around here. And when it comes to this I somewhere around here. As the light is coming from our left hand side. As you can see, the comments from left-hand side from model right, and then moving towards right hand side. So what I'm going to do, software just brush again. And I'm trying to paint a little bit on the bottom here. Just exactly the way, Remember the light come from this area from left-hand side to the right. So we painted here where the light comes from. When it comes to the another eye similar. I'm going to start here. Here on the top we have shadow. So it starts below that. And do it here. Nice shape exactly how the light is reflected here. And we have to say, our model have absolutely unique, beautiful eyes. So this is just amazing to work with and see how we can make it better. And this would be it. I do nicer transition here. But overall, this is how I polish the lights in some other areas like eyebrows. I could be here, whatever I need. I can do it using the same data and burn layers. If not, we can simply create another curve adjustment layer. Push it up. If we need to brighten up Sumeria and push it down if we need to darken some area. So now, as I did without that, I can remove this and we can move to the next steps. 42. Introduction to Dodge & Burn on One Layer: We are going to do data and burn retouching on this image as well. But this time we're going to use a different technique. I'm doing this because I want to show you and different options. So in the previous section, we were doing Dodge and Burn retouching using curve adjustment layers. And this time we are going to do Dodge and Burn retouching on one single layer will be using an empty layer. And on this empty layer will be brightening. The certain areas of the image will be tangent and will be dark and into certain areas of the image, so we will be burning. I can't tell you straight away that. I always use curve adjustment layers technique. And the answer for this is because it's easier to not make a mistake. That technique I'm going to show you right now is easier to understand. But it's really easy to make some mistake. Although once you get some experience, you will find which technique for you is more suitable. So how to start this? I'm creating an empty layer. And I'm going to rename this layer in Dutch. And bear because everything will be happening on this layer. So the keys switching normal blending mode to other blending mode. And we need to set up the blending mode that allow us to brighten the things that are brightened than 50% gray and dark and things that are darker than 50% gray. So first of all, we will be working with blending Modes than the gray color, narrow trial. And this would be Overlay soft light. And these are our best options here, because if we would feel this layer with the color grey as the example, I'm going to feel this 50% grade. If I'm going to switch this to overlay, as you can see, there is no difference because Overlay or soft light allow us to increase the contrast. So these are mixed blending Modes. Everything that is brighter than gray will be Brighton in your image. Everything that is darker than grade will be dark and in your image. And by increasing the contrast. So if we apply some of the white color over here, the image will be getting brighter. If we apply some dark color, the image will be getting darker. So whether it's overlaid, soft light, Hard Light, Vivid Light, of course, all of these give different efforts, for example, overlay and gives quite strong contrast. Soft light, very settled hard light, very strong contrasts. So for this case, the best if we want to work really precisely, the soft light will be the best because it gives that smaller contrast here. So as this layer is great, I could choose a brush and start with white color of the brush. I'm going to press D to reset, x to switch. And as you can see, I'm just going to paint with a 100% I bright entities because. White color, increase the contrast up, increase the brightness up. And if I switch to black, as you can see, I'm making the things darker. So let's see how this layer looks like. As you can see, gray, neutral, white bringing the brightness up, dark, bringing their brightness down. So darkening the image. Of course, we don't have to work with the grey layer. This is just to show you that the gray is the no child coloring. So all we need is an empty layer. This empty layer will be Dutch. And Ben, once again, I'm not going to feel this because there is no reason if you'd like to feel this layer to see how you paint on this. You're free to use gray layer for this. But as I said, there is absolutely no reason for that that I'm going to switch blending mode to the south died. And then I'm also going to use this Help layer that I had here because we want to turn the image into black and white so we can see the lights a little bit. And the key is to be very precise. And now you can already understand why it's easy to make a mistake. When we work with the curves, we actually cut the moment to how much we want to brighten up the image. And also we have the limits of how much we will darken the image. When it comes to this empty layer, it's really impossible to on the one way to do it, we could maybe decreased capacity. So for example, if I paint with white color and if I will do it to maximize, you can see. And then if it is ridiculous, it's really strong as you can see. So that would be too much. If we don't want to have such a strong effect, we can, of course, lower capacity. This is one good option if you have heavy hand. Good to go with lower opacity here. And then you will have a little bit more control on behalf of this color on the white and black. So I think this is quite good and give us, give us a little more possibilities here. Other 50k is you want to lower the flow once again, but this time, especially food work with a 100% opacity here. And this time the flow 5% could be, simply speaking, a little bit too strong. So first of all, lower opacity and see if flow and 5% is still ok. So from what I see is not done band. And it's quite OK. I like painting on this. And as you can see, we changed the values. And here you already can see another problem of this. We don't really have the mask over here. So we can see where we paint and empty layer as you 1B, having this strong visibility. So we can also create the grey layer, the 50% gray layer below that, also just as a help. So we can see how we paint. If we do that and been on empty layer, we can have this help layer to see later how we paint, but there is no reason to use itself, the grey layer to do it. So I'm going to activate these layers. And to summarize everything. If you are not experienced retouched, or if you are not really experienced with painting using their Wacom tablet, you want to avoid this technique because that will be easy to make some mistake. And I'm just saying this to warn you. You don't want to paint randomly with white color and dark color and change the phase structure of the model. And this is really easy to do it using this technique. In fact, I saw many people, I saw many people who would claim that they're experienced researchers thinking they did a good job. But comparing image to the image before would show the mistakes that they did, in fact, change the phase structure of the model. And this is horrible thing to do. You can't do it as the retouched. So I'm going to do training with you. I prepared the desk special project where we can train how to use this technique precisely. So we will avoid doing the certain mistakes. So to give you an option, you will be able to use this technique. You learn how to use this technique and the end, you will decide by yourself if you prefer to do Dodge and Burn using curve adjustment layers, or if you prefer to do Dodge and Burn using an empty layer. 43. Dodge & Burn training: So now it is time for our promised training. And as you can see, and this is nothing more than just some ball in front of us. So wanted this here. We have the direction of the light coming from the top left hand side corner. And we have light reflection on this ball. And as we go towards the bottom right-hand corner, this is darker. And this is exactly the thing that happen to the face. So this is the perfect training. And this is the final result of the training Pi already dead because this is after I dodge and Bendis image and this is before. So here's nothing more as we have the light coming from the certain direction. As you can see, like this very smooth ball. And then we add the face imperfection to it and we end up with something like this. So the mission is to get close to this, but of course, not as smooth. This would be heavy handed and that's way too far. And also, no one has time for that much reattach. If you would dodge unbent image for a few hours, you overdo it. At the same time wasting hours of your precious. So this is not something you want to get. Let's add our imperfections. And this is something I would be aiming for. As you can see. It's quite a good job and we can see the right nice shapes. I'm going to remove this. I am going to create another empty layer and rename this inter Dodge and Burn. So what are we going to do? We are going to cover these spots that are too bright in the shadow area. And we are going to brighten up these dark spots that are in the bright area. So something exactly we do doing Dodge and Burn, retouching, self-educate branch. Of course, I'm working with my own Dodge and Burn branch available in this course. When it comes to the flow, I might have this flow a little bit higher just for this training. Because here I will need to have a little bit stronger hand then in the image because here we have really extra navigated the problem. So we also would have to need some more pressure on this. And I'm also not going to lower opacity here. But of course I'm going to change blending mode to soft light. And let's start. So I'm going to paint over this, of course, wide, wide brush. Actually think I'm going to stick with flow five. And I'm going to do it. So it might take a little bit. I might need to speed up this video. But overall, I think we'll do just fine. So as you can see, I didn't make the smaller of them brush extremely small because I don't want to cover these things that we could maybe understand as the pores. So we don't want to go as small as the pores are, but we want to be able to actually make the skin more uniform. And of course, in this case. I recommend having the finger on the keyboard. So when we have x, we switched the colors here. And this would make our work really fast. So that would be a first difference may be, except the fact that it's easier to make a mistake. But what you can see, this would be really faster process than working with curve adjustment layers because we can just switch it. Remember, you want to make smooth transition. We don't want to have white here, black here, smooth transition from the white to the gray. Towards of course, there is the limits because even if we paint with complete darkness as you can see in some areas, maybe we won't be able to get them. But this is the same thing as in the case of skin retouching. So as I'm, it's easy to understand how we want to work because as we get more to the shadows and the same mass, we go more to the edges of the portrait image. Well, rather paint more into the dark colors. And as we go into the highlights, we should probably look more towards. So this file, this and Dodge and Burn file you can download in this lesson. If you feel you want to train, you want to try yourself because that's on the one purpose that it holds. Just try yourself. See if you feel comfortable with this technique. Doing a trie doesn't mean you want do mistakes on the portrait. I'm telling this, even I could probably do a mistakes on the portrait. That's why even though we are able to reattach faster, one problem is we can make mistake. So now let's slowly work on this. As you can see, we are doing better. But I don't have the smooth transition. So of course I need to work more on that. I need to work on precision. And I still need to use this darker color over here. I have to tell you that retouching this ball is much easier because the face, even though the imperfections are smaller, have more details. So this is, it might seem like something that prepared us well for Dutch and burn retouching. Remember, this still place itself in their basic exercise. It's a little bit more. I need to work on this shadows and it will be more here. If you are working with Dutch and burn, use, using curve adjustment layers. At first it might be confusing because of course, when we work with curve adjustment layers, we will be using white color of the brush always because we will be painting on the on the layer masks. But this is not the case even though we know it's easier because simply white Brighton, dark, darken. But if we get used to, to other techniques, it might be a little bit confusing. So just pay attention to this. And if you get used to curve adjustment layer and trances me, IE, I like the curve adjustment layer more. So there's no reason to push yourself towards switching into something just because you can do something faster and just go with your heart. And if you feel retouching using this empty layer and using brush, switching, the color between white and microfinance is you're your thing. If you think that, that, that, that's also okay, that will be better for you. So the side where you feel more comfortable retouching with curves or you feel more comfortable reattaching on an empty layer. And you will have answered what you should use. I'm getting good results now so I can become more detailed. As you can see, I'm making the brush a little bit smaller and getting the face of final polishing here. So I need to zoom in because I need to see some of the imperfections that are left over. And continually to put more. I'm going to give it a few more minutes. And that would be I always talk about how important is the time when it comes to retouching. And at some point it become really popular to reattach long. And people would be showing off how long the reattach. And this is nothing to be proud of if you reattach long. So try to be efficient, tried to do just the right amount of work. As you can see somewhere here. So now let me speed up just a little bit and talk to you a few seconds, maybe a minute, about the final result. And that would be it. I have few moments than I should PAM the improved some of the transition in this area. But overall, I think this is enough work. I would like to too much. I don't want to waste time and what's important. And this is the training for you. So if you want to practice and download this file and practice, but remember, this is still the basic training just to improve the movement of the brush. And it doesn't really reflect the difficulties that we might face when retouching the portrait. 44. Dodge Burn Process: Having few principles in mind, let's start Dodge and Burn process. What are the principles? Remember to set the opacity on this Dodge and Burn layer to the optimal level to not overdo the image work of soft edge brush, make sure the flow is right. And remember, less is always more. So now, let's start doing Dutch and burn salmon, going to activate this black and white help layer. I'm going to see what I need to do. And of course, when I'll be working with this Dodge and Burn out will try to work very softly. So I'm not even go into what is correct, but slowly, I'm going to apply Dutch and burn on this image over and over. I am going to have one run through the image, see if it's enough. If not, I'm going to apply a little bit more. I'm going to increase the contrast a little bit more. To see it better. It's important. So if we increase the contrast and we do very soft Dutch and ban, there is less chances that we actually overdo this image. So I'm going to move to this layer, brush flow at 5%. I'm going to keep as it is at this moment, and I'm going to start working. So once again, same thing. I'm going to start and do some work. And then of course, I will speed up this video. So what I'm saying about not overdoing this, remember, when we paint, we don't go too far because Deb, one way to get back is of course, painting with the darker color to bring it back. But sometimes the better way if less experienced, just remove it and start again. You don't want to keep applying the color because then you might simply natural shape of model phase and lose the correct lights on the face. So be careful, keep it in mind and don't go too far. And it's again, of course, if we need to switch to, then I recommend you to hold your finger on the X. And as you can see over here, we can switch the colors. So let's continue. I like to start from the forehead. This is simple and few things that will reattach here. Of course, we need to make sure that we check the headline over here. We have a lot of wrong slide here. So it's nice to cover these empty spots. Whether it's bright or dark. You need to make sure that we do it. Remember to zoom out once we zoom in and do some work, because when we zoom in for too long, we might simply overdo it. And always check before and after. Especially using this technique, you want to keep checking if we're doing right finger. So don't do it on at the beginning and then at the end, but just see if we are not losing the shape. Because when we turn it off and then on and we see some mistakes, there will be easier to fix it at the early stage. Of course, forehead, I need to make sure are on the eyebrows. Remember that we were working on the eyebrows before. So we need to make sure that everything is right there, that we don't have some wrong, right? We need to fix all of the shadows After Qin up here. Sometimes you just need to make sure the shadows are smooth. And at the very end, we're going to take care of the ice and take care of the eyebrows. So going down to the face, as you can see around the leaps over here, on the bottom, here are on the cheekbones. If I need to go deeper, I will of course, turn this dark and enough and see a little bit more. I'm going to move to the LIP area over here. And I can tell you straight away that this will be settled three times. So I will repeat once again, less is always more. And I recommend you to have the same principle in the head in the mind. Before we go further, we can see where the light comes from. It's easy to see it in the ice if we are unsure, that would help us also later on with how to work, how to see the image. So it's good to look at the sometimes with no black and widen it. I need to make a smooth transition between the makeup on the cheekbones and the highlights as you can see here. And once again, the size of the brush is not that small. It's actually bigger than on the previous image. Because on this image, as you can see, we don't want to work with the horizontal image, but it's vertical, so overall it's bigger. So the size of the brush is huge, actually 60 pixels. But it's also because it's high-quality image. And the best part here you get this image to practice. So you can actually practice on really good-quality image. So look, not bad, but here we have to be careful to not do more than that. In fact, I need to call this here and make it smooth because as you can see, if I would keep painting more and more, I could make huge flat spot here and this would be so bad. So now with the wide brush and let's make nice smooth transition here. To bandit. You are unable to actually see how softly I Tange their tablet. But you have to imagine that I really barely touch with Top of the pen, the tablet. And this guarantee me very smooth strokes that doesn't apply as much color to it in this in this process. That would be the lines, of course. Really nice now. So more work here. And we have ready troublesome area here. For sure we need to fix it. And now before continuing, we will see the areas in the shadow. Then we see the neck. And then I'm going to speed up this video. So first, let's bring this up. And as you can see, we can see some more area here. I will start from this side. On this side, I did so far more of the world. So remember to not do too much of the work on one part of the image and less on the other one because it just will look weird. So a little bit more here, nice transition. Then I'm going down here. I have this line. So the best way to deal with some lines on the neck, because of course, the neck is, let say the skin is a little bit more soggy. So when we see, when we look down or the model dance in this case, we might get some of the lines here that will be noticeable. We can actually covered this a little bit better. So. The impression will be nice. Of course, some of the hair to remove. I will do it, of course, in this clean up player here, but you can mix it. So for these corrections are 1B using frequency separation as I was working on this image because there is no reason to do. And when it comes to this, hair, with frequency separation may be on the skin and the hair is very different color. So I don't want to risk not covering it properly. Let's go back to Dutch and burn. Let's darken this and continue. So of course, close to the underarms, but also important to not make this area here to be completely flat because on under arms we have a lot of edges. So the light need to, need to be different. Of course, it cannot be too flat. It will look weird. So this is how I be working. I'm going to do a little bit more on the neck. Then I'm going to see before, after. And you can see on this side I will have more to do. More over here. Of course. Then I will see you again and I will decide if I need more. And at this moment, I'm going to speed up this video and go out equally be trusted. 45. Eyes & Eyebrows: This is finished Dodge and Burn process for me. And what you can see, we got really beautiful natural image and we didn't work on this that long. I spent probably around 15 to 20 minutes doing Dutch and burn on this image. And this moment, it looks natural, clean, and beautiful. You don't want to overdo the image and you don't want to skip, Dodge and Burn because then your image will look like It's not really written. So if you want to see what we did, this is why I created this gray layer before. It can just activate this. And you can see the data and burn process we did. So the darker strokes will be the burn and the brighter strokes will be dangerous. You can see everything is really soft and setup, so this is something you should aim for. You don't want to have heavy hand and you want softly make the image look better. So now there's a few more things I want to work on. Of course, for the end, I kept their eyebrows and the ice. So let's start with the eyebrows. I'm going to do it of course with the darker. And I'm going to work on the same layer in the capacity is not too strong or not strong enough, then we can of course, start again with a new layer and apply something stronger. So what I'm going to do here, I can even increase the flow to 20 and this moment. And I'm going to darken but important, dont dark and everything because we end up still with the holes. As you can see, this is not even so we have a hole here. We wanted to paint over here. We don't want to paint on the top because then the top of this eyebrow will be still darker than this area here. So we tried to just make this even. We tried to make them even and of course beautiful. So a little bit more here and overshoot. So now the other one, and again, as you can see, we have holes here, so I'm trying to fill this in. Just like this. You don't need to ten on black and white help layer. Because on the eyebrows we can see everything much better. So this is not as complicated, really easy process. Just like this, maybe darken under a little bit here and then the ice. So the same thing as I talked to you before, locate the direction of the light. It's not really strongly coming from the left hand side, but as you can see, it's coming from the direction as models looking. So we will paint the light this way. Zoom-in, wide branch on the same layer. There is no reason to create new layer. And let's paint softly here. First softly. And then if we need more, we will do more. So as you can see, I do this which strokes? Because when you look inside the eye, as you can see, it has different colour. It has different intensity of the color and each color, of course, the, the brighter the color, the more light it will reflect. So here we have little shadow. It will not reflect as much of the light. So what you want to do for the best effect, you want to make sure you add nice light reflection. And then the other, I hear a lot of lines, so I'm going to start from here. This color reflect a little bit less. And just like this, too much, I want this shadow here. Nice. So let's have a look before. And after. Let's have a look. I will polish a little bit more this eyebrows here to make sure they're perfect. And then we are ready to move on from this step. So once again, this is the Dutchman Van, already love how this image turn and the phases really smooth as you can see, look at the cheekbone here and how smooth transition to the highlights regard. We found really doing that much of retouching. Maybe we could add few more strokes around the neck overture to make it slightly more uniform, slightly smoother than it is. So I'm trying to do a few more strokes and we will be ready to move to the next steps. 46. Remeber about Color: This is the finish of this section and I want to touch upon one more thing. Because in previous section when we are working with Dodge and Burn retouching using curve adjustment layers, we have easy option for correcting any shifts in case they would appear and a color shifts. So we have this hue saturation adjustment layers. When working on this empty layer, we don't have it. So I want to remind to you how you can fix and a color changes if they appear on your image, because this is very simple, but sometimes we might just forget about this. If you see any changes. For example, if you see that you lost the saturation in some area when doing damage. And Ben, what you can do, you can create another empty layer. Higher. Call it color. Change the Blending Mode to Color. And then in case you need this, you choose the brush. You can choose the flow 100, but then you'd have to manipulate with opacity here, you can choose lower flow may be around 10%. Take the sample of the color and fill the area with the color. So this is really simple. But of course on this image. And because I was pressing so softly, I have quite a good experience with Dodge and Burn. I've been working with this for so many years that I really rarely get discolored shifts because the truth is the color shifts usually appear if we press maybe a little bit too strong on the tablet. So then we can get the color differences. If we do smoke, we want have them. But if you get this color shifts, this is what I want to remind to you. You can just use color layer, creates the color layer, and we have the brush and blending mode to colour. You can correct any color. So this works for everything we can collect, correct? The colors shifts, we can feel the color around the deep or anything else that we will actually have to do. So even if we will be missing some of the color in the background. This is the way how we can fix this. 47. Lets start with Adjustment Layers: At this stage the image is clean, but it's also flat and we need to adjust the contrast. We need to polish the lines. We need to adjust the colors to this image. And there's two ways of doing it. We can do everything in Photoshop, so we can use adjustment layers to adjust the contrast and lights and just the colors and other way of doing is using, for example, camera filters. So we could create our final layer on the top and do everything using camera filter or opening all of these tif files in Lightroom and adjusting everything in Lightroom. So I'm going to show you two different ways of working. I'm going to show you how you can adjust the lights and colors precisely working in Photoshop. And also, I'm going to show you how you can do the final adjustments in Lightroom in all images. One. So I'm going to show you how to automate your process to do editing much faster. Of course, when it comes to Photoshop, the crucial part is understanding some of the adjustment layers. So starting with the lines, we will be working with brightness, contrast, levels, curves, or exposure if one some creative effect here. Of course, when we will be adjusting contrast, we more likely will choose one or two of these. And Jasmine layers, My favorite curves to work with their rights. When it comes to working with the colors we have vibrant hue saturation. If we need to adjust that richness of the color. If you need to adjust the skin tones, that will be very useful. Then we have of course, Color Balance, photo filter, channel mixer. So these ones are very useful when we need to do some precise color gradient today image. And also to this adjustment layers, I would include curve adjustment layer that also allow us to work with RGB mode. So crucial to understand these two group of adjustment layers. And I'm going to move to the next lesson and we will start working with the lights. 48. Basic Ways of Adjusting Contrasts: In this lesson, I'm going to show you some basic ways on how to adjust contrast on your image. I'm going to start with brightness contrast adjustment layer, which is very basic. We have two sliders. One will be the brightness. So going to the right, we'll make image brighter and going to the left will make image darker. Of course, at this stage of retouching, we want to have correct exposure values. This is why we pay so much attention for the rock conversion. So now we don't have this problem. So in this case, we shouldn't have a problem of the color. If it's a little bit too dark, we can maybe increase few points to make it a little bit brighter. So, and the very end, I tried to see if my images may be too dark or too bright, usually the first one. So then I can maybe increased some brightness, but at this stage, I still don't want to use it. And then we have the Contrast slider. So what we're going to the left, of course, we will be decreasing the contrast of the image which is not desired before. And to make image pop. And to increase contrast will go to the right way. But there is one problem with this. It doesn't allow you to walk separately on the shadows and on the highlights. So what it will be doing, it will be making the shadows darker and the highlights brighter. But sometimes maybe you don't want to make the shadows and darker anymore. This is why it wouldn't be recommended if you need to do a little bit more work. Also, as you can see, when we increase the contrast of the image, we also increased their level of saturation. So to avoid this, we can always change the Blending Mode to Luminosity. And as you can see, and this point, we will not be affecting colour at all. So we will not be affecting saturation and we will not affect the hue, but just the light. So this is the first tool. The next one is levels. And in the middle, when we will be working with RGB, because images connection of three different lines, red, green, and blue. And the mode RGB is connection of all of the slides. And below here on the histogram, we see how the lights are distributed on this image. So similar as in camera. On the left-hand side, we have the shadows. In the center, we have the meet tons. And in the right-hand side we have the highlights. So now we can see we don't really have too many of the bright pixels that would tell us that images quite dark. So what we can do, we can grab this stop point for the highlights and go maybe to this level. And that would make the image to have very correct allies because we started the highlights from complete bright. And now as you can see, the contrast seems to be much better. The light on the image. With this slider in the middle, we can go to the right side, so we will increase the size of the shadow area. We increase this range of the shadow area and the image would get darker. Then to the left, we increase the area of the highlight so as you can see, image will get brighter, but also. And could lead to flattening the image. And of course, go into this left side there would make it darker. I don't want to move it because I think this image is dark enough, so I don't want to move this shadow cider at all. Below. We also have this range, and this will allow you to cut out the darkest point and cut out the brightest point. So for example, if I would move this slider and change the output level, this, the director's point of the image would be this shade of grey. If I go further, the darkest point of the image would be this shade of grey. So here we can adjust, of course, the same when it comes to the highlights. If we drag it down, this would be the brightest point of the image, would be the shade of grey. So if we have too dark of the image and we need to write down this up a little bit if we don't want the complete darkness of the image. We can also use the sliders, not as useful when we want to make the image really clean and precise if wanted to have very correct the lights. And we don't seek for any experimental results after levels. I'm going to introduce you to curves are little bit more. Here we have also the same histogram and there is no difference. So curves allow you to work in a little bit more precise way. First of all, we still kinda walk on the shadows and on the highlights in the same way. So we have to stop points on the bottom and I can move it to here. And that would give me the same result that I had when using levels also justice here to make it darker. But the advantage of the curve is that we can create a multiple points on this curve. So for example, want to darken this image, but we don't want to affect the darkest point of the image. We could create a stop point here and make it darker if needed. Or maybe we want to make this image brighter in the highlighted area, but we don't want to affect the strongest highlights here. So I would create a stop point here and drag it up. And as you can see, I can precisely unjust the highlight using this different points on the curve. If I wanted to make sure that they meet tons untimed, I would create this top point here. And we can create as many points as we need to precisely. I'm just the lights. I'm going to grab it and drag it down to reset. I want to show you some more options that we have here. And we have also this eyedropper when using levels. So first one allow us to sample the darkest point of the image of one to define. And I was talking to you about this before dad. These sort of things there autofill are not really asked useful because we want to adjust the lights manually and especially that this I drop or not on the unjust, the RGB connected light, but it unjust each channel separately. So for example, using this, as you can see, what happens, we unjust red, green, and blue light separately, also changing the color of this image because maybe this dark wasn't pure dark, but had some starting color at first. So when we touch this, the software makes sure that this is pure dark by adjusting different lines of this image. So I'm going to reset this. The same would happen choosing this white eye dropper. And the same, these gray one. If we need to choose the midterms, as you can see, they usually give you some abstract results. So this is why I'm not a huge fan of doing this. It doesn't lead me to precise results I wanted to achieve. But also what's important? You have this little hand here and this little hand allow us to define exactly the spot on the image. So for example, we want to work precisely on the highlights. Let's see where we have highlights IC that we have some of the highlights here. Little bit over here on the face, on the top of the nose and the forehead. So for example, I want to increase this highlights here. I will choose the point here. As you can see this in the point on the curve may be a little bit below that I saw. Then I want to work on the shadows as well. So I want to work not on very dark shadows, but on too dark and this part of the image, I could choose to stop here and try to darken it a little bit and brighten the highlights. So this is how I could work, but also I need to tell you I'm not really using this hand. I want to see myself and unjustified myself to my needs. And also looking at this image, I already have quite dark shadows, so keep working on that. And if I need out, tried to adjust the highlights, maybe tried to pull down the curve over here, but not too deep in the shadows to make sure I'm and Justin the lights in the right way. And as you can see now, I've got much better result. We found darkening the shadows. Also to make sure if we don't like the fact that we increased the saturation values, we can see and change blending mode two luminosity. And after, sometimes after changing this to luminosity, we might think that images may be a little bit to the saturated. So if this is too much, just use hue saturation and tried to saturate image on your own to make sure that your image has perfect saturation values. But of course, we will talk about colors a little bit more. And there is last adjustment layer that I want to talk about. And this is more in the area of working in experimental way. But first one, exposure will be mainly affecting the highlights. As you can see, it doesn't affect the shadows that match, but just the highlights. And also when we go down, we start with the highlights and make the image complete dark. Go back to 0. Then we have offset. And when it comes to the offset, as you can see, this time, it mainly affects the shadows, so it made the image wash out because we bright and amp the shadows. And also opposite, as you can see, strong effect on the shadows. And then gamma, which will have probably most universal effect as you can see. Increasing to the right will be darkening the image. Not as strong in the shadows and not as strong in the highlights, but quite settled. And opposite way will be working opposite. We will be increasing the brightness of the image, but also not as strong in the shadows, non-task trunking highlights. But I would say probably in the range of the meat towns. But as this is really difficult to manage, i don't recommend this as using for adjusting any sort of contrast on the image. My favorite tool for adjusting the contrast would be curved. So just to close this lesson, I'm going move two curves and I don't want to do match on this image. I really think the best this image could get is increasing the highlights this simple way. So it could be surprising. But for me, the simple resolutions are the best. We don't work on experimental object, we work on the model phase. We wanted to make it perfect. But what's most important, we want this image to look natural. 49. Introduction to Luminosity Masks: Now I'm going to show you how to have huge impact on the image by working with luminosity masks. So I showed you the basic ways how you can adjust the contrast using adjustment layers. And of course, we will continue working with adjustment layers. But this time we will try to add more precision to it. So now we will be working selectively on the highlights and shadows to make sure that the contrast on this image is just perfect. So when it comes to Luminosity mask, it all goes down to working with the channels. And you might remember this from raw conversion. When we were working in camera, we're working in calibration panel. And in this calibration panel, we were working selectively with each channel, read green and blue. These channels are different lines. So our image is connection of three different lines, red, green, and blue. And these three different lines in connection together give us our image. But when we separate them, they have different wrench and are placed in different areas. So when we go down two channels and we turn off this RGB and start turning off each of these channels. We will see the placement of each of the line. So for example, going down to the blue channel, we can see the area of the image where the blue light ranges. And as you can see, we have bribe light around the highlights. And of course we have llama, a low amount of blue light in the shadows because shadows are places where there is no light. And each of this night is plays a little bit differently. So when it comes to the blue, we can see that a lot of this is on the face, which as I remember it correctly, it had some effect on the face. And we have quite a lot of here on the background. So we have blue color of the background. That was quite obvious that we will have some of the blue lighter when it comes to the green. I can see it has more effect on the face, a little bit less on the background and the range is bigger. So when it comes to the blue, it was it seemed to be strictly on the highlighted area. We have the green. This is not the case. And then coming down to read, this is also not the case. As you can see, there's a lot of red pixels around the face, also not as many on the background as in the case of the blue. To work in the best possible way. We don't want to split this channels just yet when it comes to adjust in contrast because we want to have perfect light. So we will go back to RGB because these lights connected together. Show us how exactly highlights look and how exactly shadows look. So let's define it. Let's make selection on the RGB. So we make selection of general placement of the lights, and this allows us to define the highlights on the image. So once I made the selection by pressing command or control heat on this RGB, then moved to layers, and then we can open curve adjustment layer for example. And as you can see, this selection got into the mask. So we can view the mask by pressing outer option heat on this mask. And as you can see, we have perfectly defined highlights on the image. Of course, we don't have to make selection before creating the layer because we can create a layout first. Then we can make selection from RGB. But this time we would be inverting to them mask. So as we're creating at first, it was exactly the same distribution of the mask. But now when the mask is existing, we can invert to this. So we could press Command or Control and I to invert into this mask. And this time we would have the perfect distribution of the shadows. And this way, working on one and other layer, we can adjust, selectively highlights and the shadows. They're working with the channels or making the selection from the channels is not only one way how to create these masks, because we can once again create the curve. And if you find it easier going through image, apply image. And here of course, as the layer, we want to have results of the merge layers. So that will be exactly the RGB channel as the blending. The multiplying is correct if the blending will be normal, that's also right, but make sure that you don't have any blending that would change this mask over here. So by default you should have multiply and that will give you the same RGB channel. So if you want to make selections, you can do it through the Apply image, through the channels. If you want to do for the shadows, you know how to do it from the channels. If you want to do from the image, apply image. You can also inverted this there, or you can just hit on this muscular. So other option to let you see how it looks. We can invert this by pressing command or control and I multiple times, as you can see, switching between shadows and highlights. And this is first step and we are going to try to adjust the shadows and it will be better. And in the next lesson, I'm going to show you a little bit more about luminosity mass because yes, there is more and we can get even more control. So as I went to work on the highlights and the shadows, I'm going to create another curve adjustment layer. This one will be highlights. So I'm going to rename this. And the other one would be channels. How can I do it? I can just simply hit selection from this one. Go to the one on top, press Command or Control. And I and invert this and I have shadows here. Very simple. So for the highlights, I can start with increasing this highlights just a little bit. I will go here. I can also grab here, and I will increase only this area here. But I think that would be maybe, maybe too much. So I want to start as soft as possible. So I'm just going to increase a little bit here. So basically what I'm increasing is these pixels here because as you can see, I don't really have on the line so very soft and settled increase of the highlights. And when it comes to the shadows, well, I created the layer, but at this moment, I don't want to dark in this image because I think I have the shadows that are simply dark enough. So I'm going to work a little bit more on the lights on this image. 50. Advanced Work with Luminosity Masks: As I said before, I think we can do much more on this image regarding the lights. I think it's still a little bit too flat. So we increase the lights. I change it a little bit, and I change the point of the curve. But my problem is here, I don't have this beautiful transition from very strong highlights to the shadows. And I want to have strong highlights and have smoothly transition in the light into the shadows. Luckily, we can do even more using these channels. So let us go to the channels now. And as you can see on the very bottom, we have this highlights mask here. So let's turn it off. And this is the highlights that we did from this RGB. The range of this highlights is quite wide. So what I want to do, I want to have a very narrow range of the highlights so I can polish this strongest highlights on the image. And then there will be slowly transitioning into the shadows. So how to do it? I'm going to make selection. As you can see, this is the range of the selection I have now. But we can narrow it by pressing command outer Option, Shift, and then heat on this. So if you work on Windows device that will be of course command or control, alter Option, Shift, and heat on this. Once it's done, we can heat the small icon on the bottom to create another mask. So save it, and we have another mass q. So as you can see, the selection is even more narrow, but maybe it's still not enough. We can do, we can do the same. So first, making selection, I'm going to press command or control heat on this. This is the current range. To narrow this, I'm going to press Command or Control Alt eruption shift and heat on this. I can keep going because if I keep pressing this and heat again, the range will be even smaller. I don't want as small, so I'm going to do a step back and see what I have now. So I'm going to create this. And now this will be asked alpha number two. So now as you can see, the range is very small. So this is something I was looking for. What I'm going to do, I'm going to make two selections for the highlights. So first, I'm going to take it from alpha1. And that will be my curves. Number two, so Highlights. Number two. Of course this is just optional and you don't have to do as many selections for your project. But it's really important to know how you can do everything you need in Photoshop and other curve adjustment layer. So Highlights. And it's again highlights number three. So this is really useful because as you can see, now we have different ranges of our highlights going from the wide range to the medium range to the very narrow range. So we have full control of the highlights of this image. Of course, it's important to know that we can go opposite way. So for example, we can start with RGB. I can make selection on the RGB. Then press command or control and shift and hit on this again. And as you can see this time, the range will extend. And that would be the bigger wrench. And I will tell you there is unlimited options when it comes to plane with luminosity masks. Of course, there is no reason to try every different options. What we can do, but we can manipulate the wrench, we can set up the highlights. We can do the same thing by creating the mask for the shadows and manipulating its range. We can also cut out the highlights, for example. So it's really unlimited. If we want to cut out the highlights and maybe work a little bit on the meet tons. We can also go to RGB, command, make selection and this time press Command, Option and heat on this, and we'll remove the highlights now. So that would give us opportunity to adjust meet tons, of course, when it comes to working with the light's setting up the contrast, I don't feel going as deep is really useful. So all I need here is this three different masks for the highlights that I moved here. So I'm going to do a little bit more. And as you can see from this different histograms, the range is very different on each one. So the second ones, as you can see, we have more pixels in the highlights. Now, I'm going to do, I'm going to pull this up a little bit. So now I have more perspective and then I would go to the next highlights and also increase the highlights. It's barely visible now because the mask is so settle. But when we zoom in, it will give us such a beautiful effect because it will also increase this texture of the skin, as you can see. And we effect in this very fine highlights here. I can go up even a little bit more, maybe in the middle here. And once it's all done, I just need to make sure that everything's OK because I created many layers. But I wanted to show you the options, but it doesn't mean it will switch to this image. So I'm quite satisfied when it comes to the bottom layer with the highlights. I'm satisfied with the last one because it elevates the highlights in really nice way. But I think when it comes to the wanting between this is a little too much. So I'm just going to remove this layer. Going to rename this into highlights 21 thing I need to check if the saturation values is on point. So I might change it to Luminosity. And I was talking about this before in case it gets too saturated. And I'm liking this look when I change the luminosity. So for now I'm going to stick to this and I'm happy with the highlights or you've got, I'm going to select this box, press Command or Control and g. I'm going to rename this into highlights. This is before and after. And I think we did really beautiful job. 51. Define Highlights with Color Range: I want to show you one more thing that will give you one more option in a creative way of working with highlights and shadows. So i'm going to curve adjustment layer once again. And I'm going to rename this into the highlights. So we are going to try to work with highlights once again. And once it's done, of course, I always want to work on the mask when I'm trying to change them, ask when I'm trying to do something. So always make sure that the mask is selected. And I'm going to show you how you can create the mask for the highlights or shadows using color range. So go on the top to select, then choose color wrench. And in the color range, we are able to choose the wrench of most of the colors or every color, because we can, for example, use reds, yellows, greens, science blues. But also, we can choose this eyedropper and choose the sampled color that we want to work with. So for example, we can choose the background, and also we can work with highlights, meet tons, and shadows. So as always, focus on the highlights. I am going to start with the highlights and the first thing, I need to drag the range to 255. So it will give me really nice and smooth mask. Always pay attention to one thing that this mass cover here. Somehow, not always, is the same as the original mask. I remember when I was working with some older versions, I always had the same reflection on the mask. But for the past few updates, the mask wasn't exactly the same. So we will have to have the look after we create the mask. And with the fuzziness, you choose the range of this mask. So for example, you want to polish jazz the finest highlights. The foos in S will be lower percentage. Then we want to have bigger wrench, the percentage will be higher. I want to work on quite fine highlights, so I'm going below 60% maybe. Let's hit OK. And I'm going to have the look how the highlights looks like. So this is quite rough. Going to step back and I will do it again. The reason for this is I think this is a little too narrow. So I will increase fuzziness to over 60% maybe. And now I'm going to check this mask and non quite satisfied, I think is quite good for what I'm looking for. And I am going to grab the curve and increase the highlights softly. Don't go too far because as you can see, this highlights will be just too strong. They will not look natural. So of course, you always want to make sure that you are given the natural look today. So the transition need to be smooth. And as before, we are working with curve adjustment layer. So if want to make sure that the transition is really smooth, I will work a little bit on this and a little bit here. So then I will have, as you can see, perfect highlights on this image. I brighten this up a little bit more here. I don't want to affect the shadows to match, so I can drag this a little bit lower, but make sure the image is not getting darker. And this is absolutely perfect result I got here. You probably noticed that I was not working that much with the shadows. When it comes to the mask. I think the mask for the shadows is not so precise. The range is usually bigger. And I usually try to make sure in the early stages when I do rock conversion that the shadows are as I like them. But of course, whether we work with the highlights or the shadows, the rule is the same. If want to work with the shadows, we invert this selection from the RGB, or we do it from color wrench, and that's it. So there is not really any complicated theory behind us for this image. And this is enough. I just want to make sure that the colors are correct. I am going to see if switching between normal blending mode two luminosity will make it a little bit better. And this result gets slightly the saturated, but I think I like it for now and I will think about this a little bit more. But when it comes to the highlights for these two images, I'm happy with what I got. 52. Important note from Me: Before we move to another section, I want to talk about something very important to me. I showed you a few different techniques, how you can adjust the contrast, how you can work with the highlights, and the same way how you can work with the shadows. We started with very basic techniques to more advanced techniques to very advanced work with luminosity masks. Of course, it doesn't mean that you have to use the most complicated technique. It also doesn't mean that you have to create a lot of layers to make sure that you're contrasts look right. So don't over complicate your work. The finding that I showed you a few different techniques that I find that I showed you how you can create more layers to polish the highlights. Doesn't mean you have to do it every single time. I can tell you from my own experience for most of my work, I work with basic contrast adjustment with very basic techniques. So I would say maybe 90% of times I don't even create very complicated masks. Often. I don't create the mosques at all, but I tried to adjust the contrast just with the curves, just with one layer, maybe using some other techniques a little bit later in the final touch ups when I will be working with camera filter or Lightroom. So the key is, don't overly complicated your work. If you feel adjustment of your contrast will be easy and you can just use one layer. Do it on one layer. It doesn't mean that the more you do, the more complicated things you use, the better. So remember about that. 53. Intro to Colors in Photoshop: In this part of the course, we'll talk about colors in Photoshop. And this part might be a little bit difficult at first in understanding, because in this course, I want you to not only color grade the images we found knowing what is happening. But first, I want you to understand how colors in Photoshop work. So let's open the adjustment layers. Let's view what adjustment layers we have. So when it comes to the color starting from the very top, we'll have levels here and we have curves. As you know, I use the Mainly for their light work, but also we can color grade the images, changing the light values here. And this is very important to know that I said light values, not the color values. The basic rule in Photoshop is that we work with three lines, red, green, and blue. Changing the values of this lights, change the outcome of the lights and colours of the image. So for example, by decreasing the red light on the image, the image will be becoming colder, so it will be getting more into Siam tons. Decreasing the blue light on the image will make image become more yellow. We can fix it by adding up more of the lines because once we decrease one of these slides, the image also will be becoming a little bit darker. So levels and curves work on the same rules. On the same rules will also work channel mixer, where the truth is, all we can do can decrease or increase the certain light on the certain region of the image. And very similarly band. Some more option has color balance. So in color balance, we can work selectively on the shadows, highlights, and meet tons manipulating with the lights on these areas. Of course, we will be working with red, green, and blue, manipulating or subtracting or adding this slide to certain region which will be shadows, mid tones, and highlights. Also, the other adjustment layer with quite advanced options is selective color. This time, we will be working with different mode. We will be working with CMYK mode, which stands for cyan, magenta, yellow, and key, which stands for black. So we will be adding or subtracting the light values from certain colors. So subtracting or adding from certain pixels existing on the image. So let's move to the next lesson. We are going to talk about RGB. How does the lines works? So when you will be doing a color grading on your image, you will exactly know what will happen if you take a certain action. 54. RGB Theory: I am still going to stick to the theory of the colour. And in this lesson, I'm going to show you this few different adjustment layers. And I'm going to present to you how they work. So to make it clear, this lesson is all about theory and we are not going to do any color gradient to this image. And for this, I have prepared this very special color will. And color will often allow us to understand how color works and also allow us to understand how to combine the colors on the image itself. So of course, by looking at the color wheel and looking at the image, we can see the color harmony that exist on our image. For example, we have the blue background and the skin tone. So we know that we have complimentary color harmony as blue and the orange are on the opposite spectrum. If we have similar color, then we work with analogic color harmony. But in this lesson, I just want to focus on the fact how colors blend and how do you react when we work with different adjustment layers. So let's start looking at this color wheel. I also change that brightness of the colors from the edge Delhi to be darker to the center. Brighter because this is quite important as we manipulate with red, green, and blue light. The brightness of the color does matter. Because when we connect these three lines with a 100% intensity, they give color white, complete brightness. And when there is no light at all, of course we have complete darkness. Let's start with the levels here. And I'm not going to work with this RGB mode. We already talked, I'm going to move to each channel separately. I'm going to start with red. So what will happen when I will be moving this three signers here? And what will happen when I will be moving this general slider on the bottom. Let's, let's move from the slider on the bottom. As you can see, as I go, right? What is happening? Now. Everything that is darker than this shade of gray on the image gets filled with the red light and you can see it on this color will end. You don't have this color, we'll do even see it. If I go further, the more gets filled. If I go opposite way. As you can see, once everything that is brighter than this shade of grey is excluded of the red light. So if I go fully, as you can see, we will not have the red light on this image at all. And we will be left with two remaining lines, which will be blue and green. So let's go back to the starting point. And then we have the histogram here. So what will happen here first will be shadows. If i will decrease. The light from the shadows. What I'm doing right now, I'm decreasing the red light from the shadow area. So the image is losing the red light, but it also becoming darker. If I will go to the highlights, what will happen here? Everything that will be brighter than this point here will be filled with the red light, as you can see, going down to the bottom. And we'll fill in the highlights with the red light. Everything that is brighter than this point. So as you understand the major mean, now, we have the neat tons so we can change the range of the line. If we go here, as you can see, we excluded all of this shadow area here of the red light and going opposite, as you can see, opposite to effect. So this area is filled with the red light. Let's reset all of this and try to understand the other channel that work exactly the same way. So I would go to Green from the shadows. I remove the green light and it gets darker. Opposite. I increase the green light on the highlights and also on the bottom. As you can see, I had the green light to everything that's darker than the shades of grey. And I remove the green light from everything that's brighter than this shade of grey. And then of course, the meet tons. So I exclude the green light from everything that's darker here and increase the green light for this wrench of the Midtown here. Reset. And the same for the blue channel. Now, without talking quickly, let's see how it affects the image and the bottom. So as you can see, we do not manipulate with the colors. Bad. We add or subtract the light from the pixels existing on the image. And a very similar way of working is when we go to the curves. Curves has exactly the same idea behind. We can see it on the histogram. But of course it's a little bit more complicated because we can create more of the stop points on the image. But once we grab this curve here, as you can see, going from the, I'm going to start from the red channel. So what we can do now, we can exclude the red light from the shadow area now or feel everything, for example, that is darker than this shade of grey here with the red. Or take the red line from the highlighted area or added this. And of course here we have more options become because we kind of create the stop points and add, manipulate the light with their different areas of the image. And of course, the same Welby for every single channel. So if we remove the light from some colour, from some pixels, for example, in this case, as we work with green, if I would remove the light, the green light, from all of the green pixels, I'm left with just two other colors. So that would be red light, blue light and mixture of these two lights. So that's why we also have some other color. We need to remember that we mix the colors here. So as I took away green, if I will take away blue light now, I will stay only with the red light. And as you can see, of different shades. So some of these will be darker, some of these will be brighter. Now if I will bring back the green light, I have also just two lines. I have red light, green light and a mixture of these two lights. So I have yellows and oranges, but of course, I don't have any blue to Meeks. And if I start adding this, it started appearing. And also some other colors will start changing color because we add the blue light to the other two lights. So we have, in the result, we have mixture of this color, unless that would be pure red or green pixels. So there will be not so much effect on that because the presence of the light toward some other pure pixels will not be as strong. So this is levels and curves. And as I told you, the same idea is behind some other adjustment layer. So few more I want to talk about, will be channeled mixer, will be color balance and selective color because all of these adjustment layers seems to be major tool when it comes to color gradient. There is more like gradient map, but when it comes to precise color grading and these feud adjustment layers are most important. So let's see channel mixer and I'm going to quickly explain channel mixer. So here we can work with few different channels, red, green, and blue. So when it comes to the red channel, we will be working here with the red light, green channel, green light, blue channel, blue light. Then when it comes to the sliders, the red slider is the red pixels, green slider, green pixels, blue slider, blue pixels. So let's start with the rats. If I grab this cider, I will start decreasing the red light from the red pixels. Let's go back to full value. If I will go to green, what will happen? I will be decreasing the red light from the green pixels. Let's go back to 0 with blue. What will happen now? As you can see, I'm mainly affecting this area and this time decreasing their red light from the blue pixels. And exactly the same idea will be behind the other channels. So here, I will take away green light. From the green pixels, and now I have only two lights left. Now I can maybe decrease the green light from the blue pixels. And as you can see, I still have the green light because I only removed them from blue pixels now, not from the green pixels, not from the red pixels. So this tool, when color wise, of course, will be more powerful than curves, then levels. It will be also a little bit more confusing. But I recommend you to look deeply into this exactly the way I'm doing this. You will easily understand how does it work. In the blue channel. We will be taking away the blue light from red, green, or blue pixels. So working selectively on the blue pixels, we do exactly the same thing that we did before with curves. And here we have more options in form N2 of two other sliders. So let's go back to 0. Important thing to remember. If you don't want to change the light values of the image, you want to try to make sure that this total on the bottom, we'll end with a 100%. Otherwise, the image will have different line values. It's the same about curves or levels when we manipulate, we also change the line values of the image. We can avoid this by changing blending mode to color or hue. Then of course, we want to be affecting this line values as much. And one more tool I want to talk about will be of course, color balance and then selective color. So when it comes to color balance, it has some more options. And it's probably my favorite tool in photoshop when it comes to color works. So we have these three different tongues, we have shadows, mittens, and highlights. And the easiest way to explain that would be think of this in similar terms as channel mixer. We also, we're switching between the channels, but here were are able or switching between the areas of the pixels. But here we do not direct the pixels, but we direct shadows, mittens or highlights. So when we manipulate with the light, we do not manipulate on certain pixels, but we manipulate on the certain tones. So starting from the shadows, of course, we will be affecting the shadows here. And if we want change does preserve luminosity baton, we will be changing the line values. So for example, if I'm going to remove the red light from the shadows, as you can see, I lost a lot of the red light if I'm going to remove them, magenta and not magenta, but green and blue. As you can see, this image got much darker, especially in the darkest area of the image. But if we don't want to affect the light values, which is very important when it comes to color grading. We will check this preserve luminosity. And what you can notice now is truly fascinating because after we press preserve luminosity. There is no difference between starting point. And now. Because the key to understanding this is the word balance. And the balance between these colors is at the same point now. So whether it's minus 100, Whether it's minus 50 in each. If we have unchanged balance, the color stay the same, but of course, the brightness of the colors, we'll change. So what we want to do here, we are changing the balance of the color. For example, by adding or removing read. If want to affect the lines, this one to be checked. So we can balance with this light on shadows and highlights. And of course the rule will be exactly the same for each of these. So if we balance this, it will all change. If we have the same balance of the colors, there is no change of it. And this is why it's so powerful. It allows you to work selectively shadows, midterms and highlights. So let's remove this. And the last thing I want to talk about is selective color. So here we also have different pixels. We have read, we have yellows, greens, science, but this time we'll have different naming. As you can see, we have cyan, magenta, yellow, and black. So this is not RGB, this is opposite to RGB, and this is CMYK, cyan, magenta, yellow, and black. For me, the best way to see it is as the inversion. So see it as the inversion of RGB, black, seat as inversion of white, cyan, CS inversion of red. And this is how it works. So if want to make the red brighter here, what I would do with the back, I wouldn't add black, I would add inversion of this sign, make this completely bright in opposite, I will take away the light. When it comes to science. If I will add it, I'm taking away the red line. So to add this, I have to go opposite in the same way. That would be about every other slider. We once again, we manipulate with the lights on the chosen colors. So let's go back to 0. For example, I will take away psych 100 and I take away magenta. So now, as you can see, we are left with the yellow only on the red pixels because we took away all of the other. So this is really easy to understand. If we take it away, we end up with the same result as taking a 100% of Black. So we got inverted result of taking away the light, which means adding the light. If we add a 100% of red light, green light, and blue light, we will receive complete brightness. And as you can see, this is visible here on the red pixels, we got complete brightness. So let's reset this and let's go to the blue. This time, if I will, take it all away. As you can see, I end up with complete brightness on the pure blue, which will be the same result. If I will take away this blank. And in opposite, I will get complete darkness, which is black. And that would be the result of adding cyan, magenta and yellow, which is actually the inversion. And it would mean taking away R, G, and B. So these are the our results and this is how you work with selective color. So as you can see, a lot of theory. But once we look at this in the right way, once we look at this as the light, then it's really easy to understand. So this is really important when we will be working with the image, we need to know that these are the lines that these changed the light values on our image. It's really important to know this because if we change the line values, we might end up with darker or brighter image. Wanted to know how does certain to effect the image to get the perfect results. 55. Correcting Color on Highlights: So now let's correct the colors it needed on our image. There are a few ways of working. We can now create the mask for the highlights, for the shadows, we can create the masks from the separate channels. So for example, if we see that we want to correct the color, for example, just on the specific area where we have blue channel, we can create a mask from it. So there's really a lot of options how we can work. And then of course we have adjustment layers. And I have to say, it does not really matter if you are going to work with curves, color balance, channel mixer, or selective color. As you learned in the previous lesson, you know, all of them work based on the same rule. When it comes to me, I like working with color bands. So if you seek for my recommendation, I like working with color balance because it allows to work selectively with the shadows, midterms and highlights. Even though maybe it's not precise. But then I can always create the mask. So what I'm going to do here, I'm going to rename this into the highlights because there is one thing I want to polish on this image, so highlight color. And then I'm going to create the masker. So the mask I'm going to create is this RGB mask to make it different way, going to image, apply image. And I'm going to create it this way. So for the difference, before I was telling you that you can also create a mask this way. So this is the mask for my highlights. And when I look at this image, and I'll check the highlights, I seem to have quite a big amount of red and yellow. I would like to correct this a little bit. If I can say that I am going to do, I'm going to move on the highlights a little bit to the right, and also on the science side. So I'm going to take down some of the red and, and little bit of the blue light to the highlights. Let's have a look now before, after. I think this is the result I'm looking for, maybe even a little bit more for the cyan. And important thing, we have to remember that we can avoid the changes in the light and we don't have to press preserve luminosity here. And we don't have to feel too much working with the other adjustment layers. All we need to do, we need to change the Blending Mode from normal to color. So even if we use curves, for example, and we correct the colors, then we change the Blending Mode to color to not affect the luminosity values. And then we will be affecting just the changes of the color. 56. Skin Tones: In this lesson, I'm going to show you very simple, but also very powerful technique that will allow you to precisely unjust the skin tones on the portrait image. So first thing we need to do, we need to see the issue of the skin that we have here. So I'm going to create an empty layer. This is just the help layer, so we can rename this to whatever we want. I'm going to rename this to that not so once it's done, I can check that tons of this scheme. I'm going to open this color picker here. And I will start checking skin tones on the image. How we can see it. We have few different values here. So we have hue, saturation, brightness here we have luminance. But what we are interested in is this hue. So I can see it somewhere 24, starting at somewhere 22, maybe even 21. Here is the same. Here. Very similar. On the chest, also very similar. So this is the sign. We did a great job when it comes to the skin tones. And it's thanks to our rock conversion that we did around the cheek bonds. It will be lower because of course the makeup. So we have Hugh somewhere starting 1514 up to 18, but I need to find some universal spot. So I could go with Hugh 23 probably will be the right here. So as I have this color, what I'm going to do now on this node layer, I'm going to create the box. So I can use any tool that allow me to create this box. I can now choose the brush and paint inside this box with the color I have chosen, and this is the skin tone. This is our skin tone. So now we need to find a tool that allow us to work with this very precise skin tone that we have chosen. And the best tool to do it will be hue saturation. So I am going to use Saturation adjustment layer. And first of all, we can work with the master mode. It allows us to manipulate hue of all of the colors and saturation and lightness of the scholar. We can choose each color separately, so we have red that's close to the skin tones that we have, but it's not exactly this orange tone that we found. Same about yellows and other colors. Of course, that will be probably somewhere in the background. We have this hand here and this hand here allow us to find the skin tone. So if I would choose this hand here and press here, it will define this color as rents. But we know this is not exactly the red color. It's probably closest to read closer to red to yellow, but it's not red. So I am going to do, I need to find the color that doesn't exist on this image that will be prompt the magenta, maybe green, but I think the green eyes we have. So I'm going to with magentas. Now I'm going to choose this eyedropper. And this eyedropper will allow me to create another option for the color, another color option here. So this magenta will be replaced with this color press. And as you can see, it's now defined as the reds number two because it cannot have the name oranges, but it exactly define the color we have here, you can see in this box over here. So now we can narrow this. As you can see, the color will be here. We can narrow this fader this way and this way here. So now I have the Whew 230. I can go even further than that. So 16 to 23, I have seven. It's actually quite good. So this is quite good tone, but I could go higher. So I could start with 18, probably just above the cheekbones, and down to 28. That would be just enough. Also, I can narrow this transition here, so I could go maybe even up to 510. Narrow this one here as well. To how much? Down to 40, let it be 40. We don't really have that much of the yellow ton sweet. Don't have to worry about this. But if we need more, we can adjust this a little bit more. And now what I can do, for example, if the image is too yellow, I can drag it down and make it more red. If I need to adjust this by just one single point, it can be 1.2 points, but it will be helpful. So as you can see, 2 small change. But it's visible difference. So this is why I recommend you work in this way. If you need the precision in adjusting the tongues. The other thing is saturation. So I think this image could be saturated. So when I would do here, I'm not going to change the Hue just yet, but I'm going to lower saturation just a little bit. Before. And after, maybe too much. I'm going to do very settled result now. And then I'm just going to think about is how much I need, because sometimes we need some time to make the right decision. And the same about Whew. I'm going to think if I should lower this for 1, I should keep some of these yellow tone that I have over here. But as you can see, this is an amazing technique that allow you very precisely unjust the skin tone so I can remove this node now, and I will rename this to skin tone. And it can have this layer whenever we need to adjust the tons precisely. 57. Other Adjustment Layers: By this point, you probably noticed that I don't use some of the adjustment layers. And the reason is simply, I don't think they're that useful when it comes to portrait retouching. So let's have a look through a few of them. So I don't use photo filter when it comes to retouching. Of course I don't use solid color. I also don't use Gradient Map. And when it comes to gradient map, a lot of people tend to ask about them. So let's make its trade with photo filter and solid color. And first, when it comes to photo future, you can't do match. You can set a certain tone of the image, but you are able to selectively work with tons using photo filter. Of course, when we work with the masks, we can work selectively for the shadows and the highlights, but I believe them better tools in Photoshop to do it. For example, colour bands that we used in this course. Then when it comes to solid color, again, we can set up the certain tone, but we would have to work with the masks if we wanted to use the solid color. And also when it comes to solid colored, only one options that we have. We need to change that blending Modes. And more likely in many of these blending modes, if we choose soft light, for example, overlay, we'll be changing the lights if we choose the color and we won't affect anything else than just the color. So the options are quite limited comparing to some other adjustment layers. Also, when it comes to gradient map, simply, it's not for my needs. I feel it gives a lot of artificial results. And what's most important, we can't use it very creatively and we can't use it very selectively. Sino people that use Gradient Map. And when we use gradient map, we simply will change the lines as well because then it has sense. When we change blending mode to color, the results are not really not appealing. So as I always cared that I want to have the contrast on the image very precise and the colors, the Gradient Map doesn't work for me. For example, if I have to work on the tone of the shadows, I always have to go with the dark color. So for the shadows we have the color that is in the blue button and it has to be direct. So we would go somewhere here. Then of course, this is not the shadow on, this is the shadow bad for the highlights. We would go with the color brighter and we could go with colored that has warmed on, maybe something like this. We have the certain atmosphere. But the problem is, I never can get this natural skin tone here. So gradient map works perfect for some fine art, for some creative touch apps maybe, but for professional retouching when we need the settle natural results, this is not something I would use. So one option here, we can lower the opacity. All their options are changing the blending mode. So for example, if we go with soft light overlay, we always affect the lights. If we go to color, we only affect the color. But as I said, the results are very artificial. There is a lot of adjustments with opacity. And simply, the results that I can get from color balance and selective color curves for me are much better. I prefer to work with the RGB for the small adjustments make through the skin tones are perfect, made sure that tons are perfect. But for me, when it comes to final touch ups, I like to do them using camera filter and even better, I'd like to move all of the images to the Lightroom to make sure the last time Champs, the colors, deadlines and everything else is absolutely perfect. And of course, I will show you this in the final section of this course. 58. Camera Raw Final Adjustments: And now of course is the time for final adjustments. So when it comes to final adjustments, I think of the tool that allow me to do all of the small things in one place and that allow me to do it fast. And the answer for this is camera or Lightroom. So if I work with small amount of images, I can do it using Photoshop and camera filter. If I work with many images, it's easier to do it in Lightroom because I can import all of the images to Lightroom at the same time. So now I'm going to show you my steps that I take in camera. And in the next lesson I'm going to show you the steps taken in Lightroom and why it's better to work using Lightroom when we work with the peak amount of images. So first of all, I need to have final result of this image at the very top. To do it, I can create the final layer by pressing Command Option Shift. And if working on monk, if that would be windows, that would be control out shift. And so I'm going to rename this into final. And also I'm going to do, I'm going to convert this into a Smart Object because now and the end, it's very important to work non-destructively using smart object because we might be unsure of our adjustments. So we want to be able to edit this anytime. So then I'm going to filter and choose camera filter. I'm not going to adjust white balance or anything or ideas. But what I wanted to do, I want to make sure that the contrast is right. So I pay attention to contrast, then I pay attention if the image don't get too dark. So let's move this two things. The contrast is already quite strong on this image, I have to admit, but the highlights could be better, so small increase on the contrast, but it looks like a big one. So I'm going to do a little bit less. But I want to do, I'm going to grab this highlight slider and maybe push it a little bit further if I can. So I want the highlights to be really nicely polished and I think I got it. So one is the problem of the contrast. When we increase the contrast, we change the saturation values. Of course, we have to take it down to make sure it's not too saturated. So even took it a little bit more. But I like this, I like to define that this is known as saturated. I don't really like that saturated images. But the looking at the highlights now I think there is no need to take away that much where I want to do because I darker shadows a lot. I want to bring back some of the details from the shadows, especially from the area of the hair cells. You can see I increase the contrast, but they still have the same details. I can go a little bit further with the contrast here. So this is the very first step and taking the other thing is the texture. So lead zoom closer to the face. And we have this slider texture. So there's a few different ways how we can do it. Of course, we can create some highpass filter or anything else that allow us to increase their sharpness of the texture in Photoshop, we can use the texture slider in camera as well. So there is no best method when it comes to sharpening. All of them works. Okay. And there are small differences between them. Of course, some of them will give you halo effect. But this texture slider, it works really well and I like to use it. So we can see this is before and after. We really nicely increase the visibility of the texture over here. So these are the very basic steps I'm taking. Then the other steps could be of course, optional. So I'm going to close this Basic panel. And the one thing I really like to add, especially for the things as you can see, the transition between the shadow and the highlights is quite harsh here, but there is one great method how to make it a little bit better. And I like to use the grain for this. So you can go to effects and increase the grain. Of course, when it comes to the grain is personal preference. Not going to tell you that you have to use the grain. This is really personal and all people who like, like me, I know people who don't like the grain. So let's use not to being because this is beauty image. We don't want the effort to be harsh to cover the skin texture and things like this. But I went quiet, settled. Grain for the size of the image may be smaller, less grain, but bigger size of the grain, in this case, a little bit more, maybe up to 50. And not too harsh. So something like this. I like the result. Maybe five less. That's hello. Maybe even for this image, that could be less for size 40 and for grain 25. So we have very settled grain. And of course the other things we can go to Color Mixer and we can adjust the colour of the background in case we are not happy with the color. In case we want to adjust this a little bit better. But this is before and after. As you can see, very small change, a little bit more contrast, a little bit more perspective as well. One more thing I could do here is I will take away some of the saturation from the oranges so the skin color will not be too saturated. I feel it's still a little bit too saturated at this moment. And I will add a little bit of the luminance for the blue. And now I'm going to hit OK. And in Photoshop, what I want to do, I want to do the crop. I don't want this blue background to be dominating over the model. Some tritium crop, and I'm going to narrow the crop so the perspective, five to seven ratio, two to three ratio, it could be good. I'm going to go with five to 71. Important thing. Before I do anything on the very top, we have the option delete cropped pixels. And this might be quite important. And be aware of this. If you have this checked and if you crop the image and later changed your mind comeback and want to do us step back. You might not be able to do it because you remove all of the pixels that didn't make it to the crop. So be aware of this. And for me, I'm not going to check this cropped pixels because I might change the mind. So then I'm going to place this crop the way I wanted, the way I feel it will look good. The crop can make a huge difference. So I'm paying attention if it's all good. Paying attention to remove this under arm folds, I don't want them to make to the crop. They look a little bit weird. So I feel now is just about right. I'm going to hit enter now. And this is it. This is my final crop. As you can see, the crop can do huge difference. Now we have this blue background that is not overwhelming for the image and it works really well with the model. So now let's move to the next lesson and answer the question, how to save the images in Photoshop after we finish our work. 59. Saving Images in Photoshop: When it comes to saving image, there is two possible outcomes. One, we can save it as the TIF file if were asked by the customer to deliver this in the tif format or in the JPEG format. And depending on how we do it, we do it different ways. So when it comes to the tif format, we do it the traditional way. We go to File, Save As. And then of course we choose saving this in the cloud or on the computer. That doesn't really matter much. And I'm going to choose location. I want to save it on my computer. I would recommend to have some folder where we actually save the image. Choose the format. So of course, the option we are talking about now is teeth. Don't save JPEG this way. This is not the right way for savings jpegs when we say safety, this is how we do it. So here we have checked layers, of course, when we save it and it won't be with no layers, but it doesn't matter at this moment. Important embedded color profile and also working in Adobe RGB. So of course, we need to settle it in Adobe RGB. I'm going to hit save. And then I can discard the layers and save a copy. Of course, I didn't have any proper folder and this moment for this, but as you can see, I just save it here as the copy. Normally, I would create some folder and I would rename this into finished teeth. And this is where I would save them. So I'll find the folder finished if and all of the images would be saved in this location. And of course, it looks a little bit different when it comes to saving jpegs. Once again, we go to file, but this time we don't go to save us, but we choose Export. And when we choose export, we don't want to say for web as some people claim, but we choose Export As, and here we can choose all of the settings. So first of all, which is the format, in this case that will be JPEG. I keep the quantity at a 100% below. We have image size. If we need to save it for some social media. If we need to scale the size, we can do it here. And this moment I am just saving full size. And what is really important here is what is on the bottom. So on the bottom, we have color space. When we say Jpeg, of course, more likely we convert to SRGB. But why do we want to, do we want to check this box that is ambit color profile. Why this is important? Because if we receive the image from the customer in some format, for example, Adobe RGB, we work in Photoshop. And then if we convert this to SRGB, send it back to customer, he might see it in different colors. This is why we want to make sure that this is done correctly. Then the customer will see the same colors of the image that he sent as before. So we always choose ambit color profile once everything is correct here, which was export. And then of course, on the computer, we find where we want to save it. So in this case, I would save it in the same place as everything else. I find the images. I prepared a special folder where I save jpegs. In this case, finished, Jane Beck. Open it and save it here. So it will take a while. And the image, of course, will be exported to the design location. 60. Final Adjustments in Lightroom: So this is of course, the previous set of raw images. And now we want to work with the images that we did in Photoshop. So we want to import the tif files to live true, to do final adjustments. And luckily, we can do it. So what I'm going to do, I'm going to move to library. I'm going to just import and I'm going to find the images and was working with. So I'm finding the folder with the course wherever the images. And I'm choosing images that I just worked with in Photoshop. I'm going to hit Import. And of course not all of the images are finished just yet, but also it doesn't matter. So let's move to develop. As you can see, I was working on this image and I was working on this image. The other images are still not cleaned yet. But also it's not a problem because now we can adjust everything to this images. And if we do some editing, for example, on this image later in Photoshop, we save the TIF file as it is with the layers. The changes will be automatically imported here. So this is why I really like to work on the set at the end in the Lightroom. Let's move to this image now and do the final adjustments. So I like to work here because I don't have to create a new layer on the top moving to camera, but I can just move the tif files and do everything here. So first of all, the same as with the other image, I wanted to increase the contrast for this image. I might need a little bit more, maybe, maybe not the shadows. Let's bring up the shadows and it'll be here. So now I can press that slash to see before. And as you can see, we increased some saturation. So what I'm going to do, I'm going to decrease some of the saturation may be minus eight. I actually prefer the image to be slightly more the saturated then the starting point. So let's have a look. Now. This is before and this is after. Now we got this really beautiful contrast lens amin. So I'm going to push the texture just a little bit, a ten points to make it visible. I will do the same for all of the images. Let's zoom out now. So the texture is now much more visible. The other step I want to do here is of coursework in a little bit more on the effect. So I want to add the same grain to all of the images. And I believe the grain I added before was 25, here, promptly was 40, and roughness was the same. And I feel this grain is absolutely doing an amazing job on this image we can see before. After, when zoom in. After, before. So very fine grain. This image is huge, so it is really tiny. But what they grain help with is it's nicely blending in this transition from the shadows to the highlights. I might experiment with slightly more grain over here. And the reason for that is this image will be different than some of the other images. As you know, some of the other images are horizontal so the grain will look different after cropped. So this is why I'm making this slightly bigger on this image. But this works absolutely perfect. And let's zoom out. And what I want to do now, I want to match the same settings with all of the other images. And this is the main advantage of the Lightroom that we can do it. So then we're going to do, of course, we make sure the first image is selected. Then I'm going to move this across all of the other images pressing shift from the last in this case to the first, and then will synchronize the settings. And this moment, I don't have to be worried that all of the boxes are checked because we didn't do as many things. So I'm just going to hit synchronize and the settings will be synchronized with all of the other images. As I said, there will be differences with the grain for this image and this one, the grain will be the same for their horizontal images. I'm going to change the grain to ID. It'll be smaller, so I'm going to change the value to 25 in amount of the grain. And for the size going to choose 40, I believe this will be suitable for this image and of course, cropping them. So let us decide on the crop. In Photoshop, I was cropping this four to five Perspective. I might go with two to three to keep their original perspective of this vertical images. But let's see how it looks. So I'm going to move to the crop. And I'm going to start with two to three, so as it is, and let's choose it for the portrait. So let's move this. This way. I think we might be able to crop it with this perspective. Of course, I want to count this area a little bit more. And let's adjusted here a little bit more. I don't really want to lose their hair, but I wonder if it will not look better, if I will cut a little bit of the hair. So let's have a look. And I think it doesn't look that bad. I actually liked this perspective. But of course, the final decision will be up to you how you crop in the images. We have the help, and the help is simply that we can choose and different crop settings here. So I can go a little bit to wider if I go five to seven, which I actually like here quite a lot. Or I can go y there, four to five, but I think this is a little too wide. It will make the image seemed to be a little bit heavy. So I can try with this one as before. And let's try this crop. I think this is not bad. I'm going to stick to this one and the moment, but then of course I have to adjust and this image as well. So I'm going to change it. So i'm going to change the crop for five to seven. It might suit a little bit better. And I can get rid of this under arm shapes here. And I think it looks absolutely amazing. So just need to make sure that I will set up the right perspective. Probably more to decide. You can do a little bit more. And let's hit done. And this look absolutely beautiful. So I will do the same for all of the images. Of course, I have three images left that I need to clean up in Photoshop. And then of course, the settings will be applied. And at the end, I will have to adjust the crop. I need to see on this image if actually different crop will work. As you can see, we have slightly different perspective band. I think it will also match perfectly. So this is how I adjust all of the settings. In light room. It makes it easy, it makes it faster, and it makes it really convenient. So in the next lesson, I'm going to show you how I export images in Lightroom before sending them to customer. 61. Exporting Images in Lightroom: And of course, at the very end, we need to export images. As you can see, I did some other adjustments because when it comes to this image, it had different light setup at the start. So this image has darker background. I tried to add a little bit more contrast to this image. As you can see, a little bit of clarity to match this whole set and it'll be better. And now to export, we need to select the images that are already done. So I have only two images finished. When I export, I want to select both of them. If I finish all of them, I select all of them. So this is why Lightroom is so good. It allows us to export everything fast. Once it's done, I'm moving to file and export. And over here, all the basics that we already talked about. First of all, we need to choose the Export Location. So I'm choosing the file and I'm choosing the folder with the images of my course. Then I can create some folder which will be finished jpegs. It's already done because I already exported them here. And then of course as setting, so for the format, I'm choosing JP OK. Now I'm not sending this to any customer. I was asked by the publisher to deliver TIF file. So it's for me, I'm exporting JPEGs. And then I'm just going to hit export. Of course, if you are asked to export tif files, you will export the tif files and you will choose eight bit or 16 bit depending on the needs of the publisher or your customer. So after I hit export, I need to override because I already exported this. So then we can move to camera and see the exported jpegs and they match quite well. As you can see, the image on there. Left has slightly brighter background, but the reason is obvious, it was different light setup so the background is brighter, but except that these two images look absolutely incredible, beautiful contrast, beautiful highlights on the images. So this is how I do it. This is how I export images and I'm really satisfied with what I got here.