Professional Skin Retouching - Master Beauty Retouching In Photoshop | Ben Taylor | Skillshare

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Professional Skin Retouching - Master Beauty Retouching In Photoshop

teacher avatar Ben Taylor, Photographer and Filmaker

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 28m)
    • 1. Skin Retouching Introduction

      0:47
    • 2. Retouching tools spot healing brush tool

      4:15
    • 3. Regular Healing Brush Tool

      4:19
    • 4. Clone Stamp Tool

      4:00
    • 5. Retouching tools options complete

      3:46
    • 6. Patch tool complete

      2:31
    • 7. Introduction To Retouching Skin Complete

      1:08
    • 8. Removing blemishes complete

      20:57
    • 9. Dodging and Burning complete

      11:24
    • 10. Dodging and Burning Larger Areas Complete

      8:36
    • 11. Frequency Seperation Complete

      15:21
    • 12. Dodge and Burn Contouring Complete

      10:40
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About This Class

Hi

I am so excited to welcome you to this course.

This course will reveal to you the secret techniques that professional retouchers try and keep hidden.

I have designed this course for both beginners and.. people with experience in portrait and beauty retouching.

This course is explained simply and easily from start to finish, to enable you to grasp all the technique's and skills you will learn.

If you are here NOW, because you want all the answers in one place, then you have arrived at the right destination.

This course will take you on a journey which will enable you to discover how to retouch skin on portrait and beauty photos, both beautifully and professionally, giving you the skills you will need to gain paying clients.

What Will I Learn?

How To Use Retouching Tools In Photoshop

Dodging and Burning

Frequency Seperation

Contouring

What WilI I Get With This Course?

17 Videos

All Images Included To Work On Throughout The Course

Photoshop Keyboard Shortcuts To Speed Up Your Retouching Workflow

And Much..Much..Much..More!

I'm grateful that you have taken the time to read this, and really hope you will join me and the many other students around our planet - to discover the world of retouching

Meet Your Teacher

Teacher Profile Image

Ben Taylor

Photographer and Filmaker

Teacher

Hi! my name is Ben Taylor from Bensguide

I am a Photographer and Filmmaker who teaches thousands of students each year, through social media channels, my website and online courses. I am passionate about Photography and video, and enjoy sharing my passion and knowledge with everyone and anyone who shares this passion for the world of photography or video.

With over 10 years professional experience in the field shooting for multi million dollar ecommerce websites, through to personal clients and being company founder at "Bensguide" a UK based photography and filming company which teaches thousands of students every year, I have a huge amount of experience in photography and filmmaking.

My classes are aimed at providing my students with easy to und... See full profile

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Transcripts

1. Skin Retouching Introduction: Hi guys. If you're here now, it's because you have some interest in photo shop retouching. I've designed this course for people like you to show you how to learn skin retouching. This is one of the biggest part of retouching work. So in this journey, I would take you from start to finish your jump in and discover retouching tools on when you've got to grips with these. You're then move on to the more advanced techniques which professional re touches use such as dajun Burn frequently separation on luminosity painting I encourage you to give this a go and please join our community off Photoshopped Retouch is today Thanks for watching guys and have a great day. 2. Retouching tools spot healing brush tool: Hey, folks, and welcome to Section three using retouching tools in Fator Shop before you dive into the retouching process, it's important to learn how to use the retouching tools, right? So the good news is, there's no a lot of tools, and that makes the learning process that much easier In this section. We're going to go through each one of the retouching tools that you'll use throughout this course. So let's dive in now to photo shop and get started. If you remember from our last section, we made some adjustments to our images in light room, and then we exported the images out into a chosen folder. It makes sense to use one of these images for this section of the course. In this tutorial. This is the image will be using. Please take a moment to pause this tutorial on ensure you have it opened up in photo shop. Okay, so now we have the image we will be using. Let's jump in on learn a tools were going to be using for retouching. If you look now in your left inside, you'll see a tow bar. If this is not here for any reason, come upto window and then simply down to tools. And just make sure it's ticked now. Like I said a moment ago, there's not many tools that you need to learn, but it's important to learn the differences between the tours on how to use them. So let's start here on this tool, which looks a bit like a plasterer Band Aid, and we're gonna be focusing on the spot healing Bristol, the healing bristol on the patch tool. So it's click off that, and then now we want to see him into the face. To do that, press control or command plus or to zoom out control or command minus steam back into the image again. And before we start, we want to create a new layer. Let's do that by pressing control or command shift and and that's name that spot healing and press enter. Okay, so starting here on the face, we're going to begin by using the spot healing brush tool on this to all the neighbors, us to remove blemishes simply by painting over them. So let's find I place on the face now and then I'll show you how that works, So if I just pick this part here. If I paint over this blemish, you will see that the spot healing brush tool does a great job of removing it. And it does that boy choosing a sample from an area close by. I'm they're replacing the texture. Now. This tall is great. It works perfectly on small blemishes. So as I continue to just paint around here, take care of these blemishes. You can see it's doing a great job. Take care of this one over here. Okay, right. Okay, so let's just look at the before and after on this Now click the eye on the layer changes before enough that before and after, it's done a great job of getting rid of the smaller blemishes. But let's say you want to get rid of a big blemish like this one here. That's paint over it. I'm now Let's zoom in. You can see there hasn't really done a great job. It's made it look a bit patchy. So even though the spot teeming brush is a great all, its downside is that it chooses the texture for you. And that means that sometimes the texture won't look the way you needed to look to get the exact actually want. We need the healing, brutal 3. Regular Healing Brush Tool: Welcome to the section on the healing brush tool. Let's start with opening a new layer control shift and on their name this layer healing brush. You're going to learn how to use the healing bristol in this tutorial. But first I want to discuss some different ways of changing the brush size so that you can use the healing brutal more effectively. To increase the per size you compress the right bracket key on your keyboard, and then to decrease the size you compress the left bracket key. An easier way to do this is to press control Ault on right click, and then you gave bigger with the brush size or left on. Then you gave down in size another very important time saving short court, which is very valuable. Worry. Touching is the zoom short court. If you press control and space bar, you will see a spyglass appear on your screen. Now simply click on the area. I'm movin by pressing left. All right. Once again, if you're on a Mac, the short cut will be space bar on command. The short court is really how awful were retouching because when you want to retouch the skin of the poor level, you consume into the small details and then jumped back to the overview level quickly to see the image when it's on a larger scale, let's dive in now to the healing brush tool and see how it works seem into the image and ensure now that your healing Bristol is selected, how this tool works is actually buy something, an area off the skin and this assembled by pressing bolt or option on. Then it takes that texture from where you have just sampled. And then you can paint over it like this, that sample a bit here and then paint over. You can see as we doing this. It doesn't an absolutely great job off getting the texture on, then replacing Get from the era we've sampled also, something to notice that with a spot healing brush told it was great, but you didn't have much control With the healing brush tool, we have complete control and also the spot healing brush Toll waas great for small blemishes, but not great for big blemishes. We can also take care of the hair here by something around the area and then painting in okay, let's sample here and then just paint over the hair there as well. So it's taking texture. But as you can see, it's actually keeping the color the same when we sampling this. So I think it's important I actually show you what I mean by this. Let's go to an area such a say the hair. So just grab, zoom on the zoom out and then go to the hair here. What I mean is, if we sample a piece from the hair on, then we painted in over here, we can see that it's talk. The area is took the texture, but it's kept the cooler the same. The healing brush told is great because it allows you to have complete control by being able to sample from area of the skin yourself and then toe accurately paint the texture. You have some pulled in different parts of the skin without affecting the color. Now let's move on to the next section, where we'll be focusing our attentions on the claims dental 4. Clone Stamp Tool: Okay, so the next tour we're going to be looking at is the clone stamp tool, which is here in your tools. Now, what the clones don't all does is it creates an exact copy of wherever your sampling from. So let's get into this now and see how it works. Start by creating a new layer control shift. End on the name this clone stamp. Let's find an area on the image now to show you how this tool works. Control Command Space Bar to zoom in If I sample from, say, the hair here with my claims Dental press auto option because try that again a little option and then it's painted in. Over here, you can see as I'm pain to get in. It's not blending. What it's doing is it's creating an exact copy, which could be very helpful if there is no good areas to sample from with your healing brush tool. So I quickly going to show you now how this will work on an area like the hair and really benefit you're touching. Say where the hair is missing. We can use the clones. Don't talk to sample from a very similar area and then paint over this gap to fill it in. I understand not everyone will know how to do this yet, and I promise you that will be explained simply later on. But for now, please don't worry. If you don't understand this because you will later on Okay, let's get started. Control T on. Then let's move this area we've sampled over the gap unimpressive. Take appear. Now What we want to do is we want to put a mask over this bolt and click on the Mass porter and then grab a brush by. Be selecting. Be on. Then we want to paint over this area here and, as you can see as I'm painting you over, were actually revealing the area that we've stumped in here on the mask. Now that was great, but it's just the color is not quite right. So that's lower the capacity here, and you can see that that's a lot better. Also, let's use a dark and blend mode just to get rid of any light areas we may have carried across. Okay, so now let's open another layer clone stamp, too, and enter and then what we want to do is just fill in the gap at the top here. So auto option and then that's paint this in here, then control teh select it on. Then let's take this up to the area here. We can see that the light been on the left hand side that we've sampled, so that's dark in this with a dark and blend mode. Perfect. That's done a great job. Now let's just go up to the tiki here and you can see that sampling from the hair and then filling it in has done a brilliant job. So that's just zoom out and then really have a look at this from an overview. And then let's look at the before and after. So this is before with the gap on the after where we filled it in with a claims dental before and after. Okay, so this sticks in your mind. Most times, you will be out to use the spot healing brutal to clean up skin texture, and it will do a great job. But if not, and you need to sample from an area because I don't blame it, she's too big. Use the healing bristol. If that doesn't work because the area is too difficult to sample from then that's when you would use the clothes, dental 5. Retouching tools options complete: the three tools that we've looked at so far are the tools that you will use for most very touching that you will do so. Getting familiar with these is definitely worth your time. I want to quickly go into a bit more detail with these tools now, because each of them has different options that you can change. So starting again with a spot healing brush tool, which is over here on the left hand side. If you click on it first and then go to the top and you will see some options here, I can't the moment except to normal on for retouching. This is where you want to keep it. There are other options, which of blend modes for kicker. Multiply on, then come down here and zoom into the nose. When we paint over here, you can see that it blends it lighter. In this case, which is definitely not the look we're going for. Let's change is back to normal and see the difference. It gets really blemish now on doesn't just light in it, so you want to keep this are normal. Then here we have content aware this is the best option for nearly everything you will do with this tool. Create texture that is basically what it say's. It will create the texture to give you an example. If we go over here on, then if we paint, you can see it's creating a texture on most times, this does not look right, and you want to avoid this on the skin. Last is proximity match on. This uses the texture from the surrounding area very close to where you paint. But in my opinion, best option is to use content, aware as it does the best job. Also, I recommend that you keep sample all layers ticked because this will allow you to work on a new layer on. This is working non destructively. You can turn the layer on and off, then on neighbouring you to see the changes you make. We're going to the healing brush tool here. It's the same again. Always keep sample all layers ticked, and next to it on the left hand side, you have source. Source wants to bay sampled. If we were to choose pattern on, then try and paint it in. You will use a pattern and then try and blend it in with a skin, as you can see here Now, I can't think of any time this will be useful in retouching. Always keep this on sampled and lastly, keep the mode on normal. Next, let's jump into the clone stamp tool, which is this option down here. Abortion. The options area. You have two options called capacity and flow. We want these to be it 100% because it gives you the most accurate copy of the areas that you're something from now. There is an option which is not shown here. And to find that let's go toe window on down to close source. There is an option here which we haven't ticked on. That is Show A Valli. What? These doors, it shows you a little snapshot of the area, the or something from on. This is shown in the circle. So if I was to sample, say from here, the hair on, then go and paint it here, I would instantly know with having this show over like ticked what the area would look like before actually painting it in. Okay, you should now have a good understanding of each tall on the few options that they have available. This will benefit you if you doubt deeper into the course, to achieve your best results when retouching. 6. Patch tool complete: Okay, so the last tour that were quickly gonna look at in this section is the patch tall, which can be found here, and it's the third option down. The short cut to get onto these tools is J. On. If you like to scroll through each option, simply press shift or option J until you get to the tool you want. Let's open a new layer now by pressing control shift and on the name this patch toll. Now we want to create a stamp visible layer, which, if you remember, is a copy of everything. You see any image, press control, shift bolt and E for elephant. Now, the patch told, is very similar to the healing brush tool, but it's better for even larger areas if we get one to the top area here in the options, we want to make sure it's on normal, and I recommend the diffusion at about four because it works best here, a case and now the settings. All right, let's go ahead and start using the patch tool in this image. There's no large areas that need fixing, so let's use the patch tool to remove some wrinkles on the skin. Zoom in by pressing control or command space bar. We want to take care of these wrinkles here. Do you the patched or simply click on drag around an area that you want to change like this on. Then, when you've done that, go into the selection. When you see an arrow, appear next to your patch, click and drag it to the area you want to swap it with, and it should do a good job of it. If we do the same with these wrinkles here, this one on, then also this one of the top here. Now, if it doesn't do a good job, say the first time that you click and drag to another area. Don't worry, just do it again, and I'm sure it would do a great job the next time. If you do have a large area to take care off, it's really worth using the patch tall. But most times I would recommend the spot healing brush tool, the healing brush toe on the Claims dental for smaller areas. Let's have a look at the before and after by just clicking the eye here. As you can see, the patch tall is removed the wrinkles quickly and easily on. Because of this, it's definitely it all, which is to include in your retouching tool box. 7. Introduction To Retouching Skin Complete: Hi, folks. And welcome to this section on skin retouching. I'm so happy. Weaken, Go through this section together. Really get to grips. Who? One of the most important parts retouching in this section. We're going to be looking at how to retort skin, which is super important. And this is because most of what you say when we touching the skin, we're going to be taking time to focus in on different techniques, which will give you the skills you need to go ahead and retouch skin professionally. We will be covering blemish removal, frequency separation, luminosity, painting and also dodge and burn. Now, please don't worry if you don't know anything about these techniques or they sound a bit intimidating because they will be explained simply so you can understand. I'm super excited to get stuck into this section with you, so let's go ahead and dive in to this section on skin retouching 8. Removing blemishes complete: Hi, folks. Welcome to this section. Removing skin blemishes in this section. We're going to be looking that skin close up on retouching at a poor level. This is where we will remove the skin. Blemishes on this will make a big difference. You will remember that when you looked at the tutorial are retouching tools. We learned how to use certain tools in photo shopped for retouching. Well, we will be using these tools throughout this tutorial to retouch skin and make a huge impact on the image. As far as blemishes go, there are many different blemishes. There is acne, scars, wrinkles, bones on piercings, depending on your client or if you're doing this retouch for someone else, some of your blemishes may need to stay, and so may need to go. What good practice is to keep things looking natural? In this tutorial day, we will be diving into removing blemishes so we can really get to grips with the tools and techniques we need to produce a professional retouch. So the first thing you want to start by doing is to ensure that you have this image open in photo shop, our model Joe see in This image actually has good skin, but they're still plenty of blemishes we can remove from image, So the first we want to do is start. We're creating a new layer to do that press control shift and ed or command shift and end. If you're on the Mac, let's name their spot healing a case. And now we have a new Arab of our background there. We're going to start by using the spot healing brush tal over here. This is a great tool for taking care of smaller blemishes in the image, and it's very easy to use. So let's zoom into the image, and all we have to do is paint over the area that we want to get rid off and then found to shut will sample from the airport areas. Most times when you do this was smaller blemishes. It does a fantastic job, as you can see now off removing the blemishes. So we're just painting over the small blemishes and distractions which draw always attention. Just drive across our invention, take care of my hand spot. Healing Bristol really is the perfect tool for smaller blemishes. It takes as of them so well on. As you can see from this, Yeah, now, as we're going through on replacing the texture with a spot Haley Bristol, it's worth remembering that we're not trying to get the skin looking absolutely perfect here. We're trying to keep a natural look throughout the skin, and so you don't have to change Andi manipulate every single blemish or every single mark on the face, because then it would become quite a natural. Let's just see him out here Now There's an area that you may have noticed, which is between the nose on the side of the face, which has some little marks just here. It would actually be better to use the healing brush tool, the regular healing Bristol, to take care of this. So we have control of the sample point ourselves. Before we do that, though, it would be a good idea to have a look at the changes we've made while using the spot here in Bristol. So let's go ahead and look at that now. This is the before on the after and just that real quick retouch that we've done with the skin using the spot him. Bristol has made a huge difference to the face already. So this area here, let's go back to this. We want to take care of this with the healing brush tool. Okay, let's open a new layer control shift end, and then let's name this layer healing brush. If you remember from the retouching tools section of the course, the healing brush tool is very good for larger blemishes that you need to choose your sample point rather than it be chose for you like it is to the spot here in Bristol. On you see the blemishes that we're going to be getting rid off or here, just down by the edge of the nose. You want to sample from an area close by by pressing goal corruption and then just simply paint over the area. If we were to have used the spot healing Bristol for this, there's a strong possibility that photo shot would have chosen a sample point from the edge of the nose or from the edge of the shadow. Here, honey probably wouldn't have looked very good. So the healing brush tool here is the perfect all taking care of blemishes when you need complete control. So we just sampling from a place close by here and then just painting over the blemish sample on and fight some blue hair paint. Okay, she's starting to look a lot better now. I think it be worth looking before and after on this, and you can see how we've done a great job taking care of them blemishes by the side of the nose with the healing brush tool. Just take care of a few more bits down here. Okay? Andi, I think that's looking great now. So it's gonna worked assuming out now and have a having a look at the before and after of what we've just done. So that's just have a look at before on the after you can see what a great job of both the spot healing Bristol on do the healing brush it'll have done in conjunction with each other . Taking care of the blemishes. Okay, so the next thing that I would like to move on to is taking care of. Some wrinkles on this can be done with the patch tool. So we've used the patch. It'll once again in our section on retouching tools. Let's create a new layer on name this patch tal. So with a patch tool, we can just select it from thes selections over on the left hand side. And then we can take hair off the wrinkles by the I and also some of the darker patches I'm then dark apart to there, which we can also take care off the patch. Tall is perfect for these kind of blemishes, and it's so simple to use you just click and drag around the blemish on drag to another place. So let's do that now, so choose are patched all and now create a stamp visible layer control shift all Tony, and then simply click around the wrinkle with the patch tall and then click on drag it to the place. You want to change it with Control Day to get rid of this election. After so click and drag around the wrinkle and then drag from the middle to the eyrie. Want to change it with? Let's just do this one appear click around their ankle, then dragged from the middle down to the area controlled day to get rid of it. And you can see what a great job the patch told is doing with these wrinkles. Let's just get rid of this darker patch Here is. Well, Andi, is there any other areas? Just this bit hair as well. Okay, so let's have a look now at the before and after that. We've used with the patch till there. Let's click on here before, after so quick and easy to use. And it's done a great job. Okay. So far, we've used the patch to all the healing brush tool on the spot here in Bristol on. We've got great results from using these three together, but at the same time for different things. So what I would like to do now is used the clone stamp tool and then really show how, in conjunction with the other tools, this can also be a very valuable tool in your retouching work play. So the area we're going to look at now is the lips. Okay, so let's now open a new layer by pressing control shift and and its name is Chloe. We're gonna be focusing our attentions on the lips now, So let's zoom into the area. And because we're gonna be using the claims dental. Let's select it from the tools area here, zoom in slightly and then press Altera option to sample from an area on the lips and then paint over some of the blemishes in this place that blemishes are actually kind of like crusty areas on the lips, which we need to take care off. And also some of the deeper cracks, which makes the lips look more unsightly. So all interruption and then just simply paint over the area. Okay, so as was something in painting on the lips here with the clone stamp tool, you can see it's actually doing a really good job off getting rid of these areas. And it's such simple thing to do. Just pressing alter corruption from an area close by and then simply painting a Brit. Take care of this Harry hand, and also this deeper crack here. You want to take care of that as well. Make any mistakes with a tool, remember, all you need to do is press control turns set on. Then it just takes a back step for you on Deacon. Simply just And some believe the point again, trying to get this line here, the lips looking natural, cause before it would we didn't really see a line. It was just covered when you're actually doing the retouched and sometimes it is difficult , really? See what you doing on the changes you've made? Both. That's why I always use the eye on the layer at points throughout retouching just to see how far we've come. And also to make sure I haven't actually took it too far from where it was originally. Let's have a look at the before and after we've done a spectacular job retouching the lips here we've made to get rid of a lot of the deep cracks you can paint over this line here. It's a bit distracting on. We've also got rid of a lot of the yellow, which we saw on the lips originally as well, really have done a great job the lips in this one. Thanks. So we've done the lips now and refused a clone stamp tool to get the result that we wanted . What I'm gonna do now is I'm gonna actually take care of an area under the arm, which is not usually no you to see when you're retouching the picture. But this one I noticed earlier on it is kind of quite distractive. There's an area under the arm which it looks like it's a shaving rash or some pimples great tool to use to take care of. This will be the healing bristol again. So let's open a new layer control shift on end and then this name this layer. We've used the hidden birstall previously in this video, So we're just gonna do the same thing again and he's just really getting more practice. So make sure you're on the hill in Bristol. Cho appeared to your tool section and choose it here and then. What we want to do is we want to press, ought or option from an area. Place boy on that, just simply paint over the area. The healing brush tool really is a fantastic tool for areas like this because you have complete control of the area you want to sample from on that you know, when you paint over the area that you want to get rid off, you know that you're not affecting the color. It's only the texture that you're changing. Just taking care of these red marks here. I don't a wife selected the Penta like to get off that on. Let's go back to the Bristol and then just carry on sampling and painting, okay? It's already starting to look a lot better for any much nearly finished here. Fakes. Hilarious. Okay, so let's have a look at the before and after. This. Is that before? Let's have a look at the afternoon before and after hating Burst told us to the great job again. Okay, so let's seem out. What I'd like to do now is have a look of all of the changes that we've made. So let shift click on the layers that we've used in this tutorial on then control G to groom them. And you can name the latter if you'd like with a creep. Even once you've done that, just click on your I and have a look at the before and after. You might need to zoom in a little bit just so you can see the difference. The changes. We've made this just click on the oy before on the after great job, getting rid of the blemishes on the face here, and we still kept the image looking natural, which is exactly what we wanted. That's just look at the under the arm here before and after, once again to the great job. So let's recap in the tutorial. We have used retouching tools to get rid of the blemishes on the skin. The spot healing brush tool was used to get rid of smaller blemishes, which it did a very good job of doing, and then for larger blemishes on for more tricky areas, we use the regular healing brush really benefit from using this tool when you need mawr control over an area. And this is because the healing brush tool allows you to sample the texture from an area on . Then you can pay in that texture in an area you need to cover. We also used to closed until to sample from areas in which the hate in Bristol was probably not going to do such a good job like the lips. And then finally, we used a patch tall to smooth announce on areas under the eyes, darker areas on also to get rid of wrinkles. Now, in the next video, we are going to look on focus our efforts on a technique called dodging and burning, which you can use to even out in light and dark patches on the skin, and it's also used to contour facial features to make them stand out more. So let's dive into that section now on look dodging on burning. 9. Dodging and Burning complete: hi, folks. And welcome to this tutorial on dodging on burning. This technique plays a huge part in the retouching process, so we're going to spend some time in this tutorial going through it. So what is dodging a burning? Basically put dodging and burning is a process in which you lighter and darker parts of your image, and it is broken down into two parts, so the 1st 1 is smoothing out the skin of your subject. For instance, if you have a dark area on the skin, which stands out, you can light in this area, and this will smooth out the transition between the light and dark in your image. On the second is contouring, and this is where you can lighten and darken facial features to enhance them. I make them stand out more. Okay, so now we have an understanding off the basic principles involved in dodging and burning. Let's go ahead. Dive into this tutorial for this tutorial will be using this image here, so if you don't have it open already and open it now in photo shop, Photo shop does have dodging or burning tools built in, but I strongly recommend that you don't use them as they are. Destructive ways of using this technique on a better alternative is to dodge and burn with a curves adjustment layer. So what do I mean? Well, let's show you go over to adjustment here and then click on a curves adjustment layer. Then we want to grab the line in the middle and push it upwards. I should do that. You will see it lightning your image. This is known as dodging open. Another curves adjustment layer. Do the same again. This time, let's drag the curve down. And this is darling your image, which is known as burning. So we now have a light layer or a dodge layer on. We have a dark layer or known as Burma. What we want to do now is go ahead and name these layers so we don't get confused. Okay. To ensure that these layers only affect the lights and darks in our image, we need to change the blend mode from normal to luminosity. Let's do that now. This is going to ensure that only our lights and darks are affected, and when dodging and burning, you don't want to affect the cooler This is the reason we have changed the blend mode. Okay, so you may have noticed that these are affecting the whole image. We just need to invert. Tommaso control I in each mask, and that's doing the next thing to do is just to create a black and white layer on. There's a good reason this is because when you dodge and burn in black and white, you only see the light and dark. So by having a black and white adjustment layer present your eyes really benefit by finding the light and dark areas you need to change in the image. To take this a step further, we can also do this and make it even easier for us. Why opening a brightness and contrast layer? Just click on your adjustment here on, then push the contrast or on this will. How to help will see the lights and darks even more clearly, and that's it. So we now have our layers in place for dodging and burning. So honestly, you may be sitting there in your chair now, thinking this is a bit confusing. The important thing to do. You take your time, ensure that you understand it on a good way to do this, maybe to stop the video. Certain points to ensure you have a good grasp on the subject before carrying gone any further. Let's group these layers now shifted the layers and control or command G to greet them. And then simply now you agree. Okay, so to start dodging and burning, we want to start at the poor level. So we will need to be zoomed in tow. Asked subject in the image to do our dodging and burning. Ensure your on your dodge line now on, then zoom in to the image. And because we've got our eye help, which is the brightness and contrast Andi, the black and white layers We're now able to clearly say the lights and darks and the image so that zoom into this here and then on a low flow about 5%. We're just gonna paint over darker area. So what we're doing now is we're zooming in to the poor level and then which is painting on a dodge layer on making the darker areas lighter. It's worth mentioning at this point that this technique is a technique which takes a lot of time around 1 to 2 hours doing this poor level technique on this because that to do a really good job, you gotta make sure your conscientious on that you take your time and you don't rush this. The main thing is, while with this technique is wherever you're always drawn to, you want to just go straight in. So I'm zooming in on I'm painting over the darker areas which are distractions. So this one here, for example, I'm making sure I'm on a lo flavor around 5% when I'm doing it that way, I'm not painting over it and then it's too bright on. Then we're actually ruining what we're trying to do paint over the dark areas here. This really is a fantastic technique, Aziz. You will see in a short while when we look at the before and after of re smoothing out the transitions between the light and dark areas of the skin, it's actually another form of retouching that some people will use for blemish removal as well. So I could recommend that you try that you're in your spare time just zooming out and zooming in. So I zoomed out to get a perspective. Seeing what distractions I can see, I simply zoom straight into the distraction of the poor level and then just paint straight over it. My locker said earlier this technique, when done properly, Andi doing the whole image will take a lot of time. I'm not going to spend an hour actually doing this technique. I think it's important that you learn how to do it and then later running the course. When we do the full retouch, then we can kind of do the whole image gonna do bit Maurin this image first before a stop. You may also, when you're dodging or burning the poor level not really noticed. Want to change? Only when you look a before and after that you can see how much difference it makes to smoothing out the transitions between the light and dark areas. Okay, this is a light airy here, so I'm just going to go into my burn layer on, then paint over that. Just make it lend a little bit darker, then the one here. It's a little destruction once again paint with your burn layer and then just blended him. Okay, that's back onto the Dodge lamp. Okay, so I think that's worth having a look at the before and after now in this image. So if we go to the layers and then we look at the before and after, so this is the before on this is the after you can see that we've just in that short time, smooth that quite a few of the darker areas and then blended them in by painting over them on a Dodge layer. It really has made a difference. Now, you might be thinking, hasn't made a huge difference, but this is only because we've spent such short amount of time doing it, Likely said earlier. It's a long process which can take an hour or more, and then that's when you really get the best result from it. Let's have a look without that, I how, before and after. Okay, so that's it, folks, We have just covered poor level dodging on burning here. Let's go ahead now and jump in to evening out the larger light and dark areas in the skin. I will do this in the next section 10. Dodging and Burning Larger Areas Complete: Welcome to this second section on dodging and burning. In this video, we will be evening out the lights and darks in some of the larger areas off the skin to get settled for this part of dodging and burning. We want to go ahead and create our layers the same as before. Open up your curves adjustment layer now in the layers adjustment section on, Then push the lineup. So you liked in your image. This is known as dodging. Let's now name this layer Dodge. Let's go ahead and do the same again. Over occurred adjustment layer this time Drug the line down and you'll see it. Darling, your image. Now let's name this bud. Okay, so now we have our dodge and burn layers to ensure that these layers only affect the lights and darks and image we need to change the blend mode from normal to luminosity. This will ensure the lights and darks are affected. Only you'll notice that the light and dark at the moment is affecting the whole image. So let's go ahead and invert this by pressing control I or command I from the Mac on your masks. The next thing for us to do is to create a black and white layer. And the good reason for this is because when you dodge and burn in black and white, you only see the light and dark. So having these black of North adjustment layer present, you're always will benefit by finding the light and dark areas you'll need to change the image. The next step, the brightness and contrast adjustment layer. This will help us see the light on darks even more clearly, bringing up to about 50%. And that's it. We now have our layers in place for dodging and burning. Let's zoom in now. So we have an aim in this video. The aim is to smooth out some of the larger, dark, out and lighter areas off the skin. Before, we were doing this at the poor level. But now we're gonna be doing larger areas, so we'll be out to do this quite a bit quicker. It's open a new layer, and I'm going to draw around these areas to show you what I mean. Does this area here, this area here on top of the nose to the small area over here? Scenario here for the top of the treat burn. Andi. I see an area down by the lip, the top here with the news. Each one of these areas is a distraction on. It definitely needs smoothing out. And we could easily do this with this technique of dodging and burning. So if we just make this layer invisible now, by clicking on the oy now shift, click the layers together and then group them by pressing control Command J and go ahead and name is group. Okay, so let's go on to the Dodge led to start with. Make sure that our flow the brushes on about 3% 3 to 5% would be perfect. And then, once you've done that, let's start paid to give us some of these areas so we can see how this can change the face . So just gently painting over this area here to start with, which needed evening out. And once again, it's the same with this as it is with poor level dodging a Boeing a lot of times actually doing it. You don't see the changes you're making, but when we go and have a look at the before and after in a short amount of time, you will see that it makes a big difference. Even if you don't know. Sit now. So I just got into my burn like to take care of this little bit here. And when I do this form of dodging and burning on the larger areas, I actually just flick between the burn layer on the dodge layer when a dark or light area stands out to May and I need to even it out the moment on painting on my dodge layer Just evening out some of the darker areas here. Okay? I'm just gonna ensure on my bird layer, and I'm gonna paint over this loiter very here just to smooth this transition and even it out. It's light in this area here. It's actually important to keep looking at the before and after when you do this technique to make sure you haven't gone too far. And that's because when you do it in the poor level, you're taking such a long time doing it. But when you're doing the larger areas from further further out, you can actually make a lot more changes to the image a lot quicker. Sometimes you can take the image way too far. Okay, Just smooth out this area by the news. Like I take care of this area by the chin here. It's made it out. Right. Okay, so this is starting to look better already. Now we're not gonna go away in this video on. That's because it's going to take a bit longer than I wanted to. So what I think we should do is have a look now, at the before and after just so you can see how far we took this. Just in a short amount of time. So this is the before this is the after. As you can see, we've made a huge difference in such a short amount of time. Just by painting light and dark on these areas of the skin to smooth amount carrots have likely before enoughto with the I house, which tough. So in this video, we've gone through how to dodge and burn the larger areas off the skin. Before the other video, we showed you how to do it. A poor level. Now, this technique is a lot quicker to do so since you've done the poor level dodging and burning you could go into the larger areas on that move through this relatively quickly. The next area we're gonna focus our attentions on is how to contour facial features and then really get some depth and shape in the face. 11. Frequency Seperation Complete: Hi. Fix on. Welcome to this section on frequency separation. Now, this term has been thrown around the retouching world as something which is complex to understand. But it's actually quite a simple process. And in this tutorial, I'm going to try and explain it as simply as I can so you can really get to grips with the concept. So what is frequency separation? Well, an image is made up off two frequencies. Ah, high frequency Onda Low frequency. Ah, high frequency holds a text driven image so this would bay your paws on your skin. The low frequency is where the color and shape is. So the reason frequency separation technique is a great technique is because you can take these two areas of your image the texture and the core and shape. I work on them separately. So if you were touching an image now and you wanted to work on the texture in the image, the skin and the pause, you could do this by working on the high frequency layer. If you wanted to work on the color and shape in the image, then you would work on the low frequency life. So I understand This may be super complex right now, but if we dive into this tutorial, really get her hands on this technique, it will all start to piece together and fit correctly. So in this tutorial, we're going to be working on this image in front of us here. So open this open photo shop. Now we want to zoom into the image so we can really see the skin pause. This is Ah, high frequency layer and the color and the shape would be a low frequency. Let's just mark it out. So this is the pause, the skin, which is our high frequency layer on. Then this is the cooler on the shape would be working gun here. How low frequency. So we now know what each layer is. Four. So you want to go ahead and separate them so we can work on them separately To do that? Let's duplicate our background layer a couple of times to do this press control or command J twice. And when we've done that, we want to go ahead and Neymar layers its name. The 1st 1 high for high frequency and then the middle layer. We want to name life if you remember the low frequencies where we want to work on the shape and color in the image. So on this layer we don't want to see the texture. The way to do this is to put a blur on the layer, hide the high frequency layer and then go to filter down to blur and across the galaxy imbula. What we want to accomplish with this blur is to make the blur strong enough so we can not see the individual skin texture in the image. So are the usual slider or the open down keys on your keyboard to get the blur so we can only see the color and shape. I don't click. OK, now we've done that. We want to go into our high frequency layer and then get it to where we have only got the texture showing. So if we click the eye on our high frequency layer so we can make it visible now, go up to image the top pair and then down to apply image Here you will see some different options. So what you want to choose first is you want to choose low on the layers. Click here and then drop down. Go to lay, then you want to get to invert and make sure that's ticked down and make sure you're on adhere and then finally ensure the scale is unto and then click. OK, so it's worth mentioning. Were actually working on a 16 bit image here. If you've ever retouched on eight bit image than the settings will be slightly different, I will add in the resource is area a picture so you can refer to this anytime if you need to show the difference between 16 and a bit to come back for our image to get the frequency lair displaying normally again, we want to use a blend mode and then choose linear light and we have it back as normal. So now we have thistle set up, so let's go ahead and start learning how to use these layers. So if we firstly calm toe, are high frequency lay here. Remember, this had the skin texture on it. What we can do is use the clone stamp tool here and you can choose that by pressing S, which is a short court or alternatively coming over to the tall section. The left and then choosing. Get here and what we can do with the clones Dental on this layer, weaken sample from different areas and paint over blemishes or pause. Let's show you what I mean. Let's make sure we first zoom into the image so you can see the pores clearly. And then all you need to do is press alter option sample from a point and then simply paint over the blemish or poor, which you want to cover some pool and then paint. This really is a fantastic technique using the claims dumped all on this high frequency layer. And the reason is, as we've discussed earlier in this video, is the we're only affecting the texture. So while we're painting, go with the pause on the blemishes on the skin. We're only covering and affecting the texture and not touching the color or the shape at all. And this gives us absolute control over what we're doing. So I'm just sampling have a little areas here to show you how to do this technique sample on paint. Now, we're not going to go over the whole face in this video. This video is really to show you how you can use this technique to really help your retouching, so I'm just gonna over a few areas of the skin here, and then we'll look at the before and after. And then after that, we can move on to the low frequency there just something and painting. It's worth mentioning that this technique is actually really great for getting rid of wrinkles. And also it's great for getting rid off things like has which I'll actually show you in a minute. Just take care of these wrinkles down here, interruption and then paint. Okay, and let's take care off. This hair here was talking about earlier, just simple. And then you can paint easily over the hair. Here is straight hair on the face, and it takes care of it perfectly. Let's just do the same appear. And now let's look at the before and after so we can really see what this technique has done. So if you just go to the eyes and the light here, cool on the after really is a great technique for getting rid of pause and blemishes. Okay, so that's the high frequency that's working on the texture. The next part, the technique is working on the cooler and smoothing out the lights and darks on the low frequency layer to make it easy for us to see the lights and darks. We want to use a black and white adjustment layer. What this does is it helps our eyes to see the differences between the lights and darks. Now, if we zoom out a little bit, we will be out to see the lights and darks more clearly. So now we have our eye help to help seeing the light and dark areas better. The last thing we need to do is create a layer between the high frequency in the low frequency control or command end. So this lie will sit in the middle and why we don't this, I mean adding the slide between the other layers. Well, there's a very good reason for it on this layer. We can add a blend mode, so let's go in here and choose luminosity. So by adding the Slayer and using luminess deep blend mode, we can paint on this layer even out the skin tone, by smoothing the transitions between the lights and darks, and then really get the result that we want. Say, I'm going to show you now What? I mean, press beefy bristol and then change the flow to a low flow of about 10%. So what we're going to do here is we're going to use that Bristol to sample areas and then paint over the other areas to smooth out the transitions between the lights and darks. So ensure you've got the right brush size for the aerial going to be painting over and then simply sample by pressing bolt and then just paint over the areas to smooth the transitions between the light and dark. So sample here, paint there, assemble here, paint there, sample here and then just paint there. Really? What we're aiming for in this technique is to just re blend everything more smoothly together. Now, I will say, when you do this technique, you can take a bit of practice to get it right. So don't be kind of downhearted. If so, you do this technique a few times on, then it ends up really not looking that realistic. Like anything in life. You gotta practice it to get better. And I can tell you the first time I started in this technique. It didn't look great either. So remember, just practice, sampling and painting, and then just blend in the transitions between the lights and darks. Always changing brush size fit the area that you're going to be sampling and painting from a swell. And if you do go too far with this technique, don't worry, because you can always use your pastie slider to bring the effect down. And I do that most times. Sometimes I have a tendency to go too far retouching, Um, and I find that capacity slowed out will work nine times out of 10. You can learn it on that. You can get your result that you were looking for. Okay, so just something and painting. Just trying to get the lights and darks really blending together seamlessly here, and it's looking pretty good. Another thing. You have to be careful with this technique. He's not to completely lose shape in the face or features. It's easy to kind of paint over an area, blend it too much, and then you actually lose the shape in the facial feature, and then the face will look quite flat. Okay, actually, is just a few areas I'm gonna blend in here. Sometimes it's good to actually come away from the image for 10 or 15 minutes if you bean retouching for quite a while just to give your eyes a rest. Yeah, I'm pretty happy with the way this is looking. Okay, So I'm gonna have now look at the before and after this images. So let's hide these layers picking the always on them. This is the before, and this is the after. Okay, so the transitions have bean smooth out on, blended seamlessly on. They do look a lot lot better. Who will side that? I think that potentially we could bring the pastie down to do that now, Like I said, you can lose some of the shape when you do this technique. So just bring this capacity down to a place where we've still got the blending of the lights and darks. And we also got a shape that's looking better about their brilliant. Okay, so that is frequency separation fakes. It's a very powerful technique that I use regularly in my workflow. It gives me great results when retouching an image. So my advice to you is spend a bit of time practicing this technique, and then you can add it into your workflow. It's really benefit from the great results it can produce. 12. Dodge and Burn Contouring Complete: Now we're going to move forward to the second part of the Dutch of burn process, which is contouring. This is where we will be adding more contrast in two areas, the face to make them stand out. So the idea behind this part of dodging and burning is to enhance the shape off different areas of the face. If we look at the image now, we can see that there are places which are lighter and darker. Let's Marty's areas out with a brush open new layer control command dead. And then what we're gonna do is mark out areas of the face. So you understand which areas need to be lighter and darker. In the contouring process, you can choose your colors from appear. I'm going to use green for lights. I'm blue for docks, so let's zoom into the image. Now let's start by showing you the lighter areas which we will need to Dutch to start here with the bridge of the nose on. Then next will be under the eyes in a triangle kind of shape. You can actually see the lighter area clearly in the picture. The science on the other side. Now this area on the lips. Here you can see the light of area, then the lips, which we actually can do when we are re touching the lips. But you can also do in the dodge and burn process under the chin on. Then there's just some areas here on the edge of the chin. It's like a rim light. Just touch them. And then finally, I like to do just under the eyes here just to make it stand out a bit more. Okay, so that's the lighter areas. Taken care off the areas that we need to lighten. Let's now change our quality of blue on, then mark out the darker areas. So the first area I like to burn he's down the cheek bone area here in a triangle kind of shape on the same again on the opposite side, also down on the jaw, just above the green line here and in the same again on the side. Now the hopes of areas on the forehead. But at the moment, obviously, in this picture it's covered by hair, so we don't have to worry about that. And then finally the here, here. Okay, so that's the areas marked out now. We don't not. We want to set are liars up so we can dodge and burn. Now, we've had quite a bit of practice at this throughout the two previous tutorials so that we should know what we're doing. Let's just switch this layer off now. Get rid of that. Zoom out on that set. Our adjustment layers off. So the 1st 1 is a curves layer which we're gonna turn into Dutch by pushing or the line. This is our lighter. Layoff is clip enough on. Then its name that Dodge. Let's do the same again this time created burn layer. Pull this down, Click it off on the name it burn. He shouldn't remember all this by now. Bring Casey time and just follow along with this. You need to change both these two. Luna stay. They were only affecting the lights and darks in the image. Now we want press control. I on our masks toe height. This so we're not affecting the whole image. Next is a black on what adjustment layer. And if you remember, this is so we can have I help so we can only see the light and darks and we're not distracted by the color. And then finally, we want to do a brightness. In contrast, push the contrast to say that we can tell the difference between the lighter darks even more on that same fakes. I just need to shift. Click are layers now on, greet them, control jail common J and then just Neymar creep dodge and burn. Three already whatever you want to name it, and that's the Dutch and Burn, Sorted said. Now let's just pull this layer down on. We can really start focusing on dodging and burning. Let's go to our Dodge layer Here, select it on. What we're gonna do is get a brush, which is appropriate for the size we're going to be Dutch in and then simply just paint over on a very life flow off about 3%. So bring your flow down to 3%. When you've got that way, you want it simply come back onto the image and then start painting over our areas. So going to start with this bit here, this triangle area just painting gently over can see it just learning Go a little bit. Now this do the bridge of the nose here on the other side. Maybe here, as with dodging this on being very careful not to go over the top. With this effect, you will see a lot of pictures which retouched Andi. I think the retouch it has the best intentions when they're actually do the picture. But it can look so over retouched because it actually is over dodge and burned on. Obviously that that's not what most clients will want with that work. So just under this area of the eye here, just lightning this up and seamounts. Now let's just paint over this area both the lips here, just a light in this 3% really is about perfect with the flow not really able to do too much with 3%. So when you're actually adding the Dodge All burn, you're not going over the top with the effort. Let's just do these lines down here under the jaw. She's like the red light area. Go over these a couple of times on a lighter note, slightly on the same again on this side. Okay, let's just have a quick look at the before and after before the after you could see it ought to be made quite a change already. What do you think? It looks good. So now it's going to the burn layer on. Let's start darkening these areas. So let's just darken over this triangle area here, which is the cheaper, the same again on that side. I didn't do this in the marking Gallipoli light to dark in the area. The notice, while which is not facing the light which is just to the side, I'm just going to go over the eyebrows here. Sorry, The eyelashes. Just a dark in them. Slowly. Just so you really drawn to the middle of the I. And then I'm also gonna do these areas down here just above the lighter, relight areas we did. Okay, so it may not look like much of a change, but if we just go and have a look before and after you can say we've actually made quite a difference toe chiseling these facial features. Andi kind of adding depth to the face. So I think it's important actually to have a look at this as someone will be looking at it normally, which would be in color. So if we just switch this off and on the layers and we could have a look at me before and then the after and you can see we've actually made a big difference to the shape, the face. We've kept it natural. We haven't changed it. So it's a different face. It looks how it should do. And it was great. I think we could actually lower the A passage on this just a little bit just to bring down the effect. So it looks even more natural. Okay said we have covered lots and lots and lots in these tutorials on dodging and burning . And I hope you followed along, okay, because the information you would have gained will really benefit you in the retouching process. The first thing we did is smoothing out the skin on. We did this. Why didn't get a poor level. This was easing the transitions between the light and dark areas in your skin. Then we zoomed out from the image and worked on the bigger areas, smoothing out the transitions between the light and dark. There finally, we've covered contouring where first we gain an understanding of the areas we would need to effect. Then we outlined the areas which we would need to change and then enhanced and define these areas for face to make them really stand up.