Professional product retouching in Photoshop | Marcin Mikus | Skillshare

Professional product retouching in Photoshop

Marcin Mikus, Retoucher and Photoshop Instructor

Professional product retouching in Photoshop

Marcin Mikus, Retoucher and Photoshop Instructor

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33 Lessons (4h 19m)
    • 1. Introduction to the Course

      3:36
    • 2. Open Files

      2:54
    • 3. White Balance

      6:31
    • 4. Adjusting Lights

      4:45
    • 5. Optics

      3:52
    • 6. Colors

      8:53
    • 7. Save Images in Camera RAW

      8:11
    • 8. Lightroom vs CR

      3:15
    • 9. Lightroom Processing

      6:22
    • 10. Export in Lightroom

      4:23
    • 11. What to do in Photoshop

      3:09
    • 12. Basic Tools

      10:23
    • 13. Remove reflections

      8:31
    • 14. Floor Reflections

      3:22
    • 15. Extend Background

      3:26
    • 16. Removing Clay

      12:09
    • 17. Removing Dust and Scratches

      8:36
    • 18. Clean up Surfaces

      14:08
    • 19. Retouch SIgn

      9:56
    • 20. Extract Products

      3:38
    • 21. Remove Supporting Panel

      22:19
    • 22. How to make your work easier

      2:00
    • 23. Bring back and Create new Stones

      17:11
    • 24. Create Natural Looking Reftections

      17:36
    • 25. Create Natural Looking Reftections II

      12:31
    • 26. Cleaning edges

      4:55
    • 27. Dodge & Burn with Curves

      6:11
    • 28. Dodge & Burn on empty layer

      9:01
    • 29. Create Natural Looking reflections using already existing one

      8:09
    • 30. Work Selectively with the color

      7:37
    • 31. Adjust Contrasts in Photoshop

      5:49
    • 32. Final Adjustments in Camera Raw

      5:09
    • 33. Final Adjustments in Lightroom

      10:50
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About This Class

If you ever wanted to learn high end product retouching this is your chance. 

In this course I am going to show you product retouching on few different examples from start to finish. We are going to retouch such things as dirt, scratches, clay, surfaces and many other parts of the images.

The best part of this class is the face that I share with you images used in this course so you can follow along and practice at your own pace. 

Meet Your Teacher

Teacher Profile Image

Marcin Mikus

Retoucher and Photoshop Instructor

Teacher

I'm open minded and creative Photoshop Instructor and interationaly published Professional Retoucher.  The area I'm interested in is photo retouching and photomanipulation. I believe that massive layers of imagination allows me to create interesting, nontrivial ideas.

I've been teaching Photoshop for the last seven years. I spend almost every day with photoshop and in time I was able to gain more and more knowledge about right ways of teaching Photoshop. After few years of teaching on youtube I felt it's the right time to come out with Premium Courses, where I can share some amazing ideas and make Photoshop fun! 

If you are looking for a place where you can learn photoshop retouching in the right way, this is the best place to be!

See full profile

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Transcripts

1. Introduction to the Course: Hello there and welcome to my product retouching course, muslims matching. And before we start, I'm going to tell you a few words about myself, about what I do. And then I'm going to tell you what exactly you are going to learn in this course. So I am professional recapture and best confirmation of my knowledge would be my portfolio, which you can find on margin Nikos, that calm. You can find the magazines where my work was published and you can also find the photographers I was working with, except retouching. Also Photoshop educator. I started on YouTube. You can find my YouTube channel under Photoshop retouching, where I publish free Photoshop and retouching tutorials. And for everyone who is looking for more professional knowledge. Making premium courses like this one here on product retouching. So I have a few images over here and you will have access to these and more images. This is just the few examples where I'm going to show you what you are going to learn in this course. So first of all, you are going to learn how to do the role conversion, how to set up the white balance, how to set up the lights. And after that, we are going to move to Photoshop. And as you can see in Photoshop, we are going to do quite a work. You are going to learn some basic knowledge, basic retouching tools. You will learn how to return to dust and all of the product imperfections. Of course, after that, you are going to learn some more professional fields. As you can see, teaching you how you can remove all of the unwanted parts, how you can clean up the floor, how you can clean up the reflections on the product, and also all of the other marks on this image. Going to teach you the same things. How to clean up the floor, how to remove unwanted parts of the image. But what's most important, I'm going to show you how you can naturally clean up design like the one here. As you can see, we had a lot of mass, especially with design. And after this looks just perfect. So if this is something for you, if you want to learn how to start with the basics, how to clean up the image, how to extract the products on the image. How to clean up the floor, how to create extra elements on the floor. As you can see, the floor looks completely different. So I clean this up. I extract the product. I remove unwanted elements. Then I create the extra elements like the stones over here. I reattach this image with the Dodge and Burn technique. As you can see, I create completely new reflections over here that are much better than the ones that we start with. After that, of course, we add some other extra efforts. We work on the contrast, on the color. And also I show you my final touch ups that I do in Photoshop and Lightroom. If you want to learn Photoshop and product retouching discourse will be the best choice. You will learn basics as well as advanced and demanding techniques. If you are a photographer or retouched who deal with product photography, discourse is something you must have. 2. Open Files: Before we start working, before we start retouching, We need to open the images in Photoshop. Or in the case of working with the raw files, open the images in some raw conversion software such as camera or Lightroom. So what I like to do, I'd like to work with Adobe Bridge. So here's the bridge and it comes together with Photoshop. If you don't see it, you can download it. Because if you have Photoshop, you are also able to download the breach. And then if you cannot find this on the computer, you can just go to Photoshop, Choose File, and then choose Browse in Bridge. And it will move you to the bridge. So I always recommend keeping the images, the files in separate folders depending on the session. So it could be separate by the date. It could be separate by the different type of the images. But you want to make sure that you have one set of the images you are going to work with. In the one folder. I have two folders here and these two different sets that we are going to use in this course. And as you can see, locate in this, in the breach. Then I'm going to start with folder number two. As you can see, there's many folders that I have located and where I placed my immunities. So once I can locate the images, going to selling them, these are actually not the images yet. As you can see, these are the raw files. And at first we are going to do the rock conversion. But the first is keep everything in order. Use the breach to store your images, to find your images. Because if you will be opened images in a different way, you will be wasting a lot of time and it will not be really comfortable. But once used the bridge, as you can see, it's easy to locate the images when you store them wherever you like. Also, when you work with bridge, you have all of the information about the images of the metadata. Not that this useful, banned the fact you have it, you might not be. Remember which lens used this day. You can find this information here and before accessing the camera or Lightroom. And once you are ready, what I'd like to do, I like to select all of their files. Then he tried and opening camera. So we are going to start with camera conversion. And later I'm going to show you how to do this in Lightroom because I believe some people prefer to use camera, some people prefer to use Lightroom, which are of course, the same thing. So both of them use Adobe engine, but there's some differences in the layout of this two softwares. 3. White Balance: Two things from which I started my work in the camera or Lightroom is the color profile and the white balance. These two things often overlooked are really important. First, in matching the colors of the images and also making sure that the colors look as natural as possible. So the first thing I'm doing, I mentioned profile to open other profiles, you can just heat on these squares here and choose browse profiles. What I like to compare this, not all of the profiles bad, just two of them. So first, the standard profile that we start with by default is under the colour. And what I like to do, I like to compare these to the profile in camera matching called standard. So cover much in standard often will give you a little bit deeper look. Maybe even more natural, and more similar to what you see in your camera. So if I like this color, as you can see, it's a little bit darker. It is a little bit better for the red's over here. So choosing their camera matching standard, of course, you can see all of the profiles, you can see how they look. But I'm saying what I usually do is comparing Adobe Color to cover much in standard because this two and gives you most natural results and some of them are two experimental. So this is why I would not recommend to go too far with these. The other thing is, of course, white balance. And depending on the images, as you can see when we work with two images, now there are pretty much the same. You want to keep the same white balance when it comes to other images, there might be some difference between these two, for example. So we might change the white balance, but overall across the set of the images you want to have similar why the balance to make sure that the images matched to each other. And sometimes what could happen. For example, looking at this image and comparing this to this one, even though we have the same wide balance over here, I can see the difference. This blue over here has some yellow tons, so it's not so deep and the one here. So for sure I will have to correct these things. But let's go back to this image and few things that we need to know. You can choose the white balance simply by treating this small eyedropper white balance too. And he didn't on their white. So usually it will drag the colors down. It will make them colder if you're images rather warm. And it's not always match the disabuse. So as you can see what I did here, I tried to heat this white over here so the image got much colder. And let's think if it much. Atmosphere on this image and what I feel here, it doesn't really help, doesn't match the atmosphere. And this image is supposed to be warm. And just like this. So this is why on these two images, I am not going to change the wideband. But for sure what I wanted to do here, I want to change the profile in all of these files. So what I'm going to do, I'm going to select the first one, then press Shift and selling the last one. And I'm going to choose synchronize settings. So you can find it here. When you go to your image, as you can see, the three dots will appear. I'm going to choose this and then to synchronize settings. So I didn't do other settings than on the profile. So don't worry about all of these other boxes because we didn't do anything. So none of this is going to get synchronized on the profile. So I'm going to choose, okay, and as you can see, the profile change in the other images. So as we already said, white balance stay the same on the first two images. But when it comes to these images, the color is different and its really bothering because we need to make sure, as you can see, this color is a little bit more blue, and these ones are a little bit warmer despite the wind balance telling us that it is the same. So I want to correct this at first, I will try with white Balance tool and making this a little bit colder. So I like the word temperature goes, but I don't like where the Tintin Goes, So I'm going to dust them back. As you can see, this image, relatively nice over here and nice blue. So I'm just going to lower the temperature may be 25,700. And look in now the blue and the wide. Sure. It's closer to each other now. So the same thing I'm going to do on this image. So I'm going to take down the temperature. And once again, looking at this image, there are white looks similar. And then blue also looks similar here. Just to make sure that it does. Comparing, what if I would change a little bit? So what I might do, if I lower this, I feel this blue over here. I see this on the thumbnails are a little bit different, so I'm not lower than this one. Sometimes we need to trust to our eye a little bit more. And when it comes to this last two images, I don't feel there is a big need for changing the white balance. It would be also a little bit colder, so I want to keep this warm atmosphere. But as we remember, keep in mind that sometimes we might need to change the white balance, not only to match the images, but sometimes because we need to change the atmosphere a little bit more across all of the images. So that's why white balance is very powerful. Don't forget that you have it. 4. Adjusting Lights: In this lesson, we are going to talk about the lights and understand you need to know that your image is composition of the lights. So your image is not made of the colors, but it's actually made of the different lines to be precise. It's made from the red, green, and blue light, and this light is connected together, give all sorts of different colors, including the color grey or white. Because when we connect the equal amount of the color red, green, and blue will receive the shade of grey. And of course, in the Basic panel, we can manipulate with this line, with the relation between each of the lights. But we can also manipulate with general lights, like increasing exposure and just in contrast, highlights shadows and others. And it's really important to prepare your image before we start retouching. Because you need to see all of the elements that exist on the image that you want to read. And so it's important to make sure that the image is not too dark because you want to see the details to repatriate this image also, you want to make sure that the highlights are not too bright because you want to see some details on the highlights that you might need to recover. So this is the first thing we're going to take care of. So I usually increase a little bit of the shadows, will increase to equal amount of 20. This image will become a little bit flat. It will become also a little bit brighter. But it's actually very useful because we are able to see more of the details and I wouldn't be worried about the flatness because later on we're able to increase the contrast. But if you are worried at this stage, we can always increase, maybe just a little bit of the contrast over here. But as I said, most of the contrast I'm going to add just a little bit later. Also, I try to make sure that the image is on the good exposure levels. So this image is okay. And when comparing to this other image, they are very similar. So what I could do at this stage, I can select them both, and I will synchronize the settings the same way I did this before. Everything can be checked because there is nothing else I did over here. So as I'm moving towards other images, they're adjustments might be a little bit different. This image is very dark, so I might increase the shadows, maybe even a little bit more on this image. But maybe I can increase a little bit more of the exposure as well. But as I'm doing this, I feel the highlights might get a little bit too bright, so I'm lowering this. I would like to have more, even more details. So I will see if I can increase and maybe the blacks a little bit more. And I will synchronize this with other images. The same way I did, but I feel the other images might be a little bit brighter. So that's why on this other images, what I am going to do, going to lower the exposure back to 0, especially on this image. And this one is really bright. So I don't feel we need as much over here. For this one. Shadows are 20 and something like this. I feel now we are getting these values a little bit better. What I see on this image, the white balance is not correct. It didn't need to be changed. I did this now by mistake. Of course, I synchronized. So make sure you don't do the same mistake. Luckily, I where I was able to notice this, that it doesn't match. So when I would be synchronizing, I should uncheck the white balance. And last two images. I don't believe they require a lot for work, so maybe a little bit of the shadows up and lower the highlights so I can see the details. And the same over here. A little bit of the shadows up for details and more texture on the highlights. So this is what I do in preparation of the lights. I just make sure the images look natural and clear. So later on, it will be easy for me to rearrange them in Photoshop. 5. Optics: Next panel that I always check when I do row conversion in camera is the panel called optics before known as the lens correction. Because what we do here, we can adjust 50x or check the lens profile that was used to take this image. So what I like to do here, once I open this, I start with the profile and this is really simple thing. I check the box, use Profile Corrections. So what it does, as you can see, it makes visible the lens profile, it reads the lens profile that was used to take this image and what is fixed, for example, the vignetting on the edges. So once we do definiteness fixed, and this is not everything because also some small distortion that was on this image is also fix to adjust to the lens profile that we have. So sometimes we might have some distortion. Once we checked this box, those things will be fixed. If we don't want to do this automatically, we have other option which is called Manuel. And as you can see in here, we can adjust the distortion by ourself. And we can also manipulate with vignetting by our self. I don't really like to do it because with this, we rather can do more bad than good. So leave it to profile and use profile correction and fix the corrections, fix their profile, fix the vignetting, and of course, distortion automatically. Of course, over here we can still go in with the distortion, not as much as with Manuel, but we can do further adjustment when it comes to distortion. And of course, the same when it comes to vignetting. So we can still increase or decrease the vignetting fender if this is not what we are looking for. So it will give you settle results. So if you need to do more, I do recommend you this sliders because the results will be more natural. And also we have other box under the title Remove Chromatic operation. So what is chromatic aberration? It usually appears in the under image when the restaurant lines strong contrast, we might get this weird color on edge and green or purple. So checking this helped you to remove this sort of chromatic aberration. Even if you don't have on this image, there is nothing wrong if you check this. And if you want to go further with this, if you still see some sort of fringing on the edge, you have option called the French. So the fringe allow you to remove the purple and green hue from the fringe. So if we would adjust this, as you can see, I can increase the amount of purpose that I want to remove. And on this image, this purple color is not really defined on the edges desiring good-quality images. We didn't have any problem. So of course we don't see their effect. But of course when you have this issue can increase the purple amount that you want to remove and define the Whew. And of course, the same thing when it comes to the green hues. And then of course, choosing the range of the hue that you want to work with. So this is all when it comes to the optics. And as I mentioned, what's really important, I like to check use Profile Corrections to make sure that my image doesn't have unnecessary vignetting. And dad, the distortions are on-point. 6. Colors: When it comes to their colour, there is few different panels now, I like to use in the camera to adjust the colors on the image. I'm going to start with the basic panel, because here we have two very powerful sliders to work on, the color and vibrance and saturation that are quite similar, but there is some major differences. And to understand these differences, we are going to move the slider. I'm going to start with the saturation. And as a Morgan on this image, as you can see, the effect is quite trunk. So desaturation, the way it works, it mainly affects the warm colors and the warm, I mean, yellows, oranges. Read a little bit glass and it's visible on this image except the saturation. It will also affect the luminance of the colors. The colors appear to be brighter, and it also affect the hue. So as you can see, the yellow that was here as a little bit and different. Now, it will have different effect on the cold colors, like blue. In fact, it will not have such a strong effect on the blue. I can increase the saturation here. As you can see, this blue still quite natural, but when it comes to the warm colors, they are much stronger. So this is good to see the difference on these two different images. Saturation effect many, and they're warm colors and vibrant will affect many the cold colors, but we'll see how. And as you can see, as I'm taking down the saturation, it just desaturated image fully. And now, if I will try with vibrance. So how vibrance works, it will have better representation of the huge. As you can see, the use of the yellow colors do not change their values as match. So this is something I really like. It gives much more natural results on the warm colors because it does preserve the oranges and yellows and reds a little bit more. It does preserve the skin colors. So as these yellows, oranges are similar to skin colors down better preserved over here. It will also not affect colors that are strongly saturated already two will not affect the major way. Let's come back to 0. And as you can see, the vibrance will increase. Blue colors a little bit stronger than saturation did previously. So depending on what we need, we might want to use them. If we want nice and natural warm colors, of course we might increase the vibrance are little bit more. If we need more illuminance, we will increase the saturation. So when it comes to their blue and I want stronger saturation on the color blue. I will also increase the vibrance over here. So overall, I prefer to use the vibrations. And I believe for the blue images, I might increase the values to 20. When it comes to other images, will increase value 15 for these two. And for the remaining one. Let's see. If we can do something here. It's not really strong effect when I work with define brands. And i will increase a little bit of the saturation here. So for this image. From what I see after comparing their saturation might work a little bit better. So this is the first step. The other tool that I like to use is the Color Mixer. So color mixer allow us to work separately on the hue, saturation and the luminance. So huge is basically the color that we see over here. So we see the blue. We can change the hue to make it more integral, or we can go more into the purple, purple side. So I wouldn't go that far. But what I'm going to do, I'm going to change the hue of the blue a little bit more to the purple side. I think it will give this really good definition on this box over here, but not more because I don't want to overdo it. So also, when it comes to all other colors, we're able to adjust the hues as we like. You want to adjust the oranges, we can do it. But of course, if we have many similar colors and this is not the best way to work on the colours because we don't want to change the natural colors that we have of the image. We want to keep the colors as natural as possible for our customer, or eventually increase this natural color. So we want to preserve this, but make the colors that already are there look better. So also, we can increase the saturation here. For example, if I want to increase jazz the saturation for the green or for the yellow, I can do it here. And as you can see, I can do it selectively. So if I increase the yellows here, I pretty much increase on the saturation on the flower over here. So this is quite useful and I might do it on this image. I don't see much of the yellow color on the other images except maybe some of their shiny parts. But the effect, It's not so strong. And the last panel will be, of course, luminance. So we can increase the luminance or take down the luminance of certain color. So this is how we can work. I will increase the yellows over here. And of course there other panel that allow us to work with the color is calibration panel often underestimated and often skipped. But what I like to do here is to work on the shadows. We have some more options here. And you can see the first line there is the shadows that I like to use. But we can also work on the separate lights. So we have red light, green light, and blue light that I mentioned before. So what we can see, we can do, we can change the hue of the certain light. It doesn't mean the color, but we can change the hue of certain pixels. So for example, in this image we have certain amount of the red pixels. When I work with this, I can change it. Of course, as I said, we want to preserve the natural colors, so that's not the best way to do it. We can also increase the saturation. If we need to increase the saturation, this will be a little bit more natural effect. But also even we don't see much of the green pixels. They exist on the image and the same when it comes to the blue pixels. So as you can see, these are not the colors itself, but these are the pixels. So these are the three different lines that connected together give you the image. So what I like to do here, I like to give a hint of the purple or Azure or other magenta shadows to the image. So I'm going to give a little bit to this image, to this one. As you can see, if I go more, it will become like more saturated. So maybe not even a hint. Let's go more with this. And I have to say if you ever used the capture one software and you want to give similar effect how capture one, read your images. By doing this using Adobe software, you can just use this slider to add a little bit more of the magenta. And it will give you the similar effect as captured one gives to you. So I don't want to add ten because it become two purple. So five for this blue images. And let's see For the last image, maybe also just hint. And for this 12. And this is how it looks right now, saturated reach. I really like how it looks at the movement. So this is all I would do with the color on this image in the camera. 7. Save Images in Camera RAW: In this lesson, I'm going to show you how to save the images in camera and also how to open the images directly from camera to Photoshop. Before we do an a saving, of course, we need to make sure that all of the settings that meant to be synchronized are synchronized and images look just good to start work in Photoshop before we do any saving, it's also worth to familiarize yourself with all of the settings in camera. So for this, we can just hit this sign on the bottom over here. And there is few settings that are quite important. First of all, is the color space. So as you can see, I'm working in Adobe RGB color space. Most universal. It's quite large color space, not the largest. The largest is preferred or RGB. But I'm choosing to work in Adobe RGB because most of the people, most of my customers use this color space. So to always make sure that I view the image the same way I work in Adobe RGB, which is universal color space. What do you want to make sure is to not work in as RGB color space, because this corresponds is the smallest, not really widely used by professionals. So you want to make sure that you work in Adobe RGB or profit or RGB. The other thing is death. As you can see, I'm working with 16 bits per channel. Some people do work with eight bits per channel, especially if they wanted to keep the size of the files are a little bit smaller band if you put the quantity over this, you will want to work with 16 bits per channel, especially to avoid any sort of banding and gets the better depth of the image. So below we have image sizing our escape their resolution 300 pixels, which is the standard in their western world. I believe in Japan, this resolution would be 350 pixels per inch, but more likely everywhere else, it's 300 pixels per inch. So also, you want to make sure that you work in this resolution. Below, we have some other options like opening Photoshop as smart objects. So yes, you can open this as the smart object, but you don't have to have this box checked if you don't want it to. So everything is okay. I'm going to hit OK. And now opening, so if I would choose to open directly to Photoshop, as you can see over here, we have the button called open. So when we hit this and this will be opened in Photoshop. If want to see more options, we can just heat this arrow here. So the same, we have open, open AS object or openness copy. So if I will just open the image, nothing more will happen. Then the image that we just processed will be open in Photoshop and we're ready to work. So this is the most basic option. The other option would be, I'm going to open all of this once again in the camera. And the other option would be opening as the smart object. And many people like to work with the Smart Object. I'm going to tell you why it's worth to work with the smart object and why I don't think it's really necessary to work with the smart object. And if you don't want to hit the arrow, you can also hit, for example, option. It will change into open copy or shift, and you will be opening this as the object. So now we are going to open this as an object and you will see what is happening. It might be not clear at this stage what is the object, but as you can see, your layer here look a little bit different. So opening as the object, keep all of the information that we did in the camera, a clipped to this layer. So if at this stage we are not happy with something on this image, we can just doubled, double hit on this layer. And as you can see, all of the settings are here. And we can change this. So this is really useful if we want to do some corrections in non-destructive way. When we opened imagery are not happy with this. This is really great wave. But of course, when it comes to read Hutchin, once you start working in Photoshop and creating layers, that's quite useless, I believe because we will be doing other things. So once you make sure everything is done correctly, you want to save the images. So I don't really like to open the images separately, but I want to save all of these images already on my drive. And all I want to focus is working in Photoshop. So first of all, in Cameron, you don't have the option of creating subfolders. So I'm going to make myself sound folder here. And I will call this images exported. And as I want to export, all of them are going to start from the first one, press shift to the last one. So all of the images are selected. We can heat this three dots, choose Save Image, we can choose save button over here also. Or on the top we have again save baton so that everywhere and we cannot miss them. So once I'm going to choose it, we can choose the destination. So something we just, we just created a folder for this. So for the destination we can just same location or new location. I'm going to choose new location to not make the mess going today. Still alive. Postproduction images number two, and as you can see, I created the folder here. So I am selecting this one. And it would be really useful if you could create a sub folder over here. So this is something I'm not really a huge fan of because sometimes we do not create new folder. Forget about this, and then we have to go back and create folder. When it comes to the extension, I'm going to work with TIF extension because I will be working with T. So I want to save this image as the teeth. Why not JPEG? Jpeg simply is low quality image. It doesn't help hold so many information. So only TIF or Photoshop extension over here. So format TIF or Photoshop, no difference between these two. I like to work in with teeth because and we can open them not only in Photoshop. So this is why I'm working with teeth and we still have possibility to save the image with the layers later. Color space. And of course, death, 16 beats resolution is 300 pixels. So once all of this is done here, I'm going to hit save. And we can see on the bottom here that it's working and our files are being saved as the tif files. So once it will be done, we will be able to locate this, will try to locate this via bridge. So once it's done, choosing done. And as you can see, everything got exported over here and it's ready to work in Photoshop on these images of corresponds again, I'm going to say make sure everything is correct so you don't have to follow everything. I do. Sometimes I do some changes. I make sure that images look how I want them to look before I start working in Photoshop. 8. Lightroom vs CR: In this lesson, we are going to focus on important files to the Lightroom and comparing this to camera. You may already know that both of the software operate on the same Adobe engine, which means all of the settings that we've done in a camera. We can also do in Lightroom. What's more important, the settings that we've already done on the files in camera can be read Now in light room. So the best way to show you this is to actually start working. So first of all, I need to import the files. We can do it in the library in Lightroom. And on the left-hand side, on the bottom we have the baton import. So of course what we need to do, we need to find the location of the files we want to import. So I'm finding this into courses. Of course, this is still alive postproduction images. And I believe this is holder number two. So once I located this, going to import all of the files, he the Import button here. It might take a few moments and then I'm going to move to the developed panel. Because this is the panel Dan actually compares to the camera. So developed panel in the Lightroom is the same thing that the panels we have in the camera. And you can view this panels over here. So the layout might be a little bit different. Some differences in the naming, for example, here we have lens correction after the recent debate in camera, or we have this panel called optics. But what's most important, you can see after I open the Basic panel that all of the settings that were done before in camera. And if we save this, we can see the same settings in Lightroom. Of course, before I saved, I did some changes. So I took down the vibrance on this worm images and this is the final settings that I had before exporting the images. As you can see, lens correction, all of this is checked here. Also when it comes to the calibration, the settings are, as they were for these few different images. As you can see, all of the settings are synchronized. Here on these images. As you remember, we were changing the white balance. So this is how it works and doesn't matter if you work with the Lightroom or camera. I believe maybe Lightroom could be more intuitive if we work with the bigger number of the images. But of course it depends on the person, how they choose the software they want to work with. So this is the first thing I wanted to show you how to actually compare these two softwares. And now let's move to the another lesson where we are going to actually work in the lunch room. On other set of the images. 9. Lightroom Processing: In this lesson, we're going to work on different set of files. So we are going to start right away. I'm going to hit import. And I'm going to locate the other files of course. So that might take a little bit long. I do have a lot of folders on my computer. So still live images. And this time I'm going to start with the folder number one. I'm going to import, We did not work on these images just yet. And I'm moving to develop the same as before. We are going to start with the two crucial things. We're going to check the profile. So compare Adobe color with color matching standards. So let's have a look. This is one. This is another one. So I like the def and the colors of the camera matching standard, but it also makes the image darker. So for now not convinced, I need to see some other image. For example, this one. And let's see how does the corals here. So, okay, It makes it darker, but I believe there is a way to fix this. So Let's start with this, two things. So changing to camera much in standard just to not confuse the images. And also, I'm not really happy with the white balance here. Sat First, let's see what we can do here. And even if I try to adjust this automatically, it does look a little bit better. So I think this yellow sheet need to be removed. Going with temperature of 5,210 and let's make it six. So now it has nice, pure grey shade, but it's also nice and cold. So what I'm going to do, I'm going to synchronize this with the other images, these two settings. So I'm choosing Synchronize. I can check all crop is the same in-order settings. Dan side on, have to be afraid about anything else. And we can actually see this color. This white balance is just perfect and on this image, we truly can see the impact. It does. So this is a little bit dark. So for sure I'm going to increase the shadows here quite a lot. And the reason for that is I need to see the details on this bank. This is also too much. Maybe see the 40. And I want to compare to the start. I think now the details are just on point. I don't want to decrease the highlights. I might increase a little bit of the vibrance. I like to add a little bit of vibrance. That's too much, maybe 20. Let's check the other image now. I also need to increase the shadows here, but for sure not as much as on the other image. I believe this is just enough for this image. And as you can see, I'm not doing much of the other settings. And also shadows after 20, just to make sure some of the other details are nice, invisible. Also. What I want to do here, I want to move down to the not split on a hue saturation luminance, which is Color Mixer in the camera. And I want to increase this nice magenta color that we have here. So I'm going to go up to 20, not too much. Now, C to the lens correction and enable the profile correction. So we remove the vignetting. And let's see if and in some of the calibration does a good job. But I feel for this image and this moment. It doesn't turn nicely. So I'm going to avoid this MOOC. So vibrance to 20. I'm kind of jumping all around. But often, this is how it goes. Checking if if I can make it a little bit brighter, but maybe I will leave it for the end. Let's now synchronized this. Other settings such as hue saturation, luminance. So what I did was color color adjustment and also the lens correction and nothing else. So I'm going to synchronize these two. Let's see if it did have an effect on this. And also this image should be maybe little bit brighter. So now looking at them, they look absolutely perfect. The light is even, as you can see on all of them. And the color is also even. So we will be ready to export. As you can see, not too many settings, but huge difference comparing to the files we started with. So let's move to the next lesson. 10. Export in Lightroom: After everything is finished, we can of course, export the images or opened them in Photoshop. At first, I'm going to show you how to open them directly from Lightroom to Photoshop. We have two options. We can heat, right? Whether on the image itself here or on the small thumbnail on the bottom that we have. So it doesn't make any difference. I'm going to start on the image he tried. If you work on the tablet, in this case, our work on the MacBook with the tablet. So I press control heat on my tablet, and then it appears. So I have option added in, and I have a few choices. I can choose edit in Adobe Photoshop or below, I can choose open as smart object in Photoshop. So just to show you now are going to choose open as the smart object in Photoshop. It might take few seconds. For it to open in Photoshop, it need to read the format. As you can see, it moved directly to Photoshop. Now, it didn't require any action from my side, and it's opened as the Smart Objects. So as you remember, when we will be working in the North, the smart object, we can double hit this and we can edit this again. So in this case, as we were working in Lightroom, when we double hit on this, we want to be moved back to the right. That's impossible, but we will be moved to the camera filter. And as you can see, all of the settings that I've done in Lightroom are here. So if I'm not happy, I can adjust the work feather here. But usually in this case when it comes to retouching, I export images when I know that already. So this is what we are going to do. I'm going to select these three images, some starting from the last one or the first one. I'm going to press Shift and select them all. Then I'm going to choose file and choose Export. And this is what I really like. You need to know that Lightroom is so much better when it comes to export in den camera, we can create subfolders. We can have the view into all of the settings, so I really like it. And as you can see, first of all, we have to choose the folder. What do we want to export the images? So I'm choosing the same folder that I'm working with, images, number one. And here I'm going to choose this place. And what I'm going to do, I'm going to rename this converted converted processed and the name is good, but it was rock conversion. And we're going to name this as converted, rename to, I'm going to keep the same filename. So I made simple filenames 1-2-3. I'm going to keep the same file name. And I always explain this. It's much easier to locate the images following the same filename when we check the row or we take the other format, we have the same filename. It's easy to find them. Image format, same as before. I'm going to save this as a TIF files because I will be saving this with the layers later in my image sizing 300 pixels per inch as the standard, and now we are finished. So what I'm going to choose is export. It will take few seconds, maybe more than a few seconds to export a large size three files. And I'm going to open camera. As you can see, this is the folder with the images 1-2-3 I had. And now the other for the folder under the name converted was created. I didn't have to make it as in case of the camera, it was just created by the Lightroom. And inside this folder, we have our images. Now finally, they're visible and ready to be worked on in Photoshop. So this is how you export in Lightroom. 11. What to do in Photoshop: Once we are ready, let's talk about what needs to be done on these images because I have to tell you, there's quite a few things we need to take care of. And it might be even more things that at first we can see. So starting with this image, obviously, what we have to do, we have to remove all of these tape, all of these gum. Dan holds the elements to the floor. Possibly, we could miss them before, but this is how many photographers stick the products. So as you can see, we have to remove this o that's one. Two, we have to remove the dirt that we have on the floor. That's to another thing. We have a lot of dust on the products. We do have to take care of this. And of course we have to quite uneven reflections, dirty reflection. So what do we want to do? We want to even this out and make sure all of these products look absolutely clean. So that will be some job to do. Move into other images. The same things here on this images we have to take care of. And the reflections as well as you can see, they're not really perfect. Of course, after we clean up all of the dirt. So reflections and of course, major Fink. And very difficult thing that we have to do here is removing this plastic that holds all of this. So what we want to do here, and this elements need to be levitating. So we have to remove this plastic data holds all of them. That will be very difficult task. And after that, we will have to restore some of the floor and restore some of the storms that we have here. And on this image, this one will be very simple and most basic, clean. So what I would do here, clean up these elements here on this stone. Clean up the dirt. And that will be pretty much it. So dared and uneven stones here. But of course, real challenges are in these images. So cleanup the dusts, floors, different things that stick here, removing plastic. And we are going to start from the basics in the next lesson. So I'm going to tell you how to clean up the images using the basic retouching tools in Photoshop. And as the class's progress, we are going to do more difficult tasks with the same tools and also discover some creative techniques that can help us to remove, for example, dust within seconds. So more advanced techniques, more advanced work, and also creative techniques. 12. Basic Tools: In this lesson, we are going to start from the basics. So I'm going to introduce to you the basic retouching tools such as Healing Brush Tool and clone stamp tool that we use not only for product retouching, but another type of retouching. But what's really important here is how we are going to work. So we want to work in the non-destructive way and to work in the non-destructive way, we cannot work on this actual layer. So as we open the image in Photoshop, we only have the background player. We don't want to work on this because we have no escape when we do some sort of mistake. So if I do mistake on this actual layer, I need to remove this. I cannot do it. I can do the steps back. So to work non-destructively, we need to work on the new empty layer. To create this, you can just hit the small icon on the bottom that says create new layer. Then create. Once it's created, I like to rename this into clean and then move into our tools. As I said, we have Healing Brush Tool and clone stamp tool when we look at them. Generally. Of course, we have also spoken and brush tool that is very similar. It's a little easier to use. We have also a patch to ban the problem of the patch tool is patched to, doesn't allow you to work on this empty layer, but you see this a little bit later. So I'm going to start with the Healing Brush Tool. And to be able to read out on this empty layer, first thing we need to do, we need to change the sample over here. So at this moment, we have sample current below, which is okay, but quite often by default we will have current layer. So if you didn't change anything in Photoshop and you have current layer over here, you won't be able to reattach. So what do you want to, do? You want to set current below? So when we are going to work on this and the layer will be working on this one. And everything below will be affecting all of the image. And the same thing if we would work with the clone stamp. Also, we don't have the same sample as the current below. As I mentioned to you, we can use pop you in rational and human brush tool. And when it comes to the Pashto, as you can see, it's impossible to work on empty layer. This is why I will not be focusing on the patch tool. To work on the patch tool, we will have to work on this layer, which would be destructive or duplicate this layer by pressing Command or Control and j. And then we could use so quickly I'm going to show you how does torques you can circle the spot that you want to remove and then blend it with the other spot that is quite clear. And as you can see, these two works absolutely perfect for this sort of tasks. For this, we won't be using this going to forecast with the Healing Brush Tool. So how does human br Ashland spot human brass to works and how does it compare to the clone stamp? First of all, we can j on the keyboard if want to cookie, move to him, brush tool. How I like to work with this. Is always to work with that a 100% hardness. When it comes to the Hindu rational, when we work with soft legit brush, we might blur out the texture and will always need to remember the texture is really important. So how, how does it work? Let me show you getting to start with this big spot. We can press other option next to the spot and cover it just like this. And as you can see, it will be covered. But let me tell you what happened here. So when we press author option on some other spot, we get that texture of this area. And then when we move to the other area, the color is adjusted automatically. So that's why you can see when I moved to other spot, as you can see, I'm not copying the color from here and, but the color is adjusted to the color existing here and the texture is brought from here. It works especially way Well when will work with their tiny spots. And we need to preserve the texture like the ones here. And we also need to keep the colour original to the surrounding area so the color will be adjusted automatically. And as you can see, it goes pretty fast and well. So when it comes to the Spot Healing Brush Tool and the difference is the mechanism and the engine behind this is exactly the same. So the color will be adjusted to the surrounding area. But we don't have to take the sample of the texture because this time the textural so will be adjusted to the surrounding area. So it's a little bit easier to use a little bit faster, but not always ask precise. And these two tools, they compared to the clone stamp, but they work slightly different. So the clone stamp not on the copy the texture from the, from the surrounding area and, but we also precisely copy the color. So to compare, if I press outer option over here and try to apply it here, as you can see, the color is applied from here and the textures applied from here. So it's a little bit more intense than Healing Brush Tool, I believe we could say like this. But what's really important for me is that I work differently. So when you look at the clone stamp, I keep the hardness at 0. And the reason for this, it's really great when it comes to work in close to the edge. So if I need to do something close to the edge, because I copy the color, it's not adjusted to the other colours. And when I like working on the edges on some hair, maybe I need to have smooth transitions. This is the reason why I keep the soft edge brush here and the heart legit brush. When it comes to Healing Brush Tool, you can compare the edges on some new project quickly going to do this. So let's say if we work with soft edges brush, this is how it looks. As you can see, smooth edges. When we work with the heart engine branch. This is how it looks. So. Smooth edges versus hard edges. If I want to be focused on texture, I will use Hart entered brash and usually then I work with human brush tool. If I want to adjust the things close to the edges, will use clone stamp tool with soft engine crash. So as we know how it works now, ready did a little bit of work over here. We need to make sure that we check the background because background quite often might have some dirt on this. If it's okay, we're ready to retire. So for this image, I want to reattach all of these tiny spots over here. So when it comes to this small spots, but I will be doing will be retouching this with healing brush to and as you can see, as I work with the tablet, which is absolutely needed when you think of professional retouching. And I always say this in all of my courses. If you want to be professional retouched, you need to invest in basic graphic tablet. I use Wacom tablet. Basic version, small size, the price less than a $100, I believe it's around 70. So I work with the basic one. Many people would ask, professional or basic. Basic is enough for retouching. So when I need to speed up a little bit removed, this departs. I switched to clone stamp and quickly doing the smooths. It will not work on everything. It might destroy the textures and being careful here, don't want to destroy texture to match. But as you can see, it, it does a great job when removing this weird spots. I a change to harder brush maybe if it destroys the texture to match. And once those major things are done, I will focus on these tiny spots. So what I'm going to do to not waste your time, I will show you few more moves. This is how I retouched. And I switch on the keyboard, J for the Healing Brush Tool, and S for the clone stamp. So sometimes you can see the different effects is because I'm switching quickly on the keyboard. I also use shortcuts for everything. So to zoom in or zoom out, I preset and move my tablet. All of the shortcuts are on Adobe website. Sometimes you can change them as well. And when you start, it's hard to get used to them. But over time of course, it will get better. So long, work ahead of us. Because going to clean this tiny spots with the basic retouching tools, it might take a few minutes. So I'm not going to bore you with this. You see how I'm going to work? So now let's move to the next lesson and talk about the next thing. 13. Remove reflections: One of the major issues with product photography, especially high-end beauty product like this one, which is very common retouching work, is the reflection. So of course, a lot of beauty products are very shiny and they can also reflect other things. And these reflections are not always desire by the customers, so we need to take care of them. And in this lesson, I'm going to show you how to quickly take care of them, not waste too much time. So I'm going to start with this reflections. And of course, some people prefer to keep things more natural. Maybe some people would like to keep their light inside. But what we are going to do, we are going to remove all of the reflections. So what we want for the final result of this image is a clean image and no reflection. Best representations of the product. To start, of course, I'm going to create a new empty layer. I'm going to rename this to clean. And I'm going to do selection around these areas. And the selection will allow me to retention very precisely, especially when I will be working close to the edges. And the best tool for the selection in this case will be Pen tool. We could be thinking about some other selection tools. But I can tell you that the other selection tools will not be able to give you straight selection along the edges. So once I choose parental, going to zoom in and I'm going to try to draw the straight line along the edges. So it's really important to not go too far. Better to have the selection alittle bit inside than outside because we don't want to change the shape. And over here I'm going to do like this. So no need to make difficult curves. Just make the step-by-step clear selection. Of course, just to remind, you can follow along by working on the same image. When you're down on the image. Of course, you can work together with me. So this is the first selection. What I am going to do now, I'm going to eat right? And choose Make selection. And now I need to choose fender radius for the edges of this. So I don't want to have to smooth transition because as you can see, the edges are quite straight over here. So the federal radius, I keep at one pixel. And what I'm going to do now, we have the choice. First. If we are able to, we can work with clone stamp. On the top over here. I can easily work with the clone stamp, but it can be a little bit more difficult, especially when we'll be working closer to the edges, maybe somewhere on the bottom. So for this sort of task, I would even recommend you trying to paint this with the brush tool so you can press B on the keyboard or choose the brush tool over here. I'm going to choose the soft gadget brush, the one that I shared in this and other courses. I'm going to choose some universal color from here by pressing other option. And then just paint over it. We don't have to paint over everything in the same color. If you want to keep the image more natural, as you can see, a few different colors with taking the sample by outer option in other areas. So let's have a look how it looks like and this is done. So the first step is done. Go into selection on the other side quickly. So the same technique I'm going to use, of course, Pen tool and paint close to the edges just like this. So now up to this point, and this is the selection. So here we have some more lights. But I will try to keep it as natural as possible. Not going to waste the time for cleaning this. Of course, once it's selected, we need to make selection and everything will be the same. So it will be one pixel feather radius. And then I will try to paint it in the NYSE and natural colors. So I'm not wasting time with being too careful, too precise. I'm just going to paint over it and I can guarantee you, this is going to give us simply good results. As you can see, nice selection. I need to check on the top. As you can see, the selection wasn't perfect Here. We can fix it. We can easily fix it by making another selection. Or if you trust your skills. Just paint close to the edges. As I do right now. We do mistake. I just press command. Let me check command and Z to do us ten path. So these first two, easy to deal with when it comes to some other spots. Going to work a little bit here, the shiny spot. So we can use the same techniques or other techniques as you can see. Working with Healing Brush. Mad. Sometimes we might pray for, our customer, might crave for really clean look. So then what I would recommend to do, make the selection and paint over or at least with 50% capacity. And once you do it, the effect over here will be software. So I'm going to do it here. We'll see if I can achieve this. This is the last thing for this lesson that we are going to try to do this shadow for now, I'm going to keep natural shadow. We might not want to remove this. So I'm going to make selection here. And we can do, we can do, as you can see, clone stamp and break down the harshness with the constant like this. Or we can also press B and break down the harshness by painting over it. So I'm not going to remove this completely because on the bottom here, I want to keep some texture from the floor and just something like this. As you can see, it looks cleaner. If you got too close to the edge. Of course, you can create a mask. As I am a little bit lazy. I'm going to use Eraser tool and make sure the edge is just natural. Say possibly got a little too far. Some of the reflection I will keep here and also on the side. And once again, I'm going to try to naturally remove this one here, this reflection by class tamp. You need to make sure that we adjust this trade to the edge, just like this. I don't think it was perfect. It's weird. Edge doesn't seem to be too straight, but now seems we managed to do this. So now, let's move to the next lesson and face some other difficulty. 14. Floor Reflections: We are going to stick to different kinds of reflection for a little bit longer. Because there's one more thing that we might need to take care of. So looking at this image, we also have some of the reflections on the floor. And it really depends on the person, on the company. Some would prefer to keep it more natural, and some of course would prefer to keep it rather clean. So sometimes you might get the request to clean up the floor. To be honest, for this image, I would really like to see quite keen floor. So what I would do here, I would simply clean this up in the similar way I worked before. Wherever we can do it. We found the help of the selection. We can do it charge. You can see over here, I can, since I am doing quite ok, we found making the precise selection. And I believe also inside, I would be able to clean this up here unless I would like to soften this. But I think for now this will be absolutely okay. Making sure the edges also clean. So this wasn't difficult. We have some more of this. And in some areas, as you can see, we can do it easily just like this over here. But in some areas, we will require making some of the selection. And this could be diarrhea here. I could probably manage this by myself and the area here. And also over here, we will be slowly leading towards the subject of removing this gums that stigma objects to the floor. It's quite common method to do this. Server here. We're going to make the selection just like this. Now I'm going to remove all of the gum now, but part of it. So let's go here. And just like this. So that should do the job. We're going to make selection. And I'm going to try to do this simply with the clone stamp will give me a little bit more natural results, but I have to be sure that I'm not bringing anything more difficult. We can always use just tool that will help us to paint. And as you can see, it looks okay. This one I'm going to keep for a little bit later. And over here also seems maybe I could manage with no selection. But of course, it doesn't mean you have to go with no selection. Understand there is different level. Some people are more advanced, Some people less. So depends how you find it comfortable. So this is the result at the moment. And let's move feather. 15. Extend Background: In this lesson, I'm going to show you something very simple and extremely useful. I have chosen this image to reattach in Photoshop from their selection of the images I had. But I'm not fully satisfied with the frame here. Looking at the right hand side, on this product, it barely fits to the frame that I have. As you can see, the shadow is barely inside, is actually getting close to the edge. So what I want to do here, I want to make this image a little bit more comfortable to look at, a little bit more comfortable to work with. So I will try to extend the size of this image. And like in Photoshop, we can use the crop tool. What's important here is this box on the top, content aware. So when we want to work with this sort of image, we need to make sure that the edges are quite similar. So there is something we can actually work with will have too many details here. That would be difficult, but the edges are rather simple. So there is the hope that I am choosing the box content aware and what it makes. It's going to read what's inside, close to the edges. And based on the information that it has extended naturally. So this is important to have content aware. Check. Also, if I want to keep the same ratio, the same ratio that I had. If I want to extend just one side, I can change it to the ratio. So I'm going to keep the same rage I had. Grab it and extend a little bit. It's quite big extension. And depending on how much we are going to do it, you can read it better or not. So sometimes the extension will look more natural, sometimes less natural. And as you can see, we affected this shadow over here. It's not perfect. We can give it two and maybe three tries if we want. So I'm going to extend a little bit less and see, maybe if it's better, if it's going to look the same. I am just going to work with what I have here. So let's have a look. This time it looks like they got a little bit more natural. It's not perfect as you can see. But what I'm going to do now to fix it, I'm just going to create a new layer, rename this to the critique. And whatever didn't get perfect as I wanted, I'm just going to use the clone stamp on the new empty layer. And I will try to narrow these as natural. As I can see, it looks a little better. Of course, I have some folds in the backdrop over here. So also quickly can take care of these things and dance it. So this is one thing to remember when we need to extend the background, when we reattach the products, often we have simple background and the simple fin can make things easier for us. 16. Removing Clay: Now we are going to do something slightly more difficult. We are going to remove this clay that help us to stick the products to the floor. As you can see on this image, there is quite a few products that has to be stick to the floor. So there is some work to do, but we are going to start from this image and continue because here we have just this one product to be taken care of. So I'm going to do it quickly. I'm going to use the clone stamp for this. Because here also I have some dirt. I'm going to cover this naturally as possible. And then as I'm going to get closer to this, it could be quite difficult to preserve all of the edges. So for this, going to make some selection, going to start somewhere here. And go to this point. As you can see, it's not perfectly straight as it was. But it could be made better if we do it this way. Then till here and till the very end. So something I, this may be a little bit more here, just like that. Now, go into heat, right? And choose, Make selection, feather radius. Let's keep at one. It might be a little bit too harsh, but I don't want to have blue edges later as well. And what I'm going to do, I'm going to cover this part over here. So we losing their natural differences in the color. But because of this, it might end up a little bit better later. So that would be eat. Going to remove the selection. Now as you can see, it's not perfect. Here, the line. So what I'm going to do, I'm going to continue with soft edges brush using clone stamp. And I'm going to do some moves here, just like this self-educate rash and just narrow it down. So it can go actually in line from the beginning of this product here. And I think it wasn't too bad. Of course. Few more adjustments. Probably I wasn't careful enough, just like this. So next I'm going to move to this other image. I'm going to zoom in, create a new empty layer, of course, that I'm going to rename into clean. And I'm going to start with the flower. I believe flower is most difficult here because not only it sticks to the ground, but we have to fix the part of it. I'm going to start with the clone stamp, and this time I'm going to work with hard edges brush, so hard round brush. And first of all, I will try to do some extension here. So this is, this is not easy task and I hope it will be quite visible why I'm working with hard edge and brush. We need to adjust this well and go down to the line of the shadow that we have here. Because the shadows need to prevail and we'll have to match them nicely. That wasn't quite right. So if we need a few attempts, that's absolutely alright. This is not bad. So what I'm going to do now, I'm going to change the brush for my Dodge and Burn brush that soy is also available here. And with this solved brush, go into, try to remove the remaining clay on the bottom. And this still difficult because we really have to pay attention to all of these edges here. This part, not so easy. But luckily it behind, behind this lipstick. So I fill it doesn't have to be exactly the same as it was. Ok, so this part is done. And what I'm going to do now remove this part here. And now. Try to extend this shadow naturally till it meets the flower. Find your way how it's easier for you? Is it easier working with soft legit branch or maybe something a little bit harder. And you don't have to do exactly the same thing that I do. Sometimes. You might find it's a little bit easier. Maybe working with hardness of 50%, maybe hard brush. Every person is different. So here with soft legit brush, going to match it till this point. So it's not ideal, but this is possibly the best thing that we can do with this shadow and this flower here. And for the customer looking from the distance, it will look quite natural as you can see. And this flower, we could say, starts strictly with the floor. We can make the harder the bottom. But for this now and this moment is quite good. So I'm going to move to other things. Hopefully, it will get a little bit faster this time. I'm not going to do selections because I'm quite experienced. So for these parts here, I feel quite comfortable doing this. We found the selections. You find it easier to remove it without. And we've selecting or without selecting, of course the choice is yours. Also don't ever consider leaving this clay on the images because this is no question. Ask this clay Has to be removed. We don't want this. Also don't want On this image this shiny parts which make it a little bit easier for removing these areas here. This clay change the way the shadows should be, as you can see, it extended this. So we need to make sure that the shadow goes straight. Just like this. We can use this part. And as you can see now it, now it's far better. Something here. I'm not placing this correctly and now it's not bad. Short-term damage a little bit more. When it comes to the product, it's sometimes time taking, time-consuming. Maybe it's better word for this. And not always entertaining. But it's great to possess the sort of skills because they are extremely useful. In the current market. Here. As you can see, this was very easy. I'm just going with the direction of the light and the edges. And even this, I couldn't do right this time. So I'm still doing many mistakes. And I hope you all can learn from my mistakes that I'm doing. So easy thing like this one here and I'm struggling. Maybe I shouldn't rush so much or maybe I should just be quiet for a moment. Okay, I'm going to leave it for now as it is. Some I feel this part over here. I could do it better. So the last play, and these two parts, not too easy. But I think I'm going to do selection 20B just from here. And I think to hear because you have the white bottom. Something current here. Makes election. Let's try to make it right for one's. Flatly on the bottom. I have the selection, so I don't have to stress out about the edge that I have on the top. You don't have to keep the edge in the grey color at the end over here, I think I will do it straight like this. And over here, maybe no need to go with the selection. Let's see if I can do it. But also I'm not happy with this edge. It's not easy. Maybe I should have done. Use the pen tool for this. And this part need to be extended. And I have to make sure that the line of the edge is trade. So this is how it looks for now. Quite satisfied. So this is before and after. I'm going to remove all of the shiny parts from the background. Also after the video. You know how, how I'm doing this, you know how to do it. And I think it's better because it will be just a little bit less distracting. And also I am going to fix all of the edges that could be a little bit better. 17. Removing Dust and Scratches: Another quite common issue if their product photography are different kinds of dust appearing on the product or maybe scratches because products were carried for a long time. So of course we need to take care of this. And first of all, when the Nast is rather B, or we have big scratches like the one here. I would recommend the major things to remove manner just as I'm doing now. And the best way to do it is to use Healing Brush and maybe in some other cases the clone stamp. But this is important. So first what I'm going to do, I'm going to remove the major scratches. Just as I'm doing now. Maybe also take care of the edge a little bit. Here. As you can see, we have some problems. And once we do it, I'm going to show you an amazing trick, how to remove all of the scratches in no time. So as you can see, I'm just looking at the major things over here. Here's quite good. So this would be, and now I'm going to create a stamp. So I'm going to create some layer above. To do this, we have to make sure that we have selected the top layer and then to create the merged layer on the top, if you work on Mac, press Command, Option Shift and e. And if you work on the windows, that will be control out shift and E. I'm going to rename this into dust. And to make sure I will be working non-destructively because I need to apply the filter. I'm going to convert this layer to the smart object. So what I'm going to add filter, it will not affect directly this layer, but it will be applied into this layer and it will be possible to edit this fader. So what I need to locate on the image, I want to have good view on some of the data. So as you can see over here, we have some of the dust spots, Some of the scratches. So I'm going to filter then noise. And I'm going to choose Das and scratches. And over here, what I'm going to do, I'm going to choose the radius that will allow to make all of the scratches invisible. So as you can see, the radius r five pixels means the effect is built around the range of the five pixels. If we have it too small, it might not be enough to remove the scratches because they are bigger than one pixel there. Bigger than two, maybe three. So five is rather big. And the threshold will bring back natural effect by building the difference. So the threshold 0, everything. And is affected by the filter we applied. If we increase the threshold, only the things with the biggest difference will be affected. So as you can see, Threshold five, it's still low threshold I rather would go with higher when doing different effect. But you will work with the product. So the threshold rather low around maybe five, maybe six is okay. Otherwise, will bring back the scratches here as you can see. And it doesn't matter if we will increase the radius. So the threshold I'm going to keep at phi for this because this image doesn't have to be necessarily very sharp. You see from the distance, this is the product and it doesn't really affect the edges as much of a look. So that's not bad. Of course. We can improve this later. Also checking it here. Not banned but also not ideal. So good on the top, no good on the bottom. So we are not going to apply full effort. That would be a huge mistake. I'm going to see if maybe even threshold point higher to make sure it's not the low end, the major scratches over here we still can work on. So I'm going to create a new Layer Mask. And when it comes to the layer mask, when we work with the Layer Mask and the color of the layer mask is white, the effect is a 100% visible. When we inverted this, we can do it by pressing command or control. And as you can see, the effect, the filter that we applied here is not visible. So what I'm going to do, I'm not going to keep you going to invert this to the black once again Command and I. And then I'm going to choose a brush and white color of the brush. And I'm going to paint on the areas that have this data that needs to be removed just like this. So as you can see, really easy task to do. We can even increase the threshold for more natural effect and make sure that the edges are not affected badly here. So if we increase the threshold, remember we still can do more work later to make sure all of these look better. So I still will have to clean this up. So I can ignore and this fins. And we'll see threshold ten. Maybe too much, maybe eight still allow me to keep this other parts invisible, as you can see, perfectly. Remove the small dust and this is on the one thing I want to remove fundus image this small dust, other things we can paint over. And it's better to spend few minutes extra removing everything using this technique because this technique is just something that meant to help us with the really tiny things that we have like this one here. You can see painting over it. Seems it wasn't really match. Over here. Here we have dust and it all works perfectly. Cannot work on this one here. Not too bad. We will have to paint on it later. And lipstick is perfect. So now this is finished work and then I will create a new layer. Will name this clean. Number two. I think still I'm really a huge fan of keeping everything as natural as possible. So I keep increasing this task and on this another layer, the major things that we are not able to remove because we decided to work more natural, more non-destructive. We can of course, clean this up now using hearing hidden branch and the constant. Remember that if this is too time taking, we can always just make selection with the pen tool and paint over it to make sure it looks absolutely perfect. But for now I'm just going to do this few basic moves to remove what I can on this empty layer. So this is it, this is how you remove dust and scratches from the image. This is amazing technique that can be very helpful, but we need to remember to use these carefully. 18. Clean up Surfaces: We are going to continue with this. And now I would like to take care of the surfaces of the product. First of all, the surface of this box, the lipstick and after it. And as you can see on this surface over here, we have a lot of scratches, so I'm going to show you how to do it fast to make it nice and smooth. So first of all, I'm going to start with this one. And this one is very simple. And once again, for this, I'm going to use the pen tool will allow us to work fast and don't really think too much on what we do. Of course, it's always useful to think a little bit of what we are doing. This legal help will help us to not really forecasts too much on the problem and just do it fast. So I'm making the selection all around the areas, the major areas that I see, the dirt. So just like this, it's not everything because we will have some more troublesome areas. But at first, this should solve the major issues. I'm going to mate selection and feather radius at one pixels as always. And as I want it to be smooth, I'm just going to choose B or choose the brush from the tool panel and paint over it. We can take the sample the color few times to make sure maybe the color is not exactly the same. So maybe it will look slightly more realistic over here. As you can see, the colors slightly different. So difference. It will make it look like the light is more natural. So this is it. And you can see it's not everything. You want to do. A few more things over here. As I said, it's not finished because we have this part over here. Let's make it a selection here. And once again, I'm going to make the selection. I'm going to do some nice color and paint over softly. Looks pretty good. We need to make sure that the transition between the colors, it's also nice. Of course, we don't have to make selection if we feel comfortable, we can try to paint it closely to the edge just like this. So sometimes as you can see, if you are confident, you can just paint over if the area is simple. Of course. You need to be careful to not affect the edge in the negative way. So this is one, as you can see, a huge difference before and this is after. This looks absolutely amazing. Now, of course, if we have some of the dust like the one we can see here, we can use just a clone stamp to make it better. And of course, make sure that we don't change the nice edge. So now here and here we have much more difficult area. First of all, the dust over here, on the darker surface. Thus over here, pretty much everywhere. And this reflection over here. So as the reflection is natural, I don't think it nicely represents the product, so I think I will get rid of this. So let's start now. And we can try the selection in a few different ways. So if it would work, we can always try maybe with the Quick Selection Tool. But I assume it might not necessarily work exactly because there's so many different edges. So we might use the technique that will take some time, but It's easier to manage. So of course, as always, pencil. And let's make the selection along the edges like general selection as we always do. We don't have to get too close to the edge and doing this. So this is important to remember because if we get too close, we can change the other color. So don't get close to the edge because you can notice that directly next to the edge, it's, it's pretty good. It's not so dirty except few points like this one here. So this one, we can ignore that. Don't get too close to the edge. Just realize I'm getting a little bit too far. That's okay. I'm still Can I still come and go here? So let's go down here. I can't guarantee I'm doing the best selection. And this moment, if there is some mistake, just ignore and do your selection, that will be a little better and maybe save you more time. So as I said, there is no guarantee that's the best one. Now, of course, right, makes election feather radius one pixel. And I'm going to make sure that I work on this clean layer to work non-destructively. I'm going to press B on the keyboard to choose a brush and quickly going to paint over in nice and dark color. As you can see, some areas are equal, be darker, some areas are slightly brighter. So I'm going to take a few selections to make sure the colors maybe not exactly the same everywhere. So that's the first step. Then I'm going to make them brush a little bit smaller. And depending on you, if you feel comfortable to do it manually like this, maybe this time with the hard dendrite rush to make sure that we don't go too far. And also clone stamp, whenever it's needed. We can paint it inside. In this breaks. Also. I can see here some areas doesn't look perfect. So over here and this area here, I would also I would also do some corrections over here. I will try to painted in red. So everything can look a little bit more uniform. As you can see here. Of course, we need to make sure this is how the product itself was looking. So I'm simply trying to avoid the unnecessary reflections that wood direct their affection somewhere else. So as I said, we're going to try to be precise and paint it over. As you can see. Not everything goes so easy for me. So if you ever have some difficulties, remember, everyone has them. If we don't like to do it manually, just as I do it. There's always some different methods. Simply just do selection again. As you can see, I got too close to the edge. It's not the big issue because if related to us than bag, you can just use eraser and erase the effect edges. And that will continue. And if you raise it to quite a few, going to do it quickly and later, I'm going to make sure it's, it's perfect. But it's just important for you to know how it can be dealt with. And I think the message was clear how you can. Solve these sorts of issues. And the last one, as I said, I'm going to look closer to the edges to make sure that it's done nicely. And for now, let's move to some other areas. This area on the top. Of course, what I'm going to do also go into, make sure that this shadows inside actually look well. So if the product is not fully knew, maybe it was used a few times or something. It seems like this product was slightly used. I'm going to make sure that inside it's clean. And if we have this white dots that you need to remember that it can also be removed by the Dustin scratches. So we just need to keep in mind that we have the other techniques that we already used that could be helpful here. Okay, let's, let's remove this part and then we are going to move to the next lesson. So once again, I'm going to selection close to the edges. Not too close to not change anything. Of course, if it's important to mention, if you do the product photography for yourself or you have the creative freedom and you think that the reflections should stay as they are. I cannot decide, made some mistake. But as I, as I say, if you think the reflection should stay as they are, it's absolutely fine. Because three depends on the person or if the customer wants their reflection to stay, then of course you will have to keep them. But I'm showing you techniques in case you need them. And it doesn't really mean that you have to use them every single time. So here I didn't mistake, I should go to the very bottom, but we're going to do it. But for now, let's paint over this way. A little dark. But I think it's helpful in there, in the way that it doesn't take away that tension. And that would be, so once again, I will say, and this is how you can remove the reflections. As he said, it got a little bit dark. We can always change it. We can always make it a little bit brighter so the color is too dark. It could be maybe some darker shade of gray or something like this, but this is how you can clean the surfaces, remove their reflections. If does the request of the customer. 19. Retouch SIgn: In this lesson, I'm going to show you how to reattach this sign over here. And this is the request I got before, because as you can see, because of the reflection that we have, the sine god divided. So it should be like one. Bad right now. We have multiplied and we need to correct this. So you need to be Estee Lauder notes, of course. And now we have two signs, Estee Lauder, nuts. So I'm going to show you my technique for this that will help you to save a lot of time. First of all, creating new layer. Going into title, this sign could be something more creative promptly. And now I'm going to switch to the clone stamp. And we've held over the constant. I'm going to clone all of this sign. Just like this. Of course, important to preserve the same light over here. So I'm trying to do this from both sides as you can see this way. And I need to make sure that I'm doing this accordingly to the shape here. So this is actually easy part. And this technique can save you a lot of time whenever you going to have similar issue to deal with. Now from this side a little bit. Because here we have different light, but the light are not such a huge issue that differences on both sides, but we can blend this easily. So I'm going from this side. Let's have a look. I will continue from this side because I think the color is more natural. And now let's lens this celebs blend these two colors. It looks okay. I think it also looks trade, although I see maybe some small mistake I have done here. This is this is not a big issue. Can try to correct this. So as it's blended, we covered all of the side. So what now? I'm going to create a mask on this new layer. So let's create a mask. And let's see what to do. First. I'm going to inverting, inverting this, the color Blacks. I made everything visible because this way it will be easier so we can do it starting with white mask and tried to bring back the sign or start with a black mask and we see the sign and then covered the extension of this sign. Because of course, when we work with the mass, then the white mask means everything on the layer, whatever we were painting on this, whether it's Adjustment layer will be visible. If the mask is black, everything on this layer will be not visible. So now. I kind of bring back the effect existing on this layer by painting on this mask with the white color. So I'm choosing the brush pressing to switch the color to white. And on weak side, I'm going to cover this, say, the sine is going up. So what I'm going to do, we'll cut this out from here. Painting with the white color. Something like this here. And as you can see, we make in the sign as it's supposed to be. So now, of course, we need to be careful and likely the fight that we did this accordingly. We don't have to be worried about surrounding color. Or sometimes I might go too far. So no need to actually step back. We can paint over with the other color if we do mistake. So another part. So it's not only but it's also making the letters IT bigger. So you need to correct this parts. So here, well, this one is difficult. I can see here and where it goes. So this one here, this one, and this one to be gone. And here to be gone. And again, begun this part here. And got a little too far, psych and switch with x and paint over and something. I wasn't straight. All of these other colors we can correct as well. So let's have a look. Before and after. And if we would not use this technique will have to clone stamp slowly step by step. So this is much faster technique. Sometimes we just have to think in a creative way how we can solve the certain issue. So another one here. At first I was trying to do it by cloning and are strangling a lot. So it's important to sometimes, instead of starting to work straightway, seeing how you can do it, you can do it better. Next Tuesday. And another. And this a little bit here. R. So you get the point right now. I'm sure you know how to do it, but I will continue this to the very end so we can finish this part. And together sometimes I like to keep the lessons maybe a little longer, even though I showed you how to do things. And we can continue together and finish it together. So you can see the final result as we achieved. As we achieved the final result, we are about to finish. Last three letters, G and we have d. Since I'm getting a little faster at the end, it's not great because it's easy to do mistake when we go to fast when we losing the forecast. So I don't want to lose it. I could do with a smaller size of the brush. And we have the very end. This S was looking a little bit strange. But that would be it. And as you can see, I'm really proud of us because we could make it horrible for ourself, but by using some thought, we made it much better. Of course, after we finish, we can just make sure that everything is clear. Sometimes we can also create another layer on the top and try to do a little bit more, maybe paint over it with the darker color to make the sign more visible. So for example, as you can is fading a little bit here, so that we can do on this new layer. I could name this as the sign improvement. And on this you, as I said, you can try to paint over it to make it a little bit darker. So something like this. Of course, keeping in mind that all of these have to look natural. So we cannot extended a letter or making the beaker, but just do it to make the sign slightly more visible. So this is how I do the sort of things. This is how I deal with this specific example where I had to reattach the sign on this product. 20. Extract Products: Slowly we will be moving towards this image because I believe here as most difficult work ahead of us. And we will have to remove this panel over here, of course. And just the floor, build up some of the stones that we have here. But before we start this, we need to extract the product from the background. So what I'm going to do, I'm going to cut out this tree products that I have here. So I can have them on the top layer. And under this, I will be able to remove the things I have to remove. And for this I'm going to use the pen tool. And once again, because if I would use some quick selection tool or something else, I believe the edges might not be straight as they're supposed to be. So this is why going to do this with the pen tool to make sure that everything does right. And now I'm going to start making selection. And I'm going to speed up this video just a little bit to make sure it's not too boring for you to watch. So this is it. I extracted three different products. Of course it doesn't look perfect. Does this moment, you can trust me, we just needed to cut this out here we have some of the reflections and actually, when it comes to the top of this product, I don't need it as much. What's important is on the bottom here, where the products actually stick to this panel over here. So this is the first step in preparing our image for this quite demanding returns that we are going to do here. 21. Remove Supporting Panel: This lesson will be a little bit longer and it will be more demanding because we will be removing all of this panel support in our product. So it will be quite difficult in few of the points because we don't have the same texture, especially in their floor area where we have a lot of the stone. So I have to warn you, this part will be difficult, but the best is just to start. So I'm going to create the empty layer above the background layer. And I'm going to rename this to the clean clean panel. So we know we will be focused on this area here under the extracted products that we have over here. And this extracted products are amazing help because when we will be cleaned in everything under, we don't have to pay attention to the product itself. So the process should be a lot easier. And to show you what I'm talking about, going to change to the clone stamp tool. We'll be working with soft engine brash because here the texture in this area will not be as important samples carrying below. So I'm going to make the size a little bit larger. And let's start maybe from here. One thing we need to pay attention is the light in the background. So we can see this part here is a little bit darker, and over here is a little bit brighter. Will have to mix this up to make sure it looks perfect. So pressing other option to take the sample. And then I'm just going to cover the panel. Looking from the distance as you can see, that we did change the lighter a little bit. So then I'm going to adjust this and it'll be better to make sure it matches perfectly. So I'm going to turn off the top layer for now. And let's start from the other side and try to clean this up. As you can see, as we clean up, especially with the beak size brush, we might do some mistake, but let's just try to focus on removing this part. Well, so I think now we did quiet good job man going to make the size of the brush a little bit bigger and do nicer transition here. Because of the light. As I mentioned before, the slide wasn't perfect. So as we turn on the top layer, as you can see, now, it looks like the product is levitating. Of course, we will have some extra job, especially on the edges over here. They do not look that perfect, so we'll have to polish this. But now on the one forecast point for us is removing this. In some areas when it's easier, we might also change the hardness of the brush. Change the size of the brush. So you can see. Depending on what we do to turn this off. Father, close on the edge. Just like this. I feel taus and perfect because edge is not straight now. And also I don't want to build the new stones and this moment in the areas where I can, I can try to do certain things is in healing brush. But what you can see, it's not that easy. And now as getting closer to the floor, with so many of these stance, we will have to sacrifice some of the staunch. But don't worry about this because we will be able to rebuild them later. So some of them that are under the panel, of course, we have to sacrifice days and that's absolutely ok. So don't worry about these continuing NOT looking great. With the Healing Brush. Also, we might get the effect of dirty floor. And, but also don't, don't be too concerned about this because we will be able to correct this. And also as I'm going inside here, I might change the technique a little bit. So in some areas I can't get with hard-edged brush, just trying what is going to work. So I might be adjusting the brush. And depending on what I do. So some of the stones that doesn't look very well or something like this. I will try to remove them right now. It's not something we need to be concerned to munching. Sorry, it'll be dark, so I will try to equalize that. As you can see, I do a lot of stem banks and I'm doing this by pressing command and sat on the keyboard. Back. Let's go further. Once again, I'm going to change the hardness of the brush. I'm going to use the hard edge of the brush. And now I'm just going to do as it goes, just like this doesn't look perfect. But you can trust me. We can get quite nice result. And wherever the edge is not nice, I'm going to smooth this out with healing brush or software or soft edge and brush. I'm using my Dodge and Burn brush. That of course is available for you in this course. When I mentioned that and burn, Of course we are going to do some dodging and burning technique as well. So that's where we are right now. Going to use the eraser tool to remove some of the cleaning that I did before. Okay. So it will be more here and close to the Stones over here. And then continue with the panel. So what to do here? It's again, hard digit brush. Where from to take the sample. Somewhere next to it, I believe would be okay. Or possibly even a little big lower over here, because here we have so many stones. And here I can see the light actually can be quite similar. So let's see what we can get. I think it will not be so bad. So let's try and hear something like this. Then of course, we need to do one more sample over here. Bam, thinking how to do it. Where from, especially to take the sample, maybe the singular spot on here. And it will be smaller size of the brush. It will be a little bit too bright. This area quite opposite. And maybe something like this for the moment. So we covered this troublesome parts. And now I'm going to do some work over here. And the work that I will be engaged here is trying to make sure that this shadow stay as natural as possible. And for this, we're going to bring it back as much as possible in this area. As long as it looks natural. And as you can see, we could make this bigger sample and are just bring back as much as possible. And then we have the Healing Brush. We can try to blend some of these edges here. Helium brash. And of course, wherever we have to, we can use clone stamp. I would understand everyone's pain of sin, the difficulty of this lesson. But the good part is that this sort of task that we are doing right now is important in terms of practicing your retouching skills. But also the good news is you don't go into phase the sort of challenge. Too often. It happens maybe once in my lifetime. So it's not something we would always do, but once we can do this, we can do everything else. So that's where we are after we would bring back the product. So I'm going to do some more work quipped as stones here. Especially the ones that are not sharp, doesn't look nice. I'm going to remove some of them and help to clean up the shadow from the panel. And also on the top here. And this part doesn't really match Sowell. I'm not really a fan of this part of Russia. I believe I could do it maybe a little bit better. I want to try it. Maybe harder brush. And I think it looks better. If I go this way. There's some differences in the light, which is of course not the Negro problem here. I would say. I wouldn't be worried also, lost texture in some areas. Texture can be rebuilt and methods to actually make a little bit more invisible. Okay, so here we have empty spot. But better when I remove more of them. Most of the stones. Let's go back to the major issue here. Okay? So this is where we are. So now another difficult part will be this area over here. But we actually have something to work with around this area. So it's not too bound to pay attention to this, this shadow that it looks as natural as possible. So let's move here and do what we can to make it look better. If you now, you can see it's much easier whether we use the Healing Brush or, or cron stamp. Not so much texture as well to worry. Good news. And the last texture we have to think of these year, our work. So this is where we are. It's not too bad actually like we have the dirt, but it will be much easier to work with this data a little bit later. Then. Think of every other issue. C here, perfect to big size of the brush. If your question would be, if there is any easier way to do these things. Of course, I'm going to talk about it. How we can help ourselves before we get to the situation where we have to clean it. Because there are ways to make it easier. But this is on the level where they're, photography's taken. So long before that. This area I want to blend in texture wise distance, I'm going to bring back later. And now let's try to remove this. I wonder if we can do it with the Healing Brush. Not ideal. But we can try a few different methods. It's really important to make sure that the light is sound here. This part here, because you can see maybe better if I will use a harder, harder brush. Not fully. Let's try now. Still seem some effect in some other areas. So much better. Now, let's make sure that their line over here in the background is actually straight, is really important. And with all our effort, we will try to make sure it looks as natural as possible. And that's where we are. Not ideal. For now. A lot of dirt here, a lot of differences in the color. I'm trying to press very softly now to make sure I'm not overdoing it. Scans it just too dark and this light over here, and I think we are in the good point now. So I'm not going to extend this lesson much more. That was enough strangle. At this moment. She can see this is before and this is how it looks now, but there is much more work to do. We will try to bring back some of the stones in the areas that we can. Of course, as you can see, some areas here can be cleaned, can be made maybe a little bit more natural as you can see, some of the stones I'm still able to bring back. So I'm going to take care of this. Make sure over here as you can see, I still can see some mistakes. Pay attention to the line over here. It's a, if it's perfectly straight. And we are going to continue our work because there is a lot of mass that we still need to take care of. We need to clean, we need to clean this shadows over here that starts over here. And all of this will lead us to absolutely perfect results. 22. How to make your work easier: In this lesson, I want to talk about how to actually make your work easier. So you see we have this horrible panel over here that didn't look good at all and we just have to remove it. But it was also a mistake of the photographer in some way because photographer didn't do an other images that could help us to remove it or could help us to make the work a little bit easier. So many photographers retouched they own images. And I think this advice is very valuable when you do the image ids, when you want product to be levitating in sort of this position or another position, but you have big elements that you need to remove. Take one image with the products and this element, and then take exactly the same image from the same position. But we found this panel and we found this product. So then we end up with two images. One image that would look exactly like this, and the other image than would have floor, the stones and the background. And then we can easily extract the products. Then we can extract the shadows and just applied the products with the shadows to the clean image. And this is how you can save yourself a lot of work. So if you are a photographer and remember to take this backup images, that can help you to save a lot of time and maybe deal with the problem by yourself. And if you are retouched into close contact with photographer and you can always give the advice to do some backup images that could help you later with the future retouching. 23. Bring back and Create new Stones: During the clean up of the panel, as you can see, we lost a lot of the natural looking stance. We had to remove a lot of them. Some of them we can bring back creatively with just simply erase, erase elements on this layer. And some of them we can bring back simply by duplicating them. And this is what we are going to do in this lesson. So first of all, I have some stones that I can see I could bring back. So what I'm going to do, I'm going to create the layer mask on this layer. I can also use the eraser to, if I'm confident, I believe using the layer mask now would be a little bit more secure. So to remind how Layer Mask works, when we create this del y, the Layer Mask is white. So all of the effect, everything can. This layer is visible when we invert this to the blankets, invisible. So I'm going to paint selectively with black color of the brush. I'm going to press x to reset this or sweet death and x to sweep. So I'm choosing the black color of the brush. And on this layer, I'm going to paint carefully and bring it back. Bring back what I can without bringing back the bad things. And as you can see, I'm bringing back part of the panel so I'm going to make the brush smaller and cover it so I can make sure it does look natural. So here I have some of the bad things. I brought a swell. So painting over it. And there's quite a lot of stones that I need to bring back. And as you can see, all of their positions where I wanted to bring it back. Very safe areas. Not not too close to the panel maybe. But we don't really need to think too much because once we bring too much, we can always erase some of the fields. So for example, we have this one here. So it doesn't suit. Going to erase this once again, because I have new stones that I copied here and here, and too close to the panel. Let's have a look. I'm not going to bring back more here. I don't think it would look natural. I don't think it would have good value yet. On this side, let's have a look. I don't think on this side we can bring much more. But over here, I will, if I can bring something, especially here, doesn't look nice. Just like this. Bringing back the real stones that were lost. Fader. We have the ones here. I could even try to bring back this one. But have to be very careful on the edge. So don't go too far as you can see. Bring Bangladesh shadow naturally. And over here on the top, just like this. So some of them here. It's also slow process, but we can both agree is much more pleasant than removing the panel here. Enough thing to do. I'm able to bring these ones here easily. But also can see this area not ideal. So I would like to probably do something different. I'm going to erase this area. Let's see if I can and erase on the actual layer. And I will try to narrow this if I can. On the actual layer, just like this. The Shanda was just too big. Let me see if I can make it more natural. Brush softly here and remove this part here. Some mistakes. It doesn't really look than the grade. So being closer to it. And I will try to polish it a little bit better. If these areas are too difficult, we can't always, of course, keep up on bringing my astonishment, I feel this way and this will warfare. Not too difficult actually. That was just, let's take another one here. Just like this, very small. And one more that is here. Let me have a look if this is everything. So I believe this is all the major ones. While as I said, we didn't have to bring back as many as this. But now I'm going to do a little bit more exciting part and we are going to create a new layer. And we're going to rename this as this. And this time, what I'm going to do, I'm going to work mainly with the Healing Brush. And let's have a look, take the sample and copy the stone. It doesn't have to be one stone. So I would recommend you to take different stones just to make sure that it doesn't look too similar. So as you can see, some of them might get a little bit too dark in some areas. So make sure the area that you copied matches or is similar to them. Starting area. So especially over here, I believe this is to empty. The surroundings are a little bit too empty. So what I'm doing here, as you can see, I'm trying to bring back some of their natural-looking stones. Not all of them, but some of them look absolutely perfect in this new environment. This one too dark. Maybe this one, this one tube instead. So as you can see, well, not, not the easiest task, but it's easy. Some of the more this area locally to similar, relying too much of the stones in certain areas. And actually too many of them is the singles. So really need to bring the group of the stones. I want this one. Can we replace some others? And I think we can, and it looks absolutely perfect. We also need to make sure that the similar sharpness effect of the stones. So these ones here, as you can see, they're like out of nowhere and they are not in the forecast. So this one's bye-bye. Because they didn't seem to be belonging here because we have different focal point. And now let's try to bring back some other that will match here. These ones here. Basically everything from this area we could use here. But of course, we cannot really use the ones that are too dense to each other. Simply. If it's two, then of course like we cannot take the selective clone here. We would like this ones too, place somewhere here, but it doesn't feel it doesn't feel necessarily right. So that's okay. Can make the smaller here. May 1 be close to this, another one. So we can take singles and actually tried to build our own shapes over here. This one is too big. So let us take the similar ones here. And this one here. Maybe. This too doesn't seem to be too sharp. Of course they don't belong here. So I'm going to erase them. Clean this one up. And the sounds I also don't like, even though they do belong here. I think we could actually make this a little bit better. So let's continue here. Shrunk layer. Just like this belief, it looks so much better now. This area and got pretty full, quite repetitive. We could also, I believe, maybe make nicer diversity between the staunch. Place, this one here. Over here. They need to be blurred, blurred one. So I will take from this side over here, you can see we can fill this up. And from here, we can always bring some feet here. And this one we can bring here. And this one here, this one here, you can see the match quite well. This one, not necessarily. This one here, this one here. And this one somewhere. And this one node. And this way, as you can see, the image making more sense. I got quite dense over here, but this is good because the image was quite dirty. So it didn't, it didn't look right. And now as we covered this with stance, it's just nicer here. Here. And of course, this part over here, it's a little bit dirty. We need to find some of the stones. And the stones are also not look in the best here. They need to be a little bit blurred. As the other stones that we have, this ones I think I'm gonna remove. I tried to bring this back, but I just don't feel it looks right. So let's, let's create a new ones. When we get closer to the shadow. Might be a little bit troublesome because some of them getting quite dark. So I would be careful here. Since we have somewhere here. I would like to take some stones from here. But the problem is they might be too big for this area. As you can see, it's, it's easy to spot that this one doesn't belong here. But then I might be able to get some of them here. Here. We don't have to pay attention to the shape because in this shadow, we contrary spot that match this one here. So let's get a few more. And I think that would be this one. Still didn't like the surrounding problem with, as you can see, I think just the problem with Swift stone. Instead of the other one. Let me try with this one. This one, maybe too dark, but that's okay. And for now, I'm quite satisfied not going to create much more of them. I think we can make a crop may be cut something out and that would look okay, so this is how we can replicate the stones to cover some of the empty spots that were the result of the previous retouched. 24. Create Natural Looking Reftections: What we are going to do in this lesson is take care of the reflection's existing on the products. Simply speaking, we are going to make it look way nicer. So for this, I will be creating a new empty layer. So this project will overall have a lot of layers. Going to name this as reflection's number May 1 be, it could be product number one. So whatever we are going to choose will be okay as long as we know what we are doing. So reflections, number one, there might be more of very similar layers over here. So it's important to keep this in mind. And I'm going to start from this area. It might be quite difficult to clean this up just by the retouching tools like Healing Brush or clone stamp. As you can see, it's quite tied with the other color. So what I would do, I will just painted over. I'm going to create a selection the same way as I always do. So I'm going to use the pen tool around here. It, it doesn't really have to be completely precise of the line over here because we are going to completely restore this area over here. So once the selection is done, goes into heat, right? Make selection and feather radius. One. What I'm going to do, I'm going to choose some of the colors that are quite universal for this image. First I'm going to start from this side. I'm going to press at corruption to take the sample, the color with the eyedropper. And then I will paint on it. So maybe to this point. And here the colors slightly darker. So to keep the natural shadows like we are going to do something like this, let's have a look how it looks like on the bottom. Not to perfect. I'm going to step back and see if I can cover a little bit more. Seems like not. It's OK. And then with the clone stamp, I will polish the edges to make sure I covered everything well. So just like this, on the top of everything here looks quite okay. This is the first step. And then I'm going to do another selection somewhere around here. So that will be quite a few steps. We are going to do it. This one, much easier. Something like this. He tried makes selection. And look in here. I think the colors are quite similar across all of this. We can try to blend this in nicely. Let's see. On this side a little darker and the side a little bit. Right? Of course, it's optional to go with this natural shadows. I don't think it will affect this image much in anyway. But yeah, I just like to do it this way when it comes to this area. So we can try to do another selection. We have some of the noise here. So it's better to actually paint everything the same way. So later on when we will be adding some noise, everything can be the same. Everything can have the same level of noise. So sometimes our peace of mind better to everything the same way we are doing other things. So I will try to speed up. Now this gold color. Of course I have to read a little bit further over here, maybe even more. And I'll cut this short here because I don't want this goal to be too wide to overwhelming. Makes election again. Paint in this shiny color. Turn off. And the ending here. And the last, the last selection we are going to do. It wasn't perfect, maybe a little bit higher over here. And I believe this will be enough for our work making selection painting over. So from the distance, obviously, it doesn't look natural. I wouldn't say it looks natural. But we can make it look quite natural. We can make it look better. So you can see this one over here. But from what I see, it was like this. So this is okay. Look here. Thinking, How about this. I think I might actually change it. So we'll see how it's gonna go. But first, this area over here. So another part of the selections that we are going to do is this shiny part here. So I'm creating this and reflection. Number two is another layer. I am the activating this layer. And on this one here, I'm trying to pick this shiny color. But also if it's not perfect, we can always move it more into the color white. And I will paint on this new layer. So I'm going to paint it in the direction of the light softly Just like this. We don't have to look closely to the edges. I believe it will look quite ok. So this is the result and we can make it actually better. I'm going to filter bluer and using the motion blur. And, and in a little bit of the motion, we can also go to filter blur. And this time I'll use Gaussian blur. So using Gaussian blur will overall blurred this out. And effort could be slightly more natural and it's not strong enough. So what I'm going to do, I'm going to press Command or Control and J few times. So as you can see, definitely got stronger. And for now, I'm going to press shift. And from the top distri layers going to merge because I don't need that many layers. So after that, I'm going to hit right on this and merge these layers. Right now it still doesn't look perfect. So I'm going to filter bluer maybe and a little bit more blur. Once it's done. And once I'm satisfied, I'm going to rename this back to reflection to, I'm going to create the Layer Mask. And now with the color black, going to paint on the edges and make sure that this reflection simply looks quite natural. So that's, that's my process. And I think we did quite good. So now, of course, it's not finish going to create another layer this time with the name R three. That will be another reflection. Let's see what we have here. We have some of this purple color. Many of them. I don't think we need to imitate all of them, but I'm going to paint over taking sample from the color here. So I will paint something like this, maybe longer, Trying to make its trade. And it'll higher here because it's quite wide. Then again, the same process, Filter Blur. Or if we wanted to do a little bit more, of course, we can do. Maybe I could do something fragile over here. I'm checking if the color is actually okay. Maybe slightly different because we have different color of reflections. This one will be smaller. Maybe something like this. Not too bad. And I'm going to filter bluer and motion blur. That's OK. Now let's turn it on. And I think it looks absolutely amazing. So I'm going to filter again, Blur, Gaussian Blur, duplicate ones too much. So just on this layer, creating mask again and with the black color. Go into correct this. So that's how it looks. As you can see, very tiring process. Now, I need to make these areas over here a little bit better. Natural looking. So it's over here going to mess up on this layer reflection one. So I will try to use what I have here, the color that I have. To blend the edges a little bit nicer because it doesn't look too natural at this moment and I think we can all agree on that. So I will try to do it as straight as possible. So paying close attention to the edges. Over here as well. I will try to make it smooth. And what's most important straight. We can always blow this out just a little bit later in case we need that. And also over here, and this one will be more difficult. I believe. I can start maybe from this side. So you can see, I'm not really that good at the painting, which is extremely useful. Kill when it comes to product retouching. But if I can do it, being not very talented, I'm sure you can do it. And this side here, don't worry about the edges. Everything is going to be okay and we are going to correct this. And let me just make sure the line is straight here. So all I do is actually painting on this moment. And there are different methods if we need to do them, of course you don't have to do it on this reflection layer. We can always duplicate this. If we don't think it's good, I can duplicate it Now, for example. And use blue to make sure that the transition, maybe it's a little bit better, not too strong because I don't want to remove to make actually something that's below this layers visible. Going to select these two layers, press Command or Control and g. So I'm going to name this reflection one. And on this group, I of course press command G to make them. Now I am going to make the mask on this group. And on this mask, I'm carefully painting with the black color. To bring back my natural edges. We have to be very careful here to not go too far. If we go too far, of course, we can change it to color white and correct it again. So don't press too strong and do step-by-step, lifting the pen. I can see I got too far in some Maria, I'm pressing x2, exchange the color to switch it to white. And that's it. And now over here with the black, makes sure there is no shadows of these remaining in the, in the other spots a little bit further from the edge. That's quite common mistake. Number here, as you can see, a little too far. Switch too wide to cover it. But it's actually not too far. The problem over here. So I'm going to create the layer on both. And that will be another clean number three. And this one here, just cover. And we can do these corrections in all of the other spots. I think it needs require more touch ups over here. So this is not band. And now will be really important step a little bit concerned about this one. As you can see, we can, we have to take care of this here. I can see it's going a little bit too far. And making sure all reflections would be just perfect and they will not go too far out. And the last step here will be creating the natural texture. So once I'm really sure I've done this and I don't want to deal with so many layers. I can actually select everything they did here. Then I'm going to hit right and choose manage layers. Let's have a look. And this is what we have. And if we still find some mistake, we can later change it. We can work with this. I'm going to name this slide product, reflection one. Then I'm going to filter and I'm going to use camera filter. Then go into effect and I'm going to add some grain not to match. We need to try to guess what will be the correct amount of the grain that will match with the rest of the image. So it seems I got this quite right, maybe slightly too big. So we can do a step back and incase, still gonna make mistake. We can always convert this to the smart object. And I'm going to try again. So camera filter. Now I know the noise, the grain less than what I tried to add, and especially the size of it, smaller. And now it seems we got it quite right. So this is how I create the reflections. Quite demanding process, I would say. But I think the result of this moment or warfare, and we're going to do the same thing on the other side over here. 25. Create Natural Looking Reftections II: I'm going to do similar thing on this other product. So if you want to practice a little bit more, and this is the chance, I believe it will be a little bit easier this time we have less things to do. And also I learned some things on the mistakes I was doing here. So some of the things here, maybe I could do a little bit better. So I'm going to use Pen tool to make the selection. But what I'm going to do, I'm not going to start from the edge, but maybe a little bit higher. And you will see why doing it this way. So till around this point, maybe it doesn't have to be perfect. Because remember that we can always actually do some corrections. So checking now, but from what I see, it wasn't really straight. So I want to make sure that the lines I'm doing actually straight here. So going up here, maybe a little bit further here. So this is the selection. And now I'm going to heat right, makes election. And maybe the feather radius. Instead of it being one, I will have five. So let's see what this going to create a new layer. Maybe. Number one, I will know. And I'm just painting so I can go over the edge. And not really important. It can easily correct this later. And also going to just do this one color. Make sure we did enough on the edge. So now I can turn it off. And this is how it looks like and not too bad. I think quite natural and most important straight line over here. So now I'm going to do another one here. Again, pen tool. And I will go a little bit further. So to this point, I can go over the edge. It's a mistake to the edge. Here. Now make selection and I'm going to use the same feather radius. It seems to be working quite well. And again, so not very concerned about the edges because we know that it's easy to correct this. I just want to see if there's another colour. So maybe I'm going to take the sample is a little bit darker thus, okay. So that would be it. This is the first part I wanted to do. Now I'm going to remove selection and I'm going to create a mask. So this way, First of all, I didn't have to paint over later to make the smooth transitions. I figure out how to start with them, how to do it. So I will have another starting point already, the smooth transitions. Between different colors. Here, of course, in careful on the edge. And here also I need to remove a little bit more because we don't really want to have the smooth transition on this side. So here we need to clean this up. And on the top here, make sure we cover it nicely close to the edge. And looking from the distance as you can see, great work. And it would be a little bit easier if would work the same way on the previous example. So now let's try to create the natural looking reflection. I'm going to create another number that will be two, then it will be three, and so on, so on. I'm going to choose the color white. We can make selection actually to paint it here. But I don't think it's really worth the time. These parts are quite easy. I believe. Another one here. Let's try with two colors. Maybe we'll be able to do them all at once here. One here, one here, one here. Turn it on. Filter bluer. Or I wonder, maybe I can do even more here. So let's try to do them all at once. So let's make some more shadow here. Turn on. Filter, blur, motion, blur. The direction here, a solid will be different. So you need to make sure it's right here. 46. Maybe more. It's too much. Let's try again. Motion blur. Minus 48. This is the point when it looks are right. Then I'm going to filter bluer and I will, underneath will be two Gaussian Laura as well. And now I'm going to create the mask. And with the black color brush, going to make sure the reflections look. And in fact, this is not bad. And one here, just to strong i over i feel i overdone, but I can actually correct this quite easily. This one over here was too soft and we can add some more blue reflection over here. So I think it wasn't enough. So I'm going to do another layer to multiply the strength of the blue one. Some nice column. So let's try it with something stronger. And filter motion blur. And also Gaussian Blur. But less this time. And the same thing creating the mask. And I think now I got what I was really looking for. But still this brown here, too much, too much. It's like I want to have this really settled. Now. I think it's okay. So we have three different layers. It seems we got this around just about ok on the edges. I'm going to hit write, merge them. Product reflection. Number two. I will do a mask because there is some more things to clean here, still going too far out. So I'm sure you saw it. And I'm sure you thought I'm going to leave it like this, but now I'm actually going to check this even more after this video. So don't rely on me and always check your work. See little dirty here. Can I do it on this layer? Hopefully, it'll meet. So I'm quite satisfied now. So let us go to Filter. But before we do it, I'm going to convert to the Smart Object, although quite sure how much of the noise I want to apply. So let's go to camera filter. Around eight. And size not too big. Let's make it a size 20. In how it is. Quite OK here. It's missing some of the noise. And the reason for this is that since I didn't apply for the color here, let's make sure that everything is covered in the color here. So when we apply the noise, we apply doesn't have to be perfect, but should we enough? So once again, I'm going to Convert to Smart Object go-to filter, filter. Okay? And this time, and finally, quite satisfied with what I have here. If I want to adjust the noise a little bit more because it appears it's a little bit harder here. Then I can easily do it. And as you can see, it's pretty well matching the surroundings may be a little bit more pin-up here. These two products look absolutely uncomparable with what we had and what we have now, it looks absolutely amazing. 26. Cleaning edges: And at this moment, we have finished dealing with their reflections. And this is pretty much the final outcome of the image when it comes to the shape of this. So we don't have the panel. It's huge difference. We sorted out the reflection Cybele, if they looking quite natural and what's most important, they look clean. But of course there might be a few more things to do on this image. And before I will move feathers to sorting out the light, I would like to create another layer. I will rename this into number clean, number three. And why I'm doing this? Of course I could do it a little bit earlier, but I have missed some of the spots. So before we move further, what I would do here, I would clean up all of the dirt that we have. So in Lab the half on the products, it might be in a few different spots. It can appear on the edges so that small details, and in many cases, it's possible they would not be visible. But it's good to have this one layer and does things for yourself. So first, going to deal with some of these dust over here that I have. And what's most important is d1 out with the edges. So as we cut out the product and not always, we will have really nice edges. So over here, it looks absolutely perfect. This edge on the side. But on the bottom, as you can see, we see it actually was sticking to the panel because we have this different colour. So what I would do here with the clone stamp, I would try to blend this softly. So I don't want to have strong and the visible edge. And this is why using clone stamp to blend this in. So it's not really like cleaning up. But I'm trying to call her up. These bright spots over here. Not too difficult task. It might be difficult if you didn't get used to work in with their, with the templates. So this is why it's important to work with the tablet. And also, I believe on some of these other products over here, I might have a little bit too strong of the lights. So as we removed the panel and we don't want the product to look like they were taped today. Image like down moved from somewhere else. But we want to make sure that this image look like it was the part of it since the very beginning. So also here, wherever you stick, I'm paying attention to the small details and trying to blend in. So I'm going to do this on disorder images. Not to be of the size when it comes to the branch because so on it will be to beat the cross might be too big. The, the cross between the product and the background. So we want to have its size may be on to two pixels so we haven't blended. And let's have a look before, after, before, after. As you can see, it's it's getting deeper into the background. So this is why I'm doing this. And over here seems like this one. We cut out quite deeply, so it actually looks quite natural. So this is the thing I want you to pay attention before we move forward. And the other thing is, of course, pay attention to all of the dirt and dust that we have. So if there is such as to make this a little bit better, before we move forward, for example, I can even use the clone stamp to blend this in painting. Painting softly. I can do it. So make sure you will do it to some of the reflections like this one, they can stay. But sometimes if it bothers the eye, we can, of course remove this. For example, the one here from distance before I taught it looks okay, but then from the distance, I think it doesn't look perfect. So also, I am going to cover this up. So now let's move to the next step and we are going to talk about a little bit more difficult task. So we are going to do some Dodge and Burn on this image. 27. Dodge & Burn with Curves: In this lesson, I'm going to show you how to check if the lights on the image are even and if not, how to fix that. So of course it's easy to spot some of the major differences like this one. But we cannot see on such a wide background the differences between the light where difference is not so strong. So to find these spots, first of all, we need to make the image black and white. To do this, I'm going to choose hue, saturation, and I'm going to desaturate the image to minus 100. And to make sure that the lines are represented correctly, I'm going to change the Blending Mode to color. As you can see, color and normal is a huge difference because of course, each color luminance delight in the different way. So to make sure we do not affect the illuminating colors, change panic mode to color. So now we have the real representation of the lights. It's easier to see the lights on black and white image than it is on the color image. But this is not everything. What I'm going to do next, maybe below this black and white layer is going to dark. And just remember that what I'm doing right now is not the process of retouching, but doing something to see the differences on this white floor over here. So now we can see some more differences, but still not enough. We don't want to dark and this curve to match to this point, I would say is a limit. And to see more, we can simply duplicate this layers. So to do it, I'm going to press Command or Control and j. And as I'm doing this ones, as you see, I can see many troubled areas now. We'll do it more. I can see even more. So unlikely, I will not ask you to do it every single time because in this course, as always in my courses, delivering the actions in the action folder, there is action called B, w. So black and white help layer, we can activate this without making it. So first of all, one layer is of course, hue saturation than I have darkened layer. And what we can do, we can just duplicate this lay layers later on to make it a little bit darker. So this is the help layer or help group, and it's crucial for seeing the lines, but now how to fix the lights. And there is two ways. One way, which is a little bit more settled and is better for the skin is using the curves. So for example, if I would create the curve layer, increase the brightness here. And then invert this curve layer to the color black to make it non-visible, I could rename this introduction. And then on this natural layer, make sure you always work on the layer mask. I could choose a branch. Of course, white color of the branch may be Flow and we'll lower 2-5 percent. It could be ten depending on what you find comfortable and these dark spots as you can see, I can write them. So by doing this, I can make the differences between the light smaller. And then in the areas that are too bright, I could create another curve adjustment layer. Darken this invert, rename into the burn because it's darkening. And tried to paint on these bright spots. Also to now not ask you to do it every single time. You can also use my actions, damage and burn. They look a little bit different as you can see, because they're in the group, but there is no difference between them. So in the group, I created this additional saturation layer in case there wouldn't be some difference in saturation, you can move it in the image like this. It should not appear only on the skin. But of course, for the product, I need stronger and stronger burning because otherwise it would be not enough. And then, and this layer masks, I could simply paint on it. And this is how it works. And so you can see not really a complicated idea behind the dungeon burn. Probably the execution is a little bit more difficult, but with enough practice, it should not be a problem. So this is how you work. Sometimes when you see major difference like this one, you can always go back to the clean layer and try to solve it with this. So the thing is unbound and darkening the image. You can see much more. And you can see the things that are useful not only for Dodge and Burn, but also for cleaning. What do we get too close to the object? Of course, that would be difficult to do on the empty layer. So then we've helped would come Dodge and Burn and simply. And this is how you work using this Dodge and Burn technique. Now let's move to the next lesson. I'm going to show you another Dodge and Burn technique that could be a little bit better for the product retouching. 28. Dodge & Burn on empty layer: Although Dodge and Burn retouching using curve adjustment layers might be a little bit easier in the execution when it comes to the retouching products, especially the areas that are quite bright, I would recommend working with their empty layer. So in this session, I'm going to show you how to do Dodge and Burn retouching on the empty layer. As the name says, we need to create a new empty layer. And I'm going to rename this into dance and burn. And I believe from naming, you can already guess that all the work we will be doing on this single layer. So how it works, of course, we have to work with the brush tool. I'm going to keep working with the same soft adjunct brush that I have. And for now I will increase the flow. So you can see clearly how it works. Reset their colors by precent d x to switch. And when it comes to the blending mode, we have a choice. We can work with soft light if we need soft effect, and some strong effects would be overlaid, but I don't think overlay give you accurate results. So why soft, tight? Because the 50% gray on this layer will be invisible. Everything that will be brighter than pure grey will brighten up. Everything that we'll be having brighter color than gray will be brightening the image. And everything that will be darker will be darkening the image. So how it looks like. For example, I'm going to start by showing you how it works. As you can see, it working white-collar. It's getting brighter, dark, getting darker. So this is the idea behind this. Of course, as we will be working carefully ultra comment to keep the flow really low. So this way of working in the image a little bit stronger than the curve adjustment layer. So I would recommend keeping flow somewhere between one to 3%. And then I'm going to turn on this black-and-white help layer. So how to work? When we need to brighten up the area. I'm going to paint with the white color of the brush. So I will start with the brightening. And as you can see, it works quite well. We can also see that the changes are very settled with this 3% flow. It's because the floor that we work on is really bright. So the effect is not so strongly visible, but from what I can see, it's getting definitely better. Let's have a look. Small changes. We have much more of the darkening to do on this image. And of course, in the areas where we can, as I said, we could probably try to sort some of these areas simply by cloning. As you can see, I'm able to do something with the cloning over here, but it will take some additional time. So the areas that I feel are actually better when doing of Cronin. I can do it. For example, over here. Would have to use small size of the brush to do burning here. So as you can see, this black and white layer is a lot of help for us. So don't confuse it. It's not the final result, but this is just for now for us to see things a little bit better. We can easily see also Wheat stones were actually copied. So the Sphinx the next to the stones, some of the bright areas. It's important. Pay attention to this. So now I'm going back to the data and burn and darker color. And let's, let's cover it. Let's make it look better. As you can see, it say it's not easy. I'm actually very strongly pressing on my tablet and the change is quite settled. I don't really think that we need to make it completely even to make it look good. So this is one think. And why I say so is because the contrast is so strong right now that we see more things that is required to make it look good. So once we turn off this black and white group with their darkening layers, we won't be able to see any difference. So now as we do it, making some brightening. So this is how I work, what I'm going to do now, maybe I will speed up this video to do some more things over here. And you can see this video in a little bit faster manner, so it won't be now. It's already huge difference. And when I turned it off, just looks so much better to Marc touch-up. So sure. We're going to do good. Okay. 29. Create Natural Looking reflections using already existing one: We are back to the subject of reflection because on this image, I want to show you another technique that you can use to create natural-looking reflection. And for this, I'm going to use what I already have here. So first of all, we are going to clean this up because it will be easier for us to create natural looking left reflection. So what I'm going to do, going to use the pen tool. And with this, I'm going to make the selection. So the same thing as always. I'm going to grab it in the middle and create natural looking curve here. As you can see, we can easily grab this endings. And now, if I would go here, as you can see, it looks perfectly match because we did it exactly in the middle. If it 1B perfecting match, we can always press Command or Control. Grab this and go back to the start just like this one. Match it again. And then as we grab here, we can create this curve from the start again. So important to keep this in mind Analysis, I need to go straight up here. I'm going to remove it or rather policed back and again go up. But from what I see, it's not perfectly done. Some going to remove it even further. And now go up here and I have straight line. So in the middle here. To make it nice, natural looking curve until the end here, as you can see, it doesn't look straight. So I'm going to narrow this here till this level. And now new curve over here. So something like this. Quite satisfied, although here I could do it a little bit better, but we'll see what we can get. So I'm going to do a copy. First of all, make selection. Feather radius les. Let's keep at one pixel. And this part, I'm going to do Layer via copy. So this one, I will rename to reflection. And also I'm going to use this selection. And on this clean layer, I'm going to use a brush. And I will take the sample with I dropped her and pressing or auction, taking the sample of the color and painting this over in the natural looking color that I had here. So it's something, I guess we can turn it off now and we can see. It looks good. It's all covered. And this reflection's putting on top here. So now I'm going with this cat, Bart, going to filter bluer. And I'm going to use motion blur. And let's make it straight. So dangle, I believe is 90. Distance quite strong. I just need to check if it goes in exactly the same direction as it's supposed to. But I believe we could make it. It'll be different way. So I wasn't sure if it's trait I it's really important to make it in the correct direction. So let me try a few more times. So it should be around 88, maybe too much. And then the other side is also too much. Minus 89. Or after. I think this one is straight now. So small differences. But let's hit OK. And now, if it's not strong enough, we can of course, duplicate these reflections to make sure they are strongly visible. We can do it more times if we need that. I don't think I need as much. So these three layers, I am going to select them all heat right on them and marriage layers. So I will change the name to reflections. And now on this layer I will create Mask. And I'm going to paint over this extension here with the color black to cover this. So this is how we do it. Also, if we don't want to do it this way, we can try to take selection from what we had here before, if you would have it and then simply create a mass. But as you can see, we already have this part here. So with black colour, of course, on the mask. So if you see that you painted in black, it means the mask is not selected. And I'm trying to carefully paint close to the edges is really important. If we go too far, it also will not look as natural. So we will have to correct this and I need to make sure that here everything is clean as well. So let's do it on the top as well. I'm adjusting the size. So I got a little bit too far, I believe. But it's not reason to be worried because you can switch the color to the white and bring it back. And then if we go too far in again with the black on the same layer. So this way, I believe I have created quite natural looking reflection. Just making sure it's nice and tidy next to the edges. And this is before, and this is after. So this is how you can use the part of the image that we had to create natural-looking reflections. If it's too strong, you can always adjust the opacity. So then the reflections will be smaller. If you keep opacity at 100, it will be stronger. If you duplicate the layers. It will also be stronger. So this is how you can manipulate the reflections and adjust them depending on your own needs. 30. Work Selectively with the color: In this lesson, I'm going to show you how you can work with the color in more selective way, which will give you much more control on the area you are working with. So I'm going to choose some adjustment layer. Could be hue saturation, for example, because I don't really want to do some strong color grading, but just slightly improved a certain colors that we have on the image. So let's say I just want to work on the yellow color that has this flower. So let me rename this layer today flower color. And we know that it's somewhere in between yellow or maybe orange. And here in the hue saturation. We can have, we can use the eyedropper. We can use this hand to define the color that exists over here. So this is what I'm going to do. I can use this hand to see what is the color. And it says it, the yellow. But it doesn't necessarily defined perfect yellow color that we have here. But it shows you that we are closest to the yellow color that we have over here in this hue saturation. So in stead of choosing the color that I have here, I would choose the color that maybe doesn't exist on this image or is not in big presence. So I would choose the blues and then choose the eyedropper instead of this hand. So the color blue should get replaced with what we get here. And this is defined as yellows to the center of this is the color that we have over here. Of course, we can adjust this a little bit fatter and manipulate, as you can see with this small sliders here, if want to define it even more, I don't think I need to define this much more than it is because we don't have many colors that are too similar to this yellow. So then when I will be moving the hue, as you can see, I'm affecting this yellow color. It does exist in some other colors as well as you can see, we have yellow here and here on the product. So to make it better, we can define it even more to not affect the rats, do not affect the greens here. Maybe not more than this. And as you can see now, I think it's slightly better effect, but we still affect the other areas. So what I want to do here, I want this color to be many more, yellow in this direction. I don't want to change the saturation although we can do it. So as we affect some other colors, or I want to do here, I went to work with this mask. Although as you can see, it's quite settled when it comes to other colors. So on this mask. I'm going to select then color range. And with sampled colors. So we work with the sampled chorus. We don't choose yellow, although we can, if we have pure yellow, but better to go with the sampled colors. And with the eyedropper again, I'm going to choose the color that I have chosen before to work with. So as you can see, the definition is not really that strong. The reason for this is because the fuzziness is not very high. As we increase the fuzziness, we can increase the effect a little bit more. So I'm increasing the fuzziness. And also I will choose the eyedropper plas to find more and more of this color that I have here. As you can see, it's doesn't extend much vendor. So I will extend a little bit more fuzziness, maybe let you go even higher. So we could even go to the point where the background is dark. This other details are not important. I'm going to hit OK. Then we'll check these masks. To do it. I can press outer option heat on this. So as I don to undo effect this areas, I'm going to choose the brush, black color of the brush. So I press D and D to reset and x to switch between the colors on my keyboard, souls, the black color. I'm going to paint over this mask. All the other areas that could have traces of this yellow color. So over here. And as it's done now, you can see that now we are sure we only affected this part of the flower. Think it's still a little bit strong, so I'm going to lower this may be to pass four. And using this method, I could have good control over the colour. So to continue a little bit more, I'm going to do maybe something about this dark red that we have here. I think it could be a little bit brighter. So for days I'm not going to use adjustment layer with a color bad. I'm going to use the curves. And we'll name this as righthand. Choosing the mask, going to select color wrench. And I will try to define this read that I have here a. So let's try to do it. It's very, very wide because of the fuzziness is high, so you need to define this and it'll get better this time. Few heats to make sure we have good extension or the selection, I'm going to hit OK. Let's see how it looks like on the mask. Not so nice as in the previous example. So I'm going to press D to reset and X. And I'm painting over this time the areas that I don't want to have effect on. Maybe you for now. This one. I want to see how it looks on the lipstick. So something like this. I'm going to press outer auction again, some loop and slightly increasing. The red. Seems it also look not too mad on the lipstick. I have to be careful to not go too far with this. And if we are, we are concerned about the saturation levels. We can always open the blending mode and see if the luminosity looks a little bit better as you can see. And the effect is much more settled. Life equivalent, normal. It, it does look nice. So this is the way how we can work selectively wherever the color, using color range. 31. Adjust Contrasts in Photoshop: Now I'm going to show you how to adjust the contrast on the image using two separate adjustment layers that will allow us to work selectively on the highlights and shadows. So when it comes to Adjustment Layer, I like to use curve adjustment layers. It allow us to work with the light in a very precise way. So I need two of them. One will be chandelier, and I can simply create a duplicate, this one by pressing Command or Control and j and the other one where the highlights. So what we are going to do on the highlights, we are going to increase the curve. If it would work, we found masks, which we are going to do. Highlights would be around here. And on this layer, shadows would be around here. So now I want to work with the masks that will allow me to define the highlights and the shadows. So I could start from the highlights a little bit easier. So I'm making sure the mask is selected. Then I'm going to image and choose apply image. If we go this way. And the layer as the source here of well-being marriage, we are merging all of the layers. So as the result, we are getting the selected mask on our layer where the shadows are represented by the dark colors and highlight by the bright colors. The blending always has to be multiply or normal, anything that will give us this standard mask over here. So once we done, we can heat, okay, if that would be shadow, we can simply choose innovate and then the colors will be inverted. So as this is the highlight, I'm going with this and now I'm going to press out corruption, heat on this. And as you can see, white color will be the Highlights. Shadows will be over here. If I want to apply this into the shadows, I can go the same way. I can also create a mask by going to the channels. As you can see, I can choose RGB, press Command or Control and heat on this. And this will make the selection and go to the mask, then present command or control and I to invert the selection into this layer. And let's have a look at the result. The Press outer option again. As you can see, the effect is inverted. I could easily do a step back. We can also invert this by making a selection from here. So I am showing you a few different ways how you can make selection and create a mask. So pressing Command or Control heat on this mask. Go to the shadows man than press Command or Control. And I. And as you can see, the same as before. So now for the shadows and want to dark and this, I can grab somewhere here, or I can grab it even in the middle, because now the mask is done selectively. You can go from here. Stronger effect, we go from here. Something like this. So this is a little bit dark now. Then I'm going to highlight. And on the highlights I want to make them brighter. So this would be how I work with the contrast. If we are concerned about some of the color, for example, the red that we have over here. Maybe the products are a utile beat dark. Of course, we can work with this by making selection over the object or using the color range or anything else, I will try to do something. I'm going to use the object selection tool. So this is the new tool. And I will try to select this object over here. It's not selected perfectly. I was hoping it could be a little bit better, but it doesn't matter. I can go with the Quick Selection Tool and tried to do a little bit more. So I want to go all over this. Something like this. Here is not perfect on top. I believe I could probably ignore this. I don't think it will be visible. So let's see how it looks like. Invert into the mask. That selection is not as I wanted to. I would prefer to make it white. Side could invert this now, Command or Control and I. And you can make it a little bit brighter. So just like this, but it doesn't look natural. So what I would do here just brighten up the right side here. So it won't get to unnatural. We will not knock down the selection. And I think as I said, it's not so visible. So this is how I work on the contrast, is how I adjust the lights on the image. Of course, we need to make sure it all looks natural. We need to make sure that it's maybe not too bright. So I'm not sure if I will go with this highlights over here. But this is how I do my work. If I need to adjust the contrast in Photoshop. 32. Final Adjustments in Camera Raw: As we move in towards final steps, now, I'm going to show you how to do final adjustments in font shop using camera filter. So this is something I usually do on my images. I don't like to do the adjustment layers, but the final touch ups that I do, I like to do using camera filter. So how to do it? And first we need to create the final layer on the top. So as we did some of the work, some color work as well. We need to make sure that we select the last layer. Then I'm going to press Command Option Shift and e on a MacBook, and that will be control out shift and IV. Iv, we work on the Windows device. So I'm going to rename this entire final. And then to make sure that I can edit adjustments, I will do in camera, I'm going to hit right and convert to the Smart Objects. So if I'm going to apply the adjustments, then I can change it anytime I want. So once it's ready, go into Filter, and I'm choosing camera filter. So what I do at the very end, I did not set and a contrast before, because I like to do it here. I like to do it using camera filter if I work in Photoshop. And usually when I work with the bigger number of the images, I like to do it using Lightroom and also the shadows getting a little bit dark. So I decided to bring up the shadows. And as we work with the contrast, as we increase the contrast, we may also increase the saturation. And this is why I like to take down some of the saturation over here. When it comes to the texture on these images, I don't feel we need to get back more texture, but if it's needed, of course, we can work a little bit more with the texture, but I don't really think we can get some strong result over here. But as he said, we can do it and just to make sure that some details may be will be more visible. But be careful because you don't want the band things to become more visible. So when it constant texture be rather settled, also the same when it comes to the clarity, clarity builds up the contrast around the meat on. So if we do it to match, as you can see, we can get this weird effect. So this is pretty much what I do in the Basic Panel. I like to check the Color Mixer if I need, because in Color Mixer I can do more with this. Select colors that I want to work with. So for example, if I want to work on the yellow, I can increase the saturation here if I would like to. If I want to increase, and oranges, maybe some were inside here, I can do it as well. Red. And we have a lot of this color. So if I want to work with the rights, of course I can do it as well. Careful with this because we already have a lot of reds here. Magenta, I believe maybe you have some magenta here on the background. Not so much, but some of these. So if I want, I can increase a little bit of the saturation here. If I want the background to be more dominating over here. And the same when it comes to the Hue. I rather tried to make sure that the hue is perfect as I approach the final steps. So usually this is not the place where I'd be working with the hue. But we can do it if we need to do something a little bit more. When it comes to the rights, we can also look at some of the light to the colors here. So for sure, Color Mixer, very useful, doesn't mean we have to use it, of course. And personally, what I like to do is to add some grain. Men of my customers doesn't like to and grain. Some people like to and grain on beauty or fashion images, but not necessarily on the product images. So this is something say very subjective. I like to do it no matter what images and working with huge fan of the grain because it breaks down the transitions between the shadows and highlights, or transitions between the colors in the very nice way. So as you can see, very settled adjustments and the very end. I do. This is the step where I simply tried to make sure that my image look perfect. 33. Final Adjustments in Lightroom: It's important to remember that in Lightroom, we can not only import and edit raw files, but we can do the same with JPEG, PSD, and tif files. So this is perfect tool for the final adjustments, especially when we need to edit all of the images. So first of all, I'm going to import my tif files. So of course I need to find them on my computer. And this is in the images and in the folder converted. So once I find them, choosing import, and now all of the tif files should be important. So once it's done, I'm moving to develop panel. And there is a few things I need to do. I am going to do the same thing that I did before. So I want to increase the contrast to 20 and shadows to 15 it was looking perfect. Also may be slight increase the texture, lower the saturation. And this is the basic adjustments that I did. I might need to do a little bit more, but of course that would be personal. Also, I want to add a little bit of the grain. So I will add 2540. So these are the basics that I wanted to apply. And then of course, I will move to each image individually. So once we chosen the basics, I'm going to start from the first one, press Shift till the last one, and then synchronize the settings. So we didn't change any crops. So all of the images are the same. Pretty much we will change the basic settings and grain. So I'll synchronize now. Let's have a look how it is. So when looking at these three images, as you can see, it shouldn't perfectly and they look just fine. So what I'm going to do more here, I was working a little bit more with the Color Mixer. So that would be hue saturation luminance here. What I want to do here may be trying to add a little bit of the saturation for the magenta or more saturation for the oranges. Maybe just like this. Magenta and 0. And what else we could do here, maybe add slightly more light. So then for these three images, I'm going to synchronize this tree. And as you can see, as they have the same color, I synchronize them. So next are these images. And first we need to have a look. If color wise, they look the same and I'm quite satisfied with the color. But as these ones are a little bit darker, when I'm going to do, I'm going to increase the shadows. And also might need to increase the contrast just a little bit. For more of. A pop. So let's see if it works. I'm not sure if the contrast will not be too strong, but they feel It looks just fine. Slightly more brighter shadows here and maybe here. So this is the change I want to do. And when it comes to this image, well, it, it looks rather good. I'm quite happy. Maybe a little bit more contrast to these ones. So contrast at 25. And also your contrast at 25. And this looks just perfect. So the last thing I tried to do is of course, making sure the images are straight and the crop is right. So how to make sure the images are straight? We can do this using crop tool, but we can also use Transform tool that can save us a lot of effort. So when it comes this image, as you can see when I'm choosing auto, It doesn't work. But from what I see here, the lines are just perfect, so that is straight. But on this image also doesn't work. And what I see, it's not straight. So I'm trying to look and lines. And may it straight? Maybe around this then constraint crop. And it looks just fine. So then next one, I believe this one is straight, maybe just one or two minus, minus 0.2, maybe three. So these are small changes and also constraint crop. But now it actually looks like it wasn't perfectly straight. I think now it's actually quite even it's not straight. It's better perspective for the eye. So no changes for this one then. That was my mistake. For this one. Let's see. We can straight and Amanda didn't work. I'm not so sure. In this one was straight. So that was fine. Let's have a look at this one. Auto I think for this one, auto worked for this one. Let's see. It's just straight. And here, I believe that is fine. As expected. This doesn't work. 12, this is not straight, but I'm gonna sort this out in different way. And the last thing is the crop. So quite often I go with the original crop, I leave that decision to the customer. But we can do the crop, we can send the angle as well if we were not doing this Fourier transform. So what I'm going to do here, I'm going to just change maybe the frame a little bit. I'm going with the size five to seven. Why am going with this? There is no reason for this. Sandwich is doing this. Because I like and give you some option that you don't always have to have the certain crop. Like you can decide on the crop that you want, on the frame that you want. I think that there's just a lot of space on this image and it'll be too much. So I want to decrease that extra space. You know, a lot of empty, lot of emptiness here. From this one. Look, it would be maybe even better this way. But it's of course optional. I can see I didn't finish this image. So I will have to finish this later, just not now. Five to seven. And here, this is this image special. I'm not sure if one come and go with this, but I think it works and perfectly of product in the center. But here, let's see what we can do with five to seven. This front for sure. No. So I want to center this a little bit better, maybe something nowadays. Let's have a look. This is done. And I think we should make something like this. It looks straight now. And now it looks as I wanted. But S1, one problem you see over here, it's not so ideal. So I would have to think. But at this moment, let us assume this images with the finished. So at the end, what I have left is to export them. And we are going to do this the same way that we're doing this at the beginning. So selecting all of the images, I'm going to File Export. And of course we can decide how we want to export them if, if it's as a TIF files or JPEG files. So I will export them as the JPEG because it just for myself. So I will title this finished. J picks the location, of course. So I need to find the location of my courses and this specific course which still live post-production images. Number two, and I will do it here. So the subfolders finished jpegs, make sure the quantities are up to 100. I have experiences when exporting gpx, not quality 100. We might get some of the banding. We don't want this resolution 300. And now I'm going to choose Export will open other be bridge. And we will be able to see the result of our work. So this is the finished jpegs and the final images are exported here. So this is all my workflow that I use for product retouching. I hope you enjoyed this and thank you for watching.