Studio portrait editing techniques - photography | Ania Krzymowska | Skillshare

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Studio portrait editing techniques - photography

teacher avatar Ania Krzymowska

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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

14 Lessons (1h 8m)
    • 1. Welcome

    • 2. Software I am using

    • 3. Power of lightroom

    • 4. White balance and basic settings in Lightroom

    • 5. Tidy up background

    • 6. General clean up and masking

    • 7. Liquify tool

    • 8. Frequency separation

    • 9. Dodge and burn

    • 10. Cheeks and lips colour

    • 11. Adding extra pop

    • 12. Gradient map colour toning

    • 13. Sharpening eyes lips etc

    • 14. Texture

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About This Class

Welcome to this beginner editing class. I am explaining my workflow, tools and methods used for studio portrait editing process. Learn about making actions, masking, frequency separation, cloning and more.

I am a family photographer based in Hampshire UK


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1. Welcome : Hi, my name is Anna, and I've been working as a family photographer since 2007. And in this course I wanted to share with you how I edit my studio photographs. I will be sharing step-by-step tools and methods I'm using. 2. Software I am using: For editing, I'm using both Lightroom and Photoshop software. I have photography bundle from Adobe and it's a monthly subscription, around ten pounds a month. You will have current updates with this plan. And Photoshop is a Industry Standard and fiery powerful software. You can get Photoshop alone, however, it's more expensive than Lightroom and Photoshop bundle. So why not make the most and get this bundle for very good price? Lightroom is fantastic for organizing and batching, synchronizing your photographs. So you can apply the same settings for sequence of photographs with one click of a button. So if you haven't got Lightroom or Photoshop, you can go to free trial. If you just go to and go and check your options, death. 3. Power of lightroom: Lightroom is a really good way to organize your photos. So if I have this connection here on the bottom and my film strip, I can very quickly go for the pictures I want to keep and pictures I want to reject for any reason. So for example, I want to work with this one and I will just press five, giving a five-star rating. Next one would be five as well. And then if there's anything I want to reject one, and that will give one-star rating. Then it's very easy to come here on a filter. And I can just choose images with one star. Our 5-stars. So writing is greater than or equal to, rating is so less than I have to press that and one star, it will show me all the images with one star o nor rating at all. If i want images with five-stars, press F5 here and choose rating is greater or equal to. And all the pictures with 5-stars will appear. It's really good way to organize from this thought. Say if you want to choose images that are exactly 5-stars, you just choose here a rating is equal to or any other style number. I have chosen foes, dos, couple of images to show you. Working on those. I chose this one just to show you how I would even out the background. And this is going to be our image we're going to work on. Also, like mushroom is great way to make the same settings to multiple pictures from the same scene. So for example, all those images were shot at the same lighting and the same scene, the same weight, white balance. So I can just synchronize all of them. So if I have justice image selected, I can select all of these and then synchronize. So if I just change any settings, let's say, let's make a dramatic change. Sync. And you have to be careful what you choose here. Only thing I would leave out as crop and spot removal, because you want my want to crop images in different ways for specific images. So synchronize and you will see all those settings applied to all the pictures I selected. So let's go back. Edit, undo. The other way you can do. You can just press on here, copy and here paste and paste settings just to this selected photo. 4. White balance and basic settings in Lightroom: What I love Lightroom for is the very easy way to set up and white balance. So let's say this image is too cold or too warm. And this particular case, I managed to shoot with my Expo desk and set up the custom white balance straight in my camera. So it was not an issue, but sometimes we have white balance allover the place. And this might be very extreme. Let's say that's the example, extreme. And we just going to photograph the white balance cart or gray card. You can buy them from different places. I have the right color checker. There are also much cheaper versions, are not sure how well they work, but this is something I've been using very often and it's working really well. It could be used at any scenario. And the color balance, the white balance is always correct. So if I just choose this picture on the right White Balance Selector, and then I press on either white or gray. It will give me derived balance. Copy. Make sure your white balance is selected. And then paste it into your image, and this gives you the right white balance. You can also apply it to another image, paste. And that's the white balance sorted. Next thing, we're going to change the exposure and NES case is correct. I am looking here at my histogram and it's looking great. It's got the right curve. Now, the next things I'm going to change highlights, I'm going to bring them down about 30. Now these settings are right for this photo might be different for yours, but 90% of the time, these won't be the same settings, so it might be different by few points. You just need to use your eyes to see the difference. And we going to bring the shadows just to little bit. Whites. I like to bring the whites app just to touch and studio images. And blacks were going to bring up as well. And outdoors pictures. I like to bring the blacks down just to give the depth. And we're going to add clarity about six, vibrance, about five. Sometimes it's difficult with a mouse to move it so you can just type it in other settings. We have nothing else has been changed. Sharpening. I always have us a default. It might be different. In your case, it's about 40. And here are the other settings. We don't need any noise reduction because I short this one with a 100 ISO, so there is no noise practically. The other thing we can change as remove chromatic aberration and Lens Correction, which basically fixes a little changes, especially if you shoot with very, very small aperture. Here. I did a patrol to. But if you shoot on a very, very wide open, it might show you a little changes on the edges of the contrasting pixels. That definitely helps. And then the other setting you have this profile correction. So I prefer to keep this MAN uncheck because it gives me that natural vignette of the lens. So everything else will be a left alone. And what we can do is if you are working on the same, on the same settings for different image, you can just copy and paste onto the other one. And those will we apply that very, very subtle. Or you can go, let's go edit, undo. You can just come into this main one, then select with control the other image, and then synchronize. And this is really good when you have more of them. So you can just select more of those images and hit synchronize. And we'll just apply those settings from the main picture that you're working on. Also, as you work, let's say we're going to put exposure down, down and then pressing. It will apply that. So just to show you, it really does work. Edit, undo, edit, undo. So we back to the way it should look. And what we're going to do, we're going to take those two images into Photoshop. So select both right-click edit in Adobe Photoshop. 5. Tidy up background: As you can see, this image is pretty clean when it comes to background. So that's why I chose this one just to show you how when I edit this tricky background. So first of all, are you would look if there's anything I need to crop because that would definitely save my work a little bit. Always, always copy your layer Control or Command and Mac J. Copy that. It's a shortcut worth remembering. And whether crop tool, I'm going to come in on this side and just bring it just a little bit. I would probably corporate even more. But for sake of this tutorial, I want to show how would I edit this tricky background. So because we have the planks running down, we need to maintain that perspective. And cloning tool. Cloning stump would be the best thing for the job. So this is cloning tool. And we have a capacity 100. You can change the opacity here on the top, or you can change it with a number from one to 01 is 10%, is 0, is 100%. With the square brackets, I am increasing size of my brush. And here on the top, you can change the size. Here. Make sure to hardness is set to 0. And now with the old patten, old kink pressing, selecting from here. And fair we care for the adjusting and touch. Touch here. Can hear sampling from this area. Make sure I'm not sampling from here. Just covering that Coaster. And here, sample and go over. So that's a little bit wonky, that's making little bigger so you can see what's going on. I'm going to press Control Z to go back and again back to cloning tool, the Press And cologne into place. So I am not taking from here, I'm focusing on those lines. Make sure they align and everything else can be very easily done. Again, sample and a line and hit, sample. And hit. Now I'm using spacebar and pressing with the mouse to move my canvas. And again, sample and press. And don't worry about this area here, I'm going to show you what to do with that one. Press. And again, sample from here to reduce the size of my branch and sample from here. Sample from here again, and go over. So we have a few little hiccups here and here. And you can just reduce your brash much more and just cover them just like that. So it's very, very easy to do. This is just one way to do it. And cloning method is good. You not losing that texture of the area. So that's before and after. Now let's come back to the image we're working ads. And here I would probably crop just to touch from this area. So Crop Tool holding Shift key and sliding down. And this is the crop unhappy with? Yes. And it's exactly up to you. How do you want to place your image in terms of composition, there are many, many schools and tutorials and theories. So I'm not going to go into detail with that. You have to research that. And that's a bit more, it's quite lot theory about composition. So crop, you have to do it with your own judgement. 6. General clean up and masking: Good time to tidy up this image. Any scoffs, any elements we don't want. For example, this little felt stickers. Any dust or fly away, go away. Now, when it comes to any moves on the skin, if it's work for client, then I would keep anything that was permanent. But if there's any sort of bump or scarp that would go away within two weeks or short period of time, then I would remove that as well because it's not something that is my client's characteristics. But if I do work for competition, for example, or portfolio, then I have the freedom to remove it. I have the freedom to change the size of i's the change anything I like Rooney. So let's get to removing things as if that was for competition or for portfolio. So first of all, we going to copy this layer control j. And let's get rid of this little plasters because this one's out of focus. It's very, very easy to, to change it. I'm going to reduce capacity to 80 and just sample from around here. As you can see, it doesn't matter too much because it's kind of like a blurry mess anyway. It's more important here. So back to 100% opacity, and I'm just using my keyboard to change those values and sample here. Come up here. To just sampling from that area helps get rid of it. So for example, I went too far and here, let me just get that one as well. Masks is something I would use for that. So let's apply the mask here on the bottom, you have this little square where the circle press it on. And you see there's a special window appearing here. And now using a black and white brush, we'll be bringing things in or hiding them. So for example, if the mask is white, I'm going to use the black pen, black brush to bring back list little bit. Oh, I went too far. Some changing back to white. And I'm going to hide again. So that's the way masks work. And what else can we do? Well, let's have a look. So little destruct the structuring elements. Now we're going to click on that layer because we want to work on that layer, not on the mask. And I'm using my little Spot Healing Brush, just get rid of this. It doesn't amazing job on a little speckles because it's sampling area. Over the years, Photoshop has really developed those tools to a very, very high standard. The artificial intelligence and knows is mind-blowing. I wonder what it's going to be like an about ten years time, we probably going to have to just press one button and just little bits and bobs that might be distracting because you might not see that at first. But once the image is completely edited, beautifully done, you don't know why you love it. And this is why. And just get rid of those little destructive destructing things. And I'm happy here. Let's get rid of those little moles. And again, it's quite controversial. Some people are against removing them completely and I will completely leave that to you, this judgment. If she would have freckles, I will definitely leave those beautiful frescoes in fructose are photographers dream. We love, love freckles. It gives the character. So definite, you would leave that. Now I'm going to use the clone stamp again and pass the t may be 80, sample from here and gently run overdose, fly away her in EC is something crazy happening here. Going too far, gone back, reduced the size of a brush. And again, it's just trying out and just seeing what works. I wouldn't completely go very, very close to her head because we won't want to look not true, but we don't want this to look very destructing. And i went a bit too much over her bright. So again, going back to Musk, choosing the brush dot block. There we go. Stft. What else we need to do? I think the image is looking good as it is now. And we're going to move to the next step. 7. Liquify tool: Liquefy too. Let's make sure that we flatten that layer festival. So layer flattened image. Control Jake to copy our original layer. And let's go filter. Liquefy. This image doesn't need much work and the liquefy area. But I will show you exactly what we going to do. So you have this Forward Warp tool on the top left corner. And it basically is luckiest merging little finger around, squashing those pixels together. And boy, am, I am looking for is to give it a good shape. So anything that is distracting will be smudged n. So for example here, just be careful you're going with the same area as that arm. And here I find this a little bit distracting. Reduced the size of the brush, and make sure your work on those little details. Especially that little bit is very destructing. Great. We can fix that later as well. The different tones. There is not much work here. Sometimes you get the dress that is very distracting. But in this case it's looking pretty good. Perhaps I should have chosen more automatic image. Sometimes people ask to reduce the size of their arm because it's so close to the camera. Sometimes it's closer than you've been subject's face, and it does appear larger. So good idea as to use pucker tool right here. And you can very, very gently just squeeze it in. So it's still, it's still the same person is just illusion of the arm being tuck tin. Okay, let's press OK. And seen before and after that would be my very basic liquefy job. Layer, flattened image. And now let's try one more time control. Jay, I want to show you a little bit what you can get from that from that tool. So liquefy, don't choose the one on the top because it's going to apply everything you've just done. So you need to kind of start fresh, choosing it from lower down here. And it's only one subject and this photographs, so it's faced one. If you have more people, it will be phase two and so on. And you can change the size of the eye's height with tilde, anything you can go i by i, or you can just connect them together and do it together. So it changes tilde. And if you want to go back and reset, the same with nose and mouth and face shape. So it's up to you how much you want to transform this person's face. If it's for client, my rho is I tend not to play with those and not to remove any most and try to keep them as real and they identity being them as much as possible. But if it's four, are, for example, competition again or any sort of play and editing clay. You can then go, go to town with those and have a, have a try. The other way you can do it. It's still what these tools. So with the bloat tool, it will increase dots psi. So you can very carefully do that. You have to be careful not to make it into lucky, kept from Shrek, sort revise or ready cartoony, looking. So that's important. Okay, and the other thing you might want to use in the future is to freeze mosque here. And this basically will secure the area that we don't want to enlarge. So let's say we wanted to move that dress, but we don't want to move the arm. So let's make it closer and you need to apply a color of red tape. Thought ret type. You need to make sure it covers the arm. It can go over a little bit the dress, but it won't squash dose pixels. And if you went too far, you want to erase that. Just use this two next to it, which is like a razor. And now, alright, so now I'm just using, for example, this one and I'm going to move the whole dress but has been secured. So if I press before and after, obviously, if I press okay, it will be applied without the red tape. So you can see the arm was not moved. Sometimes it's useful when we have some like plunks behind or things horizontal or vertical and the other, our object is opposite. So it's useful to have that's just delete it. It was just show you. So the other thing you can do with a liquefied tool, I have this image prepared because it's quite useful when it comes to hair. So control j. And then again, it's up to you how far you want to go with it. I just want to show you capabilities of this tool. So liquefy. Let's go here. Make it close up. And now we're going to use forward work to smaller, try not to go over his skin just the hab because we only want the head to be bigger and go tiny bit by tiny bit, you want to avoid going just one big movement. Or we don't want that to raise up to March. It's just adding a volume. And it works really nicely with the head that has been styled curled or wavy. So the other two was bloat two. And let's make it a bit smaller. And again, you can just here where the curl is. Especially try to really be careful not to go over his skin and gradually just changed that. Move it. If you think you went too far, you can just bring it back in. All start all over. And It's good from time to time to take a step back and see if we haven't made a lioness out of our subject. So, okay. And before and after. So it gets a little bit of volume without it definitely gives a little bit of volume. So that's the possibilities of liquefy tool. 8. Frequency separation: Frequency separation, it's a great way to edit skin and any tonal changes. And you will not damaged texture because those layers are separated. So I thought it's a good opportunity to make your own action. So every time you do that process, you don't have to go over and over again in the same way. You just press play and the action is popping up. So you're gonna have your action panel open. If you cannot see you anywhere on this area, you have to go to Window actions, make sure the tick is on. That means that window is somewhere here. It might be that you need to move it around, but it definitely that. Ok, let's start recording our action. You have to go and tune to menu and new action. Let's call it and record. If you want to put in different sets, you can do. So now, everything you do, it will be recorded and every time you press play, those steps will happen. And it doesn't matter time-wise because it will just record the steps, not the time. So we'll control j twice. And now the top layer ten, visibility off on a layer one, go to filter the Gaussian blur and go, go round radius five. So we still want to see difference in tone, but we want to very, very blurry the ok. And now we're going to unlock the top one. Press on the top layer. We're gonna go image, apply image. And now you need to choose Layer one. It might be on a different one, makes sure it's selected a layer one. And because it has to talk to the layer which is blurred out, Blending Mode, subtract a capacity 100 scale to offset a 128. And now we just need to change the mode of this layers. So go into linear light. And we're going to select with control both of those layers and control G to group them. And this is your action doneness is every time we want to make those steps and it's time to press stop here. That's your action done. Let's scroll up where the action starts. Let's delete that. And let's try the action out if it works properly. So just play. And yes, it works great. So just open that. And you can see there are two different layers. The top player has the texture and the bottom layer has two tones. So there's couple of ways to use it. So for example, and you tonal area, you can either use brash. This is great for any backdrop issues, so let's make it bigger. And let's say we want this to be a little bit more. Even if I'm, even, even if I loved that texture, I want to show you the example. So just some pole color from here. A possibility, maybe something around 40. And I'm applying that and texture still there. But ever so gently, it changes the color. Remember to sample colors, often, you would be amazed how different the color is, the tone. Even not the few centimeters area difference. So that's one way to use it. The other way is on the skin. And we want to use the lasso tool right here on the left, shortcut L. And what we're going to do, we're just going to select the area and go to Filter quotient, blah, blah, blah. And we want to be around eight. Okay? So it applies very delicate. Changes to the skin. Poops or more you want to use now my pen from the graphic tablet. Okay, I know that that's fine. And it's so much easier rather than mouse. But if you don't have a graphic tablet, don't worry, you can still do it. And I can just use the one I just used. A last last thing I used is coming up on the top. Or I can use a shortcut which is old control and F. But I haven't got enough hands to do it. So I'm just going to go like that. And it's entirely up to you. And control D to de-select the area on the arm. And it keeps that beautiful smoothness without losing the texture because texture is there. It's very, very delicate, but it is the filter. The only thing to remember is not going over completely over edges. So let me show you. If I go here. Filter blur and creates this weird ghostly look up to the edges so we don't want that. Go back, go back, go back, go back. And we can work on that dress as well. So any codes of areas here? And I will talk cullet just little by little rather than the whole thing. It will give it much more natural, delicate look. And this is very Chrome pool. Just to soften out. I don't mind those current goes. If I wanted to be very, very smooth, I would probably iron it beforehand just to remove destruction. And here, this area when the grainy nice when it's done. I wouldn't touch hair and miss this point with this tool. Just fabric and just face. I wouldn't even touch this suitcase. Just to smooth out the differences in tone. Okay. And some of the big picture. Can you see the difference in address specially here? Before and after? And looks really good. Just do a little bit more here. I love using that on fabric and it looks really, really good. It just softens everything and that's a bit. So I can next. Great. And she has read a good skin anyway. So I'm happy with that if you have any problem with the texture. So let's go into texture layer and use the clone to h percent and our take away from here and just apply and area and you see it kind of smooths things out. Just be careful with any any sort of areas which are heavily folded, heavily crinkled, and here is off so I can do that. Just smooth things out. It's a great iron and post-processing. But you have to sample from the area which is smooth. And you know, we're not gonna run over that crease when you sample from. And let's go back to total no, aria with a brush, fatty percent change the size of a brush. And I just wanted to smooth this area out and be careful creating those bold light areas because this is where you will be drawn to. So just be very aware of that. I'm happy with this. White dresses are dangerous and if you don't want to cause any destruction, Okay, let's have a look before and after. Great. And the whole thing, the whole thing I'm going to reduce to 90% and a layer flattened image. So this is our frequency separation done. 9. Dodge and burn: Applying highlights and shadows, Dogen burn is the most impactful part of this edit. We're going to create another actions. Every time E usage, you only have to press the play button to open those layers. Ok, so go into menu of your actions and new action. You can put burn DLJ, record. We going to go into layer, new layer and PRS, MT soft light. Make sure this is ticked on and press OK. Now this layer we're going to duplicate, so just drag it down here. Or you can do control j. The top one we're going to call highlights. And the bottom we going to cope burn shadows. Simple as that. And now we can do is a stop recording the action. So this is your action ready? And just to test it again, let's delete those elements and press play on your new action. And there we go. How do they work? Let's go a little closer. And whether DOJ highlight EUR using light brush. So let's go to the brush and make sure you go with lower capacity 60 maybe. And this is how it applies. You see these are the highlights. So let's go back. And with the shadows, you basically flip over and too dark. So it's up to you what a strength that is. And also, we always start from Shadows. Size of a brushes importance as well. So let's choose this size and maybe 10%. John's going here and the other way doing it is bringing a positive 100 and changing flow to very low number. And this also gives a good result. So I'm going to use my pen again and just go in the areas where maybe too far. You need to be really careful with plying those shadows. They will make a huge difference. So smaller brush, ever so gently touching up on those areas. You can spend all day going into those little bits. I don't want to do too much. Baker per arche, ever so gently. So different values, different and light and dark makes you, I wonder to that area. So the biggest contrast you're going to have more you, I will be interested in that space. Not even the contrast of colors as the contrast of dark and light. And you can create some incredible paintings with only just few strokes with darks and lights. Just be careful around the mouth because it's very, very easy to H someone. She's obviously very young, so not no big deal. But if you have maybe more mature pass and you don't want to add the extra years too a person. So let's see the full view and let's turn off and on. It's already making a difference. Let's go a little bit more. Spatially. These creases are looking beautiful when we add highlights. It will be very painterly. And if you not sure, you can go into the main background copy and go into Image Adjustment levels and bring it down and show you where those dark areas off. Cancel and go back to burn. So it was quite a lot around her cheeks here. Can shape. Okay. And now into dodge, which is opposite. And the same settings, maybe even smaller flow above five. Adding fairy gently, the light on her face, the softer, the more beautiful the effect will be around here. To constantly need to change the size of that brush. And you can go closer and unfair on the face area. The more delicate approach, better it's going to look in the end. So you really need to be patient. And if you think, Oh, it doesn't make any difference, you see at the end, it really, really does. And try not to go too strong on arms because we want a tension to be on her face. And let's tackle the ice. So I'm gonna go back into burn area. And I'm going to go all around her lashes and all around the iris and pupil. And now into Deutsch. So let's flip it into white and make it a bit brighter. 12% so we can actually do something. And here is the area we want a lighter coming from people. And opposite her catch light. I want to make that lighter opposite catch light. Wow, what a difference that makes. So that's seen before. And after, that's group it so we can quickly, quickly switch it on and off. Before and after. And that's what makes those eyes pop. C You can runs purposes again if you like, or you can just leave it at this. I am quite happy with this amount of lightning. And I'm going to move to the next bit. 10. Cheeks and lips colour: We're going to add a little bit of a rose in S2 had cheeks and mouth. Again, you can make it into action if you like, you know how to do it now, just start recording and make sure you finish up the right point. And so what we're going to do is here on the bottom of a layer, of the layers you go with solid color. And it will automatically apply the mask here. And we're going to choose a nice pink color, coin lightness Sahlman. So press, okay. And, and we're going to change it into soft light. Press and the mask now go into control. I invert mask. So it works either way round. We are on this block, must Claire with a wide brush at the very low flow. And we are going to very gently just touch, touch, touch, touch and touch. And remember if you go over, it's very easy to get rid of it. So don't panic. And over the lips. And changing backed Bullock color and is going to reduce that here in case it went on dark gray backdrop. Okay, right over here. And maybe take off lips a little bit. So let's take a global look. And with, and with or without and with. And I think I'm gonna take it off the lips just to touch. So go already lives, especially in darker corners. So they still look 3D because the moment you going to get rid of the shadows, darker areas, it looks flatter and we don't want that. So layer flatten and that's your pinky cheeks done. 11. Adding extra pop: We're going to add a little bit more depth to this image, even though it's very neutral around the corners. We want to make everything in a little bit darker and the subjects standing out so that there are a couple of ways you can use either Curves Layer or levels layer. And let's go into curves. So Adjustment curves. And it comes with a mask. So what we're going to do, we're going to drag it down not too far and make sure your Layer Mask is selected. And black brush, it's only 56% flow and just gently apply to your subject may to the circle very big and take the flown down to 20. So the more gradually do, the gradually it's going to look and beautiful. So turning back to white with the x. And we're going to apply it back on a little bit. And knows edges. And let's take it off again just here. Increase now. Make sure had faced is nice and bright. So that's before and after, and it's very, very subtle. But this image will be made out of small subtle steps that flatten down. That's copy this layer and go to Filter, Camera row filter. Again, this is very small step, but it makes a difference and overall result. So let's bring the contrast up to about 15 to 20. And you just need to observe. Every image will be slightly different. Highlights we want to take them down because we want everything very silky, smooth. When it comes to light. Shadows. We're gonna leave alone whites. I always want to bring up just a touch. Blacks, we can take it down just a little bit to give the depth and clarity. Five, vibrant. And that's press. Ok. So that gave us a little bit more beautiful view. I just don't like how that leg turn much darker. So I'm going to apply the Layer Mask and mascot of her leg. Not going to just musket of her leg, but in that kind of burrow their strokes. And that's looking really good. Layer flattened image. Make sure you do say from time to time centers go File Save, and that way it will save a newer Lightroom. And let's go back to Photoshop. And that's the next step. 12. Gradient map colour toning: With gradient map, we can add tonal character to this image because it looks quite vintage. I would like to give it a little bit more vintage look with maybe kind of honey color. Let's have a go. So in your adjustment layer, go here into not gradient, gradient map on the bottom. And now that looks a bit like a ghost selects quick, quick, click on that stripe and open the clock right here and you presets. And you can go into photographic toning. Ok. And now you have different options. Let's click OK for time being, because this is going to change into soft light and we're going to change it or capacity to about, May 20 be less, may be 17, let say. And if you press here on gradient map again, come back, and now you can just try them on and see which one suits you best, which one you like the best. It's very, very subtle, but if you press blew on, it will cool down the image. And so on with the other ones. Also, you can individually changed those colors. So you can maybe change that into more of a read and see what happens here. The possibilities are endless when this one and you can play quite a lot. So I'm going to choose one of these always my favorite. And maybe I'll change that to a dog Brown rather than black. And okay. And overall, I can still change capacity of this layers. I can go stronger or lighter, just the hint and I can mask it off the areas either wanted out. So if I don't like the leg or the skin, I can just brush it off. But it does give us kinda rather nice, nice stone. That was the whole point. So let's go back and change the whole capacity a little bit down 10%. Okay, so that's the toning I quite like. And layer flatten image. 13. Sharpening eyes lips etc: Sharpening eyes and other elements. Because I don't want to apply the whole sharpening effect and to how image I just wanted to focus on certain month guess some of the areas are beautifully blurred out. We're going to apply this sharpening very locally. So control J2 to copy layer and go into Filter Other High Pass. And that's the settings you want to have. Five is a nice safe amount. And now change the Blending Mode into soft light. So as you can see, everything is sharp right now, and that's what we don't want. Well, at least I don't want, you can apply that to the whole image if you wish. But I'm going to create a mask and invert the mask control ie. And that way I'm just going to apply that sharpness to the areas I want to. So wide brush the 100% of capacity and a 100% flow. Makes sure it's the right size. And now I can go into the areas I want sharp for example, eyes and lips, nostrils. And maybe a little bit here. It couldn't be CLI, satisfying to do an addictive to create those sharp areas. I quite like the highlight some of those elements of the suitcase trunk. And let's see global Luke, it's always good to pull back and see what's going on from the, from the distance. So there's no point to sharpening this Haben because it's all blurred out anyway. So just to let two areas here and there are popping out. Not sure if I want this to be so sharp because it's fighting with the eyes. So if I want this to go back to non shopped on just which might brash and bring it back. And I think I like it more that way. So I just want to make sure the eyes and sharp Rao, lips and nose and a layer flatten image its control j to duplicate the layer. And I'm going to Filter, Camera Roll filter. And we're just going to use the adjustment brush on the top. And we have some settings here, ready. So Shadows back to 0. We don't want that. Only exposure plus 0.55 suggested tiny bit. But just to brush you want, you don't want it to be too huge to smell. So just pop a little bit of light on your subject and press OK. So just bright sun up that a bit. And just to make it more subtle, We're going to drop the opacity to around 50%. So this is our edit done. We have tackled all the stages. It's entirely up to you which points you want to keep, which points you want to automate with creating your own actions. It really depends on the image in which areas in it's more or less work. You can be very creative with shadows and highlights. Just remember, the more subtle you go, the more kind of Sappho stages you can sandwich together, the more beautiful effect it's going to give you, the more subtle effect. 14. Texture: There is one more option I wanted to show you, and it's completely up to you and your stylistic choice. I am creator of those digital backdrops, which are available in my Etsy shop. You can use any texture you like. There are so many on the market, but these are a little bit to friend. You can see all the brushstrokes and beautiful texture and colors. And let me show you how easily you can transfer your, can transform your image into something different. Some, I'm just dragging it onto this image control t to transform. And I'm holding Shift down and he yes. Now I just need to change to soft light blending mode. And we don't want this texture to be applied to her face. And now we're going to choose the layer mask or going to mask off that of her face. So whether a 100% capacity going over her face, over her hair. I'm not even too worried about going over nice and quick. You can change the size of your brush, you can go closer. It looks Corey nice on addressed. We honest. But we worked so hard on those shadows and addressed. I think I'm gonna mosquito off. Again your choice. Just changing size of your brush and applying that. We want to take it off the food. And I quite like it on a trunk. Look how nicely that as the painterly look. You don't have to spend a very long time. And you can see those gorgeous changes here, before and after. And this can be reduced as well. So you don't have to keep it a strong. You can make it very, very subtle. Stronger. Again, this is your personal choice. So this particular backdrop is called Jack Rometty after a famous sculptor. And it used to be his favorite color palette. So you can get that and my Etsy shop. So I hope you enjoy that. I'm hoping to create some more tutorials in the future on editing. I would love to hear your feedback, so please let me know what you think and see you next time. Bye.