Simple Photoshop techniques to retouch a studio portrait. | Rob Sigler | Skillshare

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Simple Photoshop techniques to retouch a studio portrait.

teacher avatar Rob Sigler

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (45m)
    • 1. Introduction to the class

      0:40
    • 2. 1. Opening and adjusting in Camera Raw

      2:20
    • 3. 2. The basics - Crop, basic liquify, the burn tool, and a few keyboard shortcuts.

      5:50
    • 4. 3. The hair - blurring the strays, dogging and burning, and coloring.

      10:31
    • 5. 4. The skin - spot healing, frequency separation, skin tone.

      10:28
    • 6. 5. Dodging and burning the skin.

      2:17
    • 7. 6. Teeth - taking away the yellow!

      2:53
    • 8. 7. Eyes - Making the eyes sparkle.

      5:25
    • 9. 8. Eye whites - cleaning them up with surface blur.

      2:36
    • 10. 9. Final steps - converting to 8 bits, and sRGB profile.

      1:56
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About This Class

It's easy to get hung up using expensive Photoshop actions and plug-ins.  In this course, I'll show you how you can use the basic Photoshop tools to retouch a studio headshot.  the techniques I'll demonstrate are easy to understand, and fun!  I've included a DNG file of the image I used in the video so you can play along at home.

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Rob Sigler

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Transcripts

1. Introduction to the class: Hey, guys, in this class, I'm going to teach you how to go from the portrait on the left, to the portrait on the right on Lee using photo shop. My name is Rob Sigler, and I'm a professional photographer in Western New York. I've been taking pictures of high school seniors for over 12 years. When I first started in photo shop, I got really hung up on purchasing actions and plug ins that really stifled my creativity. I'm gonna show you how to do this on Lee, using the most basic of tools in photo shop, his classes for anyone that wants to learn how to make their images look great. I hope you enjoy it. 2. 1. Opening and adjusting in Camera Raw: and greetings. Welcome to Chapter one of our senior retouching tutorials. In this chapter, we're gonna be retouching this senior yearbook photo. Now, a lot of photographers cringe at the thought of taking this photo, but it's an easy photo to take. It's a photo that parents love to purchase, and it's an important photo for the kids because obviously that's the picture that goes in the yearbook. So I'm gonna show you what I do to this image to make it look great. I've opened my raw file into Photoshop, and it's opened up in camera raw, and what I try to do before I do anything is just kind of look at the big picture. So as we look at this picture, we can see that her skin tone is first of all way too bright. Um, the shadows are a little bit dark, and I think we're gonna play with the white balance just a little bit to get her skin tone toe look a little better. So the first thing they usually do in camera raw is turned down the highlights, Uh, until we get to the point where her skin doesn't look too shiny and I'm going to raise up the shadows a little bit and then maybe turn the highlights down. Just a touch more. I like usually a warmer image. So I'm going to increase the temperature of our white balance until the skin tone looks pretty natural and it looks pretty natural right there. So our images all set. I'm ready to open it now. Down here at the bottom of camera raw, it's going to show you how the image will open. If you click on this little link, a dialog box will pop up and you'll have the opportunity to select the color space, the bit depth. I always edit my images in Pro Photo RGB. That is the largest color space. Whenever you edit anything, that's the space you want to be in now. We don't want to print from that space or send it to our lab in that space. But we do want to edit in pro photo RGB and for the bit depth. I always like editing in 16 bits per channel. Okay, so our raw file looks pretty good. What we'll do is come down to open image and open the image in photo shop 3. 2. The basics - Crop, basic liquify, the burn tool, and a few keyboard shortcuts.: Okay, so we've got our image open of photo shop. Now, before we start editing, I'm gonna show you a couple keyboard shortcuts that I love to use that are going to save you tons of time. Over each summer, I photograph 3 to 400 high school seniors, So editing time must be quick. First, short cut is in the brush tool. If I press b m a keyboard, it's gonna pull up the brush tool and I'm gonna show you a trick. Teoh easily resize the brush, and that's by holding control and option or controlling Ault, if you're a Windows user and while I have those two keys pressed, I'm gonna press down on my mouse and keep the button held in. I'm gonna move my mouse to the right and to the left, and you could see what happens to the brush size as I move the mouse to the right or brush eyes is going to increase. As I move it to the left. It will decrease. Now, watch this. If I push up on my mouse, the brush hardness will go to towards zero. If I pull down, the brush will get harder. So you'll see me constantly re sizing my brush to do the retouching, and that's how I do it. I hold down control and option and then move my mouse up, down, left and right. That keyboard shortcut is going to save you a ton of time when it comes to retouching. Okay, so let's get retouching. First thing I want to do is look at the big picture. I like to retouch the big things first and the small things last. So the first thing we're gonna do this image is crop it. Why in the world would I want to crop the image right away? Well, a few reasons I always cropped these images to eight by 10 ratio. Why do I do that? Well, it's the size that the school yearbook uses. It's the size that the parents usually order from. And if you have an eight by 10 it's easy to change it into a five by seven or a four by six because we just have to crop off the edges of the image. So if I know the image looks great as an eight by 10 I know it will also work as a five by seven. So I'm gonna press see on my keyboard to pull up the crop tool. And there are some presets up here. I'm gonna choose 4 to 5, which is the same as an eight by 10 crop ratio. And once I do that, this little overlay will appear This is called the Rule of Thirds. And for high school seniors in this setting, I like to put their eyes right on this line. So I'm going to bring her down a little bit, and obviously, we have some background here, so I'm gonna pull it in until we get rid of that. And that looks like a nice crop. I'm gonna hit, enter on the keyboard and our images cropped. Now, the next big thing I want to fix is what she's wearing. The black drape that the girls wear. There is no need to show any detail in this drape. This is one of the only times and photography where we really don't have to worry about detail. Um, so we're gonna erase all this detail in here. All these little bumps. We're gonna make sure this looks perfect. And I'm going to do that by using my burn tool. If I press Oh, on my keyboard, it will pull up the burn tool, which looks like this little hand. If you're tool looks like this, you've selected the Dodge Tool, which makes things brighter. We want to just select the hand, which is the burn tool up here under range. I'm gonna put that as shadows and the exposure is gonna be 100% because I just want this to go toe flat black. Now I'm gonna resize my brush again. I held down control and option, and I'm just going to start coloring over the drape to erase all these wrinkles and dust particles and stray hairs. Here we go. Now I'm going to zoom into 100% gonna make my brush smaller, and I'm going to get some of these smaller parts that we missed. That looks pretty good. Could these stray hairs right there That wrinkle? And there we go. The drape looks nice and black. Now we need to fix this edge, and we're gonna use the liquefy tool to do that. So I'm gonna go to filter select liquefy, and this will bring us to the liquefy module. I'm going to use this tool, the forward warp tool. And I'm going to push and pull on this till we get a nice straight line. Now, if we want to move something bigger, I'm gonna make a little bit of a larger brush. And I'm just gonna push that in like that. I'm gonna push that out this and a little bit. Let's zoom in a little more. I'm going to use a smaller brush to get these little spots, make it a little larger for their and that is looking much better. Here we go. Okay. I'm gonna come down and select, okay? That's gonna return to our image. So here's before, after before and after, it's the little details that make the difference. 4. 3. The hair - blurring the strays, dogging and burning, and coloring.: okay, in this section, we're going to start talking about the hair and re touching the hair and like anything in photo shop. But there are a 1,000,000 ways to do the same task. I'm gonna show you what works for me. The first thing we're gonna do is again take a look at the big picture. What stands out about her hair? Well, we have this little comp here sticking out. We have some frizz ease here. We have frizz. Ease here. Lots of foresees over here. Maybe we can push this area in a little bit. Maybe we can push this area out a little bit to balance the hair a little bit. And I'm gonna show you how I do that. The first thing we're gonna do is get rid of the big frizz ease. And we're going to do that by duplicating our background layer. And I'm gonna hold command and then press J and that will duplicate are layer. So now we've got two layers of the same picture on top of each other. Our next step is to go to filter and hit Blur. And I'm gonna hit Ghazi and Blur and the Radius controls How much blur we're putting into the picture. We want to blur the picture until we don't see these stray hairs right about there. Looks good. And I'm gonna press. OK, now. I used 41.6 for your pictures and might be something different. It depends on the picture. It depends on the resolution of the picture. It depends on a lot of things. So you just turn the blur up until you see the stray hairs disappear. Now we need to hide this top layer because we don't want it to show. Obviously, we don't want a blurry picture. So what I'm gonna do to do that is press the option key on my keyboard and I'm going to click this icon. This is called the Layer Mask icon. And now we have a layer mask on our blurry image. This black layer mask covers up our blurry image. So when I paint with white by pressing the Beaky, I'm going to switch to the brush tool. When I paint with white on this black image mask, it's going to reveal the blurry image underneath it. So if I were to paint right here, it would make her eyes blurry. Wherever I paint, it's going to be blurry. Obviously, we don't want that. We're just gonna paint on her stray hairs. I'm gonna make my brush a little smaller and just cover up some of those straight here sticking out. And that looks pretty good. Now, we're gonna fix this clump of hair down here. Now we're gonna flatten are two layers into the background layer. And I'm gonna do that by pressing command and f on my keyboard. This is a shortcut that I recorded, and you could do the same by editing your keyboard shortcuts. Command F for my particular set up is the shortcut for flatten layers. Now we're going to use the stamp tool. The stamp tool is easy to use. You press the option key and click somewhere, and that's where it will sample from. And then wherever we brush, it will copy what's over here and put it here so we could copy her teeth on put teeth on her neck if we wanted Teoh. Obviously we don't want to do that. I'm gonna make my brush a little bit smaller. I'm gonna sample right next to the hair. We want to remove. So I clicked. Option clicked right there. And now I'm just gonna color over this little clump of hair sticking out, and that looks pretty good. Now we can see these little, um, shaded areas. Where are cloning? Didn't work very well. So what I'm gonna do is hold down command and option. Make my brush very large. I'm gonna stamp right here, and I'm gonna color over that. There we go. That looks pretty good. Maybe I'll fill that in one more time. Okay, so our hair looks pretty good. Now, let's do a few more finishing touches to make it look perfect. The first thing I'm going to do is go to filter and liquefy, and we're gonna use the forward warp tool again and just push this side in a little bit. And let's pull this side lips. Let's pull this site out a little bit to kind of balance out her hair. We'll pull this curl out a little bit. There we go. Gonna press. OK, so here's before and after. Is it better? Well, that's up to you. Ah, there are so many decisions that that you make as a re toucher to decide which looks best. Personally, I think this looks a little more balanced, a little bit more full, so we're going to keep it now. Obviously, she's got nice, vibrant red hair. However, the color of her hair isn't looking really vibrant in our picture. So let's change that. We're going to use one of my favorite tools called the Color Balance Adjustment Layer. I'm going to click on this once, and it's gonna add a new layer above our background layer, and it's gonna pop these little controls up. And when we move the sliders, it's gonna push red and or image or push Scion and or image Ah, the same four magenta and green and yellow and blue. So I think to make her hair more red, we're gonna add some read into it and maybe even a little bit of yellow. Now, by adding these colors, it changed our entire image, and we don't want that. So what we have to do is use the layer mask portion of the adjustment layer controls. Right now, our layer mask is perfectly white, so it's revealing everything we did. We want it to be black, and we're gonna make it black by hitting command, and I command I stands for inverse. So when you want to change something from white to black command, I is inverse. Now I'm gonna paint with my brush tool press, be on my keyboard. Now, wherever I paint on this image mask, it will reveal what's underneath it. So I'm gonna go ahead and paint right now, and you can see that her hair is turning that shade of red that we adjusted in our color balance adjustment layer. There we go. Right now, it's looking a little bit to read, but that's OK, because we're going to adjust it. Sometimes It's nice to use an extreme color, because that way you can see exactly where you're painting. If the change is too subtle, then it's hard to tell where you're painting. Okay, now, this is too much red, so I'm gonna click on my color balance adjustment layer icon. Now. I could dial back the red as needed, or dial back the yellow, and I think we're just gonna leave it right about there. Maybe just turn the opacity down just a little bit. There we go. So here's before hair. Here's after before and after. It just added a little bit more color to her here. So I'm gonna flatten my image by pressing command f And let's make another adjustment. Let's add some highlights and low lights, and this is extremely easy to do by using the curves adjustment layer. I'm gonna press this two times. My first curves adjustment layer is going to be for the low lights or shadows. And what I'm gonna do is pull the curve that way a little bit, and then my top adjustment layer is going to make things brighter. So we're gonna pull that curve that way. Once again, we're gonna have to invert our masks by hitting control. I now on this bottom layer, wherever I paint with white, it's going to darken. So I want to dark in the areas in her hair that are already dark. So I'm just gonna color in these little lines of dark. And now we're ready to add some highlights. So I'm gonna click the top curves layer and click on its layer mask with a white brush. Now I'm gonna paint anywhere where there is ah highlight And there we go. Obviously the effect is too much. So I'm gonna turn down the opacity of our highlights, and I'm gonna turn down the opacity of our shadows. Now, if I option click on the eyeball of our background layer, it's gonna show just the background layer and then it will show with the other layers turned on. So here is before and after before and after it just get again gives our image a little bit more interest a little bit more depth. Now that our hair is done, we're gonna add one final retouch for the big image. And that is adding a vignette. The easiest way to do that is in camera raw. So I'm gonna hit shift command and a That's the short cut to camera raw. We come up impress effects and then post crop vignette ing. I'm gonna slide the amount to the left. This is gonna dark in the edges. The nice thing about this vignette is it's nice and soft because we're in 16 bit mode right now. There's no banding that you would get with an eight bit image, and our image is starting to look pretty good. So I'm gonna take a snapshot of our image here is before our hair, and here is after before and after. So I think we're starting to come a long way. 5. 4. The skin - spot healing, frequency separation, skin tone.: All right, welcome to our chapter on skin. We have started to make some real progress on our image. It's starting to look pretty good. Now. Let's let's dig in and and do the skin because that's one of the most important elements, especially with teenagers, because their skin has so many problems. Um, you know, it could be oily. It could be sunburn. It could have zits. I'm gonna show you how to fix all of that. The first thing I like to do is use my spot healing brush on all Press Jay for that. And I want to correct as many things as I can with the spot healing brush. So I'm gonna do is cover over little spots where the image needs a little help, and there we go. Now I have found the easiest and most efficient way to retouch skin is by using frequency separation. You've probably heard people talking about this as it's kind of a current trend, and photography frequency separation is turning your image into two separate layers, with one layer containing all of the color and tone information and the other late layer containing all of the detail information now there are thousands of frequency separation actions you confined for free online. And typically this is one of the only actions I use because it produces the same result on every image. So I'm gonna run a frequency separation action. And what it's going to say is, how much blur do you want to add to your color layer? So one of our areas of concern here is her forehead. What I'm gonna do is blur this until I don't see any detail in her forehead, and that looks pretty good. So this layer is our color and tone layer, and then the top layer is our detail layer. And when those two layers are combined using a blending mode called linear light, which you really don't have to know anything about. When those two layers are combined, it equals R background layer. Let's take a look at each layer so our top layer looks like this, which is just the detail, and the bottom layer looks like this, which is just the color. Now, why do we want to do this? Well, if we re touched the detail layer, weaken, smooth out areas like this without changing the color And if we re touch on our color layer , we can do things like smooth out the color tone. See how our chin down here is a little bit pink. But up here, it's a little bit gray. So we're gonna even out those tones to make him look nice and smooth. All right, let's start on the detail layer. I am going to use my stamp tool compress s, and I'm gonna stamp right here on her forehead where it's nice and smooth. I'm gonna paint in over here where it's a little bit bumpy. Now we're not copying the color. Information were simply copying and moving the texture. Now see how natural that looks? There's no other tool in Photoshopped. They could do that so naturally. All right, let's come down here. We want to fix under her eyes a little bit. We want to fix her chin right here. So now I'm gonna move to the color and tone layer, and I'm gonna select the brush tool by hitting. Be now, When I hold down option, it automatically switches the tool to the eyedropper tool. If I let go of option, it switches back to the brush tool. So if I option, click on a skin tone that I like, for example, over here on her cheek. This is a really nice skin tone now with the brush tool. I can paint that color wherever I want, and since we're just painting it on the color layer, we're not gonna be affecting any of the detail. Now I like to set my opacity at 100% but I like to turn the flow down to maybe 10%. With the flow turned down, I can let the color buildup over time as I repeat the brush stroke so some areas need a little more help than others. So I could simply repaint the brush stroke, and it will add more of that color. Let's take a look down here on her neck. Obviously, her neck is a different color than her face, so we are going to just lightly color and that pink tone. Okay, let's paint color under her eyes, and we'll do her forehead. There we go now are tones in our skin are a little bit more. Even now it's retouch under her eyes, using the detail layer, so I'm going to switch back to the stamp tool option. Click where the texture is good and I'm just gonna paint like that. You could even option click on her forehead because now that's nice and smooth, and we can paint. And just like that, fix this little spot right here. That looks pretty good. There we go now. Retouching the skin is easily overdone. I'm sure you've seen images online where the kids look like they've got plastic saran wrap on their face and their skin is just flawless. That's not the look I want. I want a natural look, except I wanted to look good. Um, if we think we've done a little too much here, we can take our two layers and group them into a group by pressing command G. Now I can turn off the retouch layer and see before and after. Now, if it looks a little too strong, we can reduce the opacity, and there we go. So we'll turn the top layer off and now back on off, and I'm starting to look pretty good. Now we can flatten our image if we're happy with that. And now let's talk about her skin tone a little bit. Let's give her a little bit more color. She's She's fairly, you know, fair complected. So let's add a little bit of color in your skin. And again, we're going to do that with the color balance adjustment layer, and I'm going to add a little yellow and a little bit of red. I'm gonna press command I to invert our layer mask, and I'm gonna press beef of the brush tool and still keeping our flow a 10%. I am just gonna come in and color over her skin. There we go. Now let's look at before and after. Does it add a lot? Uh, I would say yes. Let's Let's see if we can adjust the yellow just a little bit more looks and let's try adding a little bit of red. That's too much yellow. And again, you can always turn the opacity down on this layer as well. So here's without the color in her skin, with the color of her skin still a little bit too much red. There we go. That's starting to look really nice. If I'm happy with that, I can commit the changes by flattening my layers. Now let's add some color to her cheeks and lips and I'm gonna do this again with a color balance layer I will move my slider to read and add a little magenta. I will invert the layer mask, select my brush tool and I'm just gonna dab once on each cheek. Actually, let's turn our flow up a little. Here we go. And I like to turn that on and off to see if it actually does anything, which it does Maybe turn it down just a little bit and I'm gonna make another layer for her lips Gonna add some color into her lips. So color balance, more red, A little more magenta. There we go. Gonna hit command I to invert the mask blow up to 100% Now with my brush. I'm just going to paint on her lips. Obviously looks too much, but I can easily turn that down So before, after before and after, I think I'll turn her lips down just a little bit more. There we go. Super simple skin retouching before and after no plug ins. The only action we used was frequency separation. And again, if you look online, you'll find tons of reactions 6. 5. Dodging and burning the skin.: okay, We're gonna do one more Siris of things to our skin. Ah, just to finish it off, make it look perfect. And that is we're gonna dodge and burn a little bit. Now, this is a really simple way to do it. What we're gonna do is make two curves. Adjustment layers are bottom layer is going to darken parts of our image, and our top layer is going to lighten parts of our image. So let's go to our bottom layer. We're gonna pull the curve down a little bit, maybe to their and let's go to our top layer and we're going to pull the curve up a little bit now, just like before, we're gonna invert our layer masks and we'll start with the highlights with a white brush, large white brush. I'm gonna paint anywhere on the image where her face is kind of close to the camera or sticking out or bright towards the camera chin right here. Now, with the dark layer, I will paint anywhere that sort of heads back away from the camera or anywhere that's in shadow so the sides of her nose start to go away from the camera We'll do the side of her neck and down here a little bit. There we go. Help brighten her cheeks just a little bit more now. It's obviously too much. So we're gonna turn it way down and holding the option key. I'll click the eyeball right on the background layer so that we can see what we've done to the image. Now I think the brights are still a little bit too much. There we go. So here's before, and here's after all this does is adds a little bit of contrast to the face and again gives the face a little bit more depth. 7. 6. Teeth - taking away the yellow!: Okay. The next part we're gonna work on are the teeth. Now, teeth have a tendency to look really yellow and photos, especially when they're lit properly. Things that can make them look yellow are the retouching. If we've done any global adjustments to our picture, we can actually be adding color into our teeth. Um, depending on the environment. For example, a picture in snow. If you held a tooth up to snow, it would definitely look yellow. So retouching the teeth is something I usually save towards the end. It's super easy to do. What we're gonna do is make a vibrance adjustment layer. We're gonna hit this twice. The bottom layer is actually gonna take the color out of the teeth. The top layer is gonna brighten the teeth. The top layer is just kind of a dummy layer. We're gonna set its mode to screen and it's gonna brighten the teeth The bottom layer We're going to turn the vibrance almost all the way down and turn the saturation almost all the way down. Now we need to shift click to select both layers vibrance one and vibrance to while those air selected I'm going to hit command G and put those layers in a group. So a group is just a folder that holds a series of layers. Now we're going to make a layer mask not on a single layer, but on the group. So I'm gonna hold down my option key, and I'm gonna click the layer mask icon. Now, when we paint on this layer mask, it's going to reveal everything inside, so it's gonna reveal both of those layers. So I'm gonna zoom up 200%. I'm gonna press be for the brush tool and with a white soft brush, I am just going to gently paint across her teeth Now, obviously there too bright. So what we're gonna do is open up our group and turned down the dummy layer, which is just there to brighten and will also turned down our vibrance layer because they look a little too white. And then we can even turn down the opacity of the group layer, which will even fade it even more Now after you've whiten the teeth, it's really important to view your image at a normal size and then turn the effect on and off because over whitened teeth look ridiculous. And in fact, I'm just gonna turn them down. Just a touch more. Nothing, says Photoshopped, like over whitened teeth so that we brighten them up a little bit. We took a little bit of the color out, and it's starting to look really nice. If I'm happy with my changes, I'll hit command F and flatten the image. 8. 7. Eyes - Making the eyes sparkle.: without a doubt. One of the most important elements in your portrait are the eyes, the eyes air where everyone looks first. So we want to make them look amazing. Now, just like everyone, this girl has one eye that's a little bit bigger than the other I This step in the retouching is optional. Um, I normally wouldn't do this, but I just want to make this aware to you so that if a client requests us of you, you know how to do it. If we go toe liquefy. Photo Shop 2017 has some adjustments that allow us to liquefy specific parts of the body, and one of them is the eyes. So if we turn this link off, we can individually adjust the size of the eyes so I can take her left eye, actually her right eye and drag the size up and down. I think what we'll do is just drag it so that it's a little bit bigger, not make a huge deal of it again. Normally, I wouldn't do this, but for today we will gonna press OK, and here's before and after. Not a huge difference. But if the client asked me to do that. I would. I would happily do that. Okay. Next, we're gonna brighten the eyes a little bit. These next series of steps are all going to use curves, adjustment layers. And it's a great way to work non destructively so that in case we don't like it, we can change it. So I'm going to drag the curve to the top, so it's a little brighter, and then we're going to work with our layer mask again. I'm gonna hit command I to invert now with a brush about the size of the iris. I am going to just paint to brighten that brown part of her eye. There we go. Now let's dark and the pupil. So let's make another curves adjustment, layer. And this time, instead of pushing it up, I'm gonna pull it down, and I'm gonna press command I to invert our mask. Now we're gonna dark and the pupil, so we'll make another curves adjustment layer. And instead of pushing up on the curve, I'm gonna pull it down till the pupil gets nice and dark. Then we're going to invert the layer mask by hitting command. I now I'm gonna magnify my image so that it's pretty large on my screen and with a white brush about the size of the pupil. I'm just gonna color it in, so it's a little bit darker now with that curves layer, I can also color in the eyelashes. And if you want, you can even color in the circle around the outer edge of the iris. There we go. Whenever you're retouching eyes always zoom back. Look at the full picture so that you could see if you've overdone it. Obviously, the rings around her iris are a little too dark, so we're gonna turn that down Perfect. So we're gonna flatten the image now. Now I'm gonna sharpen the eyes, and this is pretty easy to do. But before we do it, we're going to duplicate our background layer by pressing command J. Now we're gonna press, filter and then sharpen, and then smart sharpen and the smart sharpened dialog box will come up. You can experiment with this. It's gonna be different for your image again, depending on resolution, depending on the look you want, it sharpens the entire image here, and I've got the radius turned up to three, which is pretty high. The higher the radius goes, the more kind of crunchy the image looks. So let's put it around three and then maybe turn up the amount of sharpening just a little bit. There we go. Now we're just looking at the center of the eye. We're now looking at her hair or her face, so click. OK, now I'm gonna hit the option key while holding the option key. I'm gonna press the layer mask icon right there. Now, wherever we brush with white, it's gonna sharpen her. I So let's make a little bit bigger brush. We could also give her eyebrows just a touch of sharpening. And there we go. So here's without the sharpening and with you may not be able to see that on your computer or your tablet, but in an actual print, it would be very noticeable 9. 8. Eye whites - cleaning them up with surface blur.: okay, We're ready for one of our last steps, and that's gonna be whitening the I whites. So I'm going to zoom into 100% and the first thing we're gonna do is duplicate our background layer. Now I want to show you something with the blur filters. If we do ghazi and blur on our image and turn the blur way up, it kind of smears the color everywhere. So we could never use this to really color in the eye whites because that we would end up mixing in colors of the skin, etcetera. But there is a blur filter called surface blur. And what this does is blurs the image, but it doesn't allow the colors to smear. Now, the downside of this is that it's very slow. I have one of the fastest Mac computers, and it takes forever sometimes to do surface blur. You can experiment with the radius and the threshold. I like to use eight as my radius and 23 as my threshold. And you could see the eye whites are already looking pretty clear. Gonna press okay, Let that filter run, then the next thing we're gonna do is at a hue saturation adjustment layer And the part of the I we want to fix now is the red. So we're gonna select reds under our drop down We're gonna turn the saturation almost all the way down Turn the brightness up a little bit toe Add some brightness back to the I white where it was red And now we're ready to go So I'm going to shift Click on layer one, Which is the layer we blurred So the hue and saturation layer and the blur layer are now selected I'm gonna hold down command G on my keyboard Now, Obviously we don't want this group to affect our entire image. So, like, before we're gonna hit the option. Key and press are layer mask icon No, I'm going to zoom into about 400% and I'm gonna brush with a small white brush over the eye whites and you can see that it easily cleans them right up. And like anything with the eyes, it's important to zoom back and look at the entire image. Sometimes it's overdone. We can just turn the opacity down a little bit and there we go 10. 9. Final steps - converting to 8 bits, and sRGB profile.: Okay, so now our image is nearly complete, and the last thing I like to do is just go around and make sure I didn't miss anything. For example, these hairs right here are bothering me a little bit. So I think I'm gonna just get a black brush and paint some of those out. There we go. And I'm gonna fix this little hole right here by using the stamp clone stamp tool. Gonna option? Click right here and just color in a little bit. See how that looks. Maybe I'll darken that a little bit using the burn tool. There we go. And a few of these strays we can blend in, so they're not as obvious right here. There's a little bit of color blurring from where we did her hair. So I will just clone stamp that out of there. I'm okay with that. And there we have it. I think we are finished. And that concludes our course. I hope you've enjoyed it. Let's take a look at where we started and where we went. First of all, here is the starting image. And here is the ending image before and after before and after I hope you've enjoyed this course. My name is Rob Sigler. If you have any questions, let me know. I am more than happy to help. Have a great day.