Beauty Portrait Retouching - Professional Workflow

1. Start with Adobe Bridge: When I retouched images, I like to start with Adobe Bridge. And don't panic if you do not have it, because if you have Photoshop, you do have Adobe Bridge. All you have to do is to install this. And the reason why I like to start with this because I can preview the images. I can also easily do the selection by viewing the images. So if something doesn't match, doesn't suit, I can easily remove it. And also it's really easy to locate the folder on your computer wherever you have the images. So what you cannot assemble these images and the format is CO2, which is the raw format for Canon images. So every camera has slightly different format, but raw image is the image. So if you are a photographer, you always want to shoot in RAW to preserve the maximum quality and back everything up. If you're a researcher, like me, in most cases, you will receive the raw format to return to the images, but also other formats like TIF or even Jx doesn't really matter for you as the retention. But if it's raw format, we need to start with the RAW conversion. And we're going to do it in camera, which also comes together with Photoshop and essentially is the same thing as developed panel in Lightroom. So to start in camera, I'm simply going to select all of the images just like this. I can hit on them or to do it slow, I can hit tried and we have something like open in camera. So this is already the selection images of images I've done. And you will receive these images so you can follow along. And all of them are open now in camera. So I can do everything at once before moving into Photoshop. So we have all of the previous on the bottom. We can close them if we work on the one image and open them whenever we need to switch between images. So let's move to the next lesson and start working on the row conversion in the camera. 2. Basic Adjustments in Camera Raw: First lesson in the camera, but I can promise you it's not boring because this image will look so much better. Just after few steps. On the top, we have histograms. So your images collection of three different lines, which is red, green, and blue. And you have located them in different areas. So on the left-hand side, there is dark pixels and you can see how the lights are located. So we have quite a good amount of the dark, light, dark pixels here, still in the dark area. We have a lot of all of this slide. And as you can see, we don't have many of these pixels in the bright areas. So you could ask him, Well, images rather dark. So if I would drag the exposure, as you can see, the pixels move to the right, to the direction of the bright pixels. It's not really that important, but it's called the notice. So the first two things I'm going to start with is profile and the white balance. To start with the profile, I'm going to hit on this Adobe color and we can view different profiles over here. But what interests us is this browse option below. We can also hit the squares over here, which is also browse. So the basic color profile over here is Adobe color. We don't have to compare it to every other profile, but I like to compare it to the camera matching and standard profile. Why? Because the camera matching standard essentially main's to be the image that your camera C. So as you can see, in this case, it's much deeper, slightly darker, and much more saturated. That's not always the case. Sometimes the difference is really small. In this case, this is a really drastic difference. And, and the first side, it might look a little bit too much. But trust me, this is the right choice. In most of the cases, I would choose camera matching standard. Sometimes I stay with Adobe color. Once it's done, wanted to take her of the white balance. So when I do here, I'm choosing the eyedropper. And we have easy task. Because if we have the gray background or white, it's easy to set up the white balance. So this background meant to be gray. So what I'm going to do, I'm just going to hit on the background as you can see, it does look better. But also, I affected the skin tones and honestly, I think they could be slightly warmer so well, we need to take care of the background a little bit later. And for now, I will drag up the temperature and I undress the tin, tin. So I think for now, this looks perfect then when it comes to profile and the white balance, it needs to be the same across all of the images, so we will match it to the other images a little bit later. The next step you want to do is the exposure. Contrast highlights shadows, whites and blacks. So we've camera much in standard. You can see the image sometimes get a little bit darker. Wow, this is already huge difference. So what I'm going to do, I'm going to increase a little bit of exposure to make sure that the line is perfect land because of this. And the highlights get a little bit strong, so I'm lowering this. And also I don't see many details in the shadows. So maybe for now, I would bring up some shadows as well, not too much because that will look weird just a little bit. You still want to make sure that it looks natural like a human. After shadows, we have blacks and whites, which is not necessarily useful as the name says, blacks, black pixels wide, wide pixels. The difference wouldn't be strong, may be I can add some blacks to make sure it's slightly brighter. It's a little flat, but I wouldn't be concerned about this. Why? I think this, this makes sense to lower this a little bit. Then below we have Texture Clarity Dehaze none of this I would recommend using. And the start of your retouching. The reason for this is it mess up the texture so you don't want to mess up with the texture. And the very start as the name of the first slider says, it does increase the texture. You can zoom in and you will see everything. And it also work in the opposite way. You don't want to do it with retouching. With clarity. It does increase the texture, but it also build apps the contrast around the mid-tone so it will not look very natural. And B Hayes kind of opposite. You can take down the haze of the image and here works opposite. So all of that kind of mess up the contrast or the texture. So it's not something I would necessarily recommend over here. Let this image, maybe I will make sure it's bigger. Below we have vibrance and saturation. So the saturation works simply by increasing the saturation of the colors. And when we go to 100, as you can see, the oranges, yellows are super-strong, the cold colors, not necessarily. And we can, when we go down with it, all of the colors are desaturated fully. Though, when it comes to vibrance, vibrance preserve the skin tones so it will be oranges, yellows, and reds, mainly orange. So if I would increase the vibrance, what you can see, David is not so strong. But also if I decrease the vibrance, we can see some reds and oranges over here because it does preserve the color. So for a simple portraits like this, I wouldn't really do anything over here. I can do maybe something with the orange saturation, but more likely, I keep it very simple. So as you can see, these basic adjustments, It's not so much. So now we can see, and this is before, this is after we have not finished yet with camera, there is more work to do to improve this images. So this image, and despite being very natural, it does have much more pop comparing to the original. 3. Fix Optics: One panel that is really overlooked, and this is the optics panel. I recommend checking this every single time you work on the images. Because sometimes depending on the lens that is used to reshoot in, we might get slight deformation. Easy way to check it is hit, Use Profile Corrections to fix it. I do not guarantee that will be the better outcome. But you might want to check because if you are a photographer, it might suit your needs more. And also this is the good way to remove vignetting if this is not necessarily on the image. So if we work with the studio image, we don't necessarily one thing it in. But when we work on the outer images, that might be different stores. So then maybe you wouldn't use this. You can also hit Remove Chromatic Aberration, which you don't see right now. That would happen if we would have some issue with should eat maybe some wrong client in Some issue of the lens. You can also fix it manually, which I would not really recommend because it's just too difficult, you know, who wants to, who wants to make the correction? Whether we would like to slim this a little bit or extend this as we, as we did with this correction. I think it's better to use profile correction if we have some fringes. So that would be different color may be green and purple over here. We can also use the fringe, but this is really rare issue that we would have an, by adjusting these sliders, you can simply fix it. That would be more common in outdoor images then in this sort of images. So let's have a look. And some other image. As you can see, I didn't adjust the settings yet. I just want to see if the outcome would be would be a little bit better. So you can see most of them will got Morefield, more centered. So you can actually check if this suit your images more. But what's important, just don't overlook this panel. Make sure you check it in case the outcome will be better. So now, let's move to the final lesson because there is not so much to talk about cameras. I'm going to do some final color adjustments and then we will be ready to start working in Photoshop. 4. Adjust Colors: Moving on to colors, I will show you how to make sure that your image pops. So I like to use two panels. The first one is Color Mixer than I would use just for some very slight adjustments. And I absolutely loved to use calibration. So first let me let me explain to you how does color mixer works. I feel I'm not going to use it on this image, but it's really important to understand how it works. So we can adjust hue saturation, and luminance of the colors. For example, we have the skin tones and skin tones are orange. We want to go more into the orange tone, would go more to the left. When to go more to the yellow tones, we will go with this to the right and the same about every single color. So it would have this on this image. We can work with this when it comes to the saturation similar want less saturated or more saturated image. And this regarding to every single color and luminance, let's say I will do with reds now, as you can see, as I increase this now, I increase the luminance of the red lips because that's where we have the red pixels. So as I mentioned before, I'm not going to work with this because I actually like how the skin tones are, how the colors are this image. But I'm going to show you how to make sure that your image pops. So many people love to use as the RAW conversion software. They love to use capture one because they have this specific colors, very strong, saturated. So this time, I'm going to show you how to achieve these colors using Adobe software. And this is actually very simple because it all goes down to calibration and the Tintin of the shadows. So what I'm going to do, I really like to add a little bit of magenta to the shadows for this image prime, it will be around five. If I would go to 10, That could be a little too much. I don't want to go that far, that's unnatural, so I'm going to keep it at five. And this is it. Let's have a look. This image despite small change, I do believe it looks more poppy. I wouldn't be worried about the background we already established. We'll work on this later in Photoshop. And also to explain you how the rest of this works. Of course, as I was telling you, we have three different lines that connected together gives us our image, which is of course red, green, and blue. So we have these lights and we can adjust the hue of this slide. But of course, you need to understand the light doesn't necessarily mean the color. So the fact that we work with this red primary light, as you can see, we mainly changed the pixels around the face because that's where most of the red light is. But we also have thanked the background because that's where we have red light as well. And when we would go to blue, we could assume, hey, there is not blue light on the image, but we have, because you need to understand that to achieve this color of the phase, we need to have three different lines, red, green, and blue in different measures to achieve. So I wouldn't really experiment with this, but it absolutely allowed to experiment with this calibration and the shadows if you want the certain results on the image. So now all we have to do, or at least all I have to do is to match this adjustments with other images. So I'm going to open this and this is my dominant image. Let's say that's my first image I start with. So we need to make sure we have this white square available here. And then I'm going to hold the command because that's not the first image. Otherwise, I would hold the Shift and I will select the other images. So this way, I want to match this settings to all of the other images. Then I just have to choose these three dots and choose Sync settings. And we have the choice what we want to sink, is there something that we don't want to sink? We only did this basic panel. We did optics and calibration, and that's it. We're not doing anything else. So let's see if the things that we're doing here are checked. You don't have to uncheck the curve. If you didn't work on this, just nothing will happen. So then I'm going to hit Okay? And it's very important now we need to have a look. If the images look the same. If something looks not, right? So for example, if some image maybe too bright or some image looks too dark, we can adjust this. So what I see on this image, it seems to be a little bit brighter. I'm surprised, but I don't think it's the reason for concern. The backgrounds are different on all of the images. And the brightness overall look very similar for all of the images. So we have slightly different makeup here, but I don't feel the highlights are too bright over here. And here. Also the same. If we do so, then we can just lower the highlights, maybe just patch. If this is needed for this image. I don't think that would be necessarily needed, but we can do it. And I feel these images looks absolutely perfect together. So we will be ready to start working in Photoshop. So I will show you how I do export the images for Photoshop to make sure all the settings are perfect. 5. Export Images in Camera Raw: So that's it when it comes to the Roth conversion because we do want to work fast, time is the money. So now about opening image in Photoshop or exporting, because I do prefer to export all of the images. So there's few different ways. When people want to open images in the camera, right? In Photoshop. There we'll hit open, right? But then on one image will open and rest of the images are still in the camera and you need to do it for every single image. Some people instead of open there will press Shift and I used to do it. And I would open this as the object, as I would be unsure if the settings are right, but you need to know if you work on the beauty images or fashion images. If you work on the set of the images, you do RAW conversion. And as it's correct, as you want, as photographer wants, there is no reason to come back. We want to export all of the images and be ready to work in Photoshop. So this is why what I do. I select the first image, press Shift, select all of the images. And here we have save icon. Also here you have the save icon. So it's time to save it and I will export all of these at once. So first of all, we need to select the folder where we want to save it. And if we want to have camera, we need to actually prepare that folder for this. So as you can see, this is the beauty retouching course. This is the images. And I have created the folder that is called processed CR, processed camera. It could be camera conversion, whatever. So I produce this folder. If you do it in Lightroom, you can actually do some folder in the Lightroom. So document name, I'm not going to change it. There is no reason for that, but the file extension, well, we're going to do TIF, right? So we export this in teeth. You can also export this in the PSD. That wouldn't make any difference. Because we are going to work with Photoshop, JPEG, not really too small of the size. So TIF is my choice. I always export this in teeth. When it comes to the color space, I keep it classic Adobe RGB. No reason to go actually, if you Hierald profit RGB in the past, I would do it. Most of the people work with Adobe RGB. So why complicate things? And then that two choices, right? Many people safe in 16 bits. I can do it for this course. It will have slightly more details, maybe. But I also noticed it's becoming increasingly popular, especially if I work with the bigger brands, more likely, I will get to work with 8-bit teeth because no one has space and time for 16-bit so many people and she will go with eight bits and there is nothing wrong with it. But I will, I will go with 16 bits for this course. I have a lot of space on my computer, but there is nothing wrong with eight bits. Don't listen to people if they tell you otherwise, resolution 300 pixels per inch. So now safe. And this has been saved, right? You can see over here six remaining. It might take few seconds, depending on the speed of the commutator. I work on the MacBook Pro with the M1 chip. As you can see, it's not the fastest, it could be faster, but hey, that's the big images and private dance, the reason I can hit done now, and as you can see, the images are exported here. So I'm not coming back. I will just start working with Photoshop once the images are ready. So that's what I wanted to do in camera. I wanted to keep it simple, wanted to export this, fix the lines, fix the colors, and then reattach images in Photoshop. 6. Few words on Camera Raw: I want to give you a quick walkthrough. The camera, the panelist I didn't use and give you the answer why I didn't use them. So for example, if you'd ask why I don't use curves right now in camera, the simple answer is, I don't need to do it. We need to make sure that the image looks good. Before we start retouching the portrait, we don't want to add some crazy effects that could potentially bring us tremble in the future. So secure are good for adjusting highlights, lights and shadows, I believe for adjusting these things, it's easier to do it in the Basic panel with highlights, shadows, whites and blacks, you see the curves easy, but it's easy to get the wrong effect. I don't feel as intuitive. So for example, you could go to this curve and you need the image brighter, darker. We can do it here. Easy. With control. We can do it with this curve, with this linear curve adjustment layer and just in highlights, lights, darks and shadows. But hey, as you can see, it doesn't give me such natural effects as the basic panel. So I don't feel the need to use curves. And I don't think I need to mention the lights and the different lines, red, green, and blue. Well, this is not the time for this sort of effects. Also when it comes to the sharpening noise reduction on anything like this. If we do have noise, we can add noise reduction. When it comes to the sharpening. We don't want to sharpen images at this stage, we sharpen them. And the end color mixer, I told you, it's great. I just don't feel I need to use it and color gradient. This is absolutely amazing. This is the newer atom to the camera for the past year. And it allows you to work very selectively with Midtones, shadows, and highlights with the colors. But once again, the color grading, the time for this is at the very end. We don't want to add the specific colors, for example, I don't want to answer me crazy. The Shadows, despite the fact, Hey, it might look good, but, you know, I might change my mind at the end. So why not to do it at the very end? But do it now? I don't see there is a reason for that. So this is why I'm not doing any color gradient here. Geometry. Well, if we have the other images, if we need to fix the horizon or anything like this, we can do it, right. We can do it with manual transformations to rotate and anything, ladies, but it will have studio images like that. There is nothing to do in geometry. And when it comes to the effects, I love to add grain. But that's once again at the very end. We don't add the grain before reattach. That would be, that would be the nonsense. And also we have the tool panel over here. So we have a crop tool, which is simply cropping, cropping. Some people do it at the very beginning. I don't know why, because that would be much easier to do at the, at the end. Once again, we have some retouching tools. So we have spot removal. We have masking. So masking is not something the Spot Removal masking and working selectively. It's not something that should be diamond this stage, the spot removal, well, it's way easier to do it in Photoshop. No reason to do it here. Masking wagered the in Photoshop. And the same thing about an older tools. So this is why I'm not using another panels and I hope this answer is satisfying. So now we are ready to actually start some serious work in Photoshop and learn professional non-destructive retouching. 7. Graphic Tablet is what you need: Very important thing to address before we start this course is focused on professional retouching. And indeed one thing to reattach professionally, you need something like this. I know it might be confusing when you start. So here's the brand. It's called WACC, and this is the graphic tablet. So when we reattach the images, we are unable to do it with this. Some of you could claim, Hey, you can do it with the mouse band. I will explain you in this lesson why you cannot, you see working with the mouse is not very precise. So we can click right. Now. We can click, we can move, we can reattach the spots, but it doesn't give you the pen pressure that you sometimes need when you retouch the face. Not only when removing response, but the major part of retouching the portrait image, it's actually working with the light. And you need the comfort of painting. You don't have to be good at painting, but you need something that gives you the comfort of the flawless moves and the mouse doesn't do it. The track pad on your laptop also doesn't do it. And one of the most common mistake that people do, the message me and they tell me their image has patches. It doesn't look as good as mine. Why? I asked them, do you re touch with the graphic tablet? And the answer is not. So this is something very important. If you think of professional retouching. You need to get the graphic tablet. You need to learn how to retouch with it, because actually getting you used to reattach in with the graphic tablets might take weeks. For some people, maybe months. I believe in most cases it will be weeks. It was weeks. In my case. It's not really expensive. Um, I'm not affiliated with this. The Wacom brand is the most common brands that do it. I'm not sure if there's other brands that are in use in retouching and also it's important I'm using the cheapest version. Okay? So we don't have to spend money for the professional graphic tablet because all you need with this tablet is something that allows you to paint, right? You use the pen so you don't need all the parents oldest special elements you know, to use for retouching. You only need something that allows you to use the pen on this dependence together with the vacuum. So I use the basic Qualcomm connected and that's how you read that. So if you wonder why it doesn't work when you reconnect with the mouse. Why it's low, why it's not size. This is super important. You need to have tablet for retouching and it needs to be addressed every single time before we do any retire. So if you think of professional retouching as the retouched or if you are a photographer who wants to retouch images in professional way, you need data. 8. 07 First steps in Photoshop Skillshare DONE: Starting with Photoshop, few things that we need to know. On the right-hand side, we have the background layer, which is the actual image that we have. When retouching. We don't necessarily want to work on this layer because that could be distractive. You see, when we do the mistake, of course we can't do the steps back. But this is not really the comfortable way of doing. This is why choosing this small icon on the bottom to create a new layer. Then I'm going to rename this to clean. Cleaning the skin, cleaning up the hair, the background, etc. We want to work on this empty layer because we can easily correct things when we do something wrong. Now, to the tools, there was few tools I'm using for the basic retouching. This is Hume brush tool and also it could be Spot Healing Brush Tool. Small differences between these two that I will speak of. The other tool that I'm going to use is clone stamp tool. So let's start with the Healing Brush Tool. And the first thing we need to pay attention is this sample that we have here, as we don't work on this actual background layer here, but we work on this empty clean layer. We cannot work on the current layer because nothing exists here. So when we would be taking the sample, there is no sample on this empty layer. We have option current below or all layers. Why not all layers? When we apply some different color above this layer and then come back to clean, it will be visible. This is why the best choice is current below. We only take the sample from this layer or layer below. Nothing that will be created above will affect the work on this layer. And also, when it comes to the hardness of this brush, I'm choosing a 100% hardness because we need to make sure that we don't really smooth out the skin that is far away from the edges dot is not really rough skin. So I'm going to zoom in. To do this. I'm going to press Z on the keyboard and on the retouching tablet I'm going to move towards right. So now we can see all of the details. I'm choosing j, which is healing brush tool or Spot Healing Brush Tool, depending of what we are choosing, how Healing Brush Tool it works. I'm going to choose out or Option. As I'm pressing this, you see this circle with very tiny cross in the center. And this is what it means taking the sample when I press it and heat on the skin. Or it could be done with mouse, but of course we cannot retouch with the mouse. So when I hit on my retouching tablet, I'm taking the sample of the texture. Then when I'm moving over the spot, I'm covering the spot with the texture, but the color get adjusted automatically. The same here. You see, I can easily covered this, so making the brush a little bit smaller. That's how it happens and we can work this way really fast. You see it doesn't really affect my speed. I can go verifies doing the same. Here. I lost a little bit of texture, so I would repeat. But for some people when working inside, maybe the better solution could be Spot Healing Brush tool. I don't really use Spot Healing Brush Tool. But the difference with the Healing Brush Tool is that this tool is doesn't require taking the sample of the texture. So it unjust not only the color automatically, but it also adjust the texture to the surrounding area so you don't have to use your hand, you don't have to press out eruption to take the sample. You just have to paint over it just like this. Then you will fix all of the things. So I'm actually not working with this tool because I've got used to working with healing brush tool and I don't think there is effect on speed when I worked because when I work with the Healing Brush Tool, my left hand is always on the keyboard, so it doesn't really affect the work as the pen is always in the right-hand. So as you can see, I do it quite fast instinctively because I've been retouching quite a lot. So this is how I work. That's how these tools are working now, once with the clone stamp. So when it comes to the clone stamp, of course I need to make sure that still current below. But as you can see when it comes to the hardness of the brush, I keep it soft. The reason for that because I'm using this for completely different tasks. You see, Let's make the brush a little bit bigger. When I take the sample, I'm taking the sample not only the texture, but also the color. I'm taking the sample, I'm cloning a 100% of the information that I'm going to move. So it's not really good for working inside for correcting the spots. But what is good for for working close to the edge, for correcting the hair, for removing this crosshair that I'm going to show you how to do for working close to the edge with this hair over here. Perfect tool. You see, have a look. Cloning here and just cover in this way. Why not with a healing brush tool? Because it doesn't work good on the edge. You see, we can't do it with the Healing Brush Tool. At least it's not easy. But clone stamp is perfect for this. Sometimes I will use the clone stamp on the skin. How and why you see when the MAY complex too dry, too harsh when I can see the pores, this could be the great tool to smooth this out. For example, over here, as I work with the soft tangent brush, I take the sample and softly pressing. I'm not pressing very hard on the retouching tablet, but softly smoothing this out. And yes, this could be destructive but not to the point that it's visible. And that's how I work with top brands, even with healing brush, as you can see, I can remove this hair over here and the texture, well, the colors don't really grade. So with clone stamp, I can easily smooth this transition out. And this would look so much better. Of course, the final corrections would dodge and burn that we will do later. But this is good introduction, an introduction. This is good, the base before we start doing this. So as you can see, there is the place for both tools. And now we're going to move to the next lesson where we're going to do the actual cleanup work and clean up all of this image, skin, hair, eyes, eyebrows, and everything else that needs to be corrected. 9. 08 Clean up skillshare DONE: Continuing with the retouch, I will start with the Healing Brush tool. And first I will take care of the skin. When I will be working, I will be using shortcuts that could be helpful for you to make in the size of the brush bigger or smaller. I use the brackets, square brackets. So the right one to make the brush so Brian, brush size bigger. The left one to make it smaller. If you wonder how I do it, this is, this is how you can do it. Of course, you can check on Adobe page how to do all of the shortcuts. I'm correcting the simple spots. You can see dry makeup over here, so we will have to use the clone stamp for this. I will leave it for now. And also when it comes to all of the moles, I'm not really retouching them. Now. This one, this one, and this one here. I'm not going to reteach this. I do not recommend retouching this. Of course, I GET requests from the customers to return to this sometimes but not always truly depends on the customer. This is not something you have to correct unless you are asked for. Only one asked you correct. This sort of things here around the nose, around the forehead. We don't really have too much of the spots. When it comes to the eyebrows. The lone standing hair can easily be corrected. This way. If it's too far, you can easily zoom in to see to correctly how I do it. Let's see around here. Around the nose. Let's, this area often has some spots, maybe some hair. Always need to pay a little bit of attention to this. Here. We also have some spots. When we work in this highlighted area, we need to be really difficult with healing brush to not destroy the texture around the chest. I don't think we have a lot of work, but we can never forget about the chest because it will look unnatural. So when we retouch, we retouch all of the body. We don't leave their spots, at least all of the spots that are visible in the final result. So everything I can do with the Healing Brush, I'm trying to do with the healing brush here. Now I'm going to switch into clone stamp. I'm pressing S on the keyboard because I want to sort out this rough areas here. You see it's difficult to retouch, so I'm trying softly blend in with the direction of this. I know it can be difficult to see at first. Let's have a look. See soft, break down. We're not really changing the face structure. It's really important to not change the structure. But we softly trying to blend this in. It's kind of shortcut. It's very useful shortcut, but I saw it here. Here's the major issue. We need to blend this in this dry makeup. Just a little bit. See. I think it does look much better. A little bit of her, a lot of, you know, cats over here. But I find this technique regarding the time to be most effective. Let's try with this hair. I'm not sure if I can do this with the Healing Brush. For sure I will use the help of clone stamp for this as well to blend this in inside the ice. When we will be working inside the ice. Sometimes when we have like really the veins that are not too close to the edge, you can see it can be done with the Healing Brush easily. Here. Not, not very difficult work. We have some of this because of the makeup. We got this kind of wrinkles. It's not necessarily because of the aging factor, but purely just make up locates this way. Can you just mix above healing brush clone stamp to try to cover this a little bit. Just like that. The background now the hair that stands out is the can be corrected with the with the healing brush. This one that stands out here. But as I mentioned before, when we get close to the edge, way better to use Clone Stamp. No need to think to match. Here. We'll have the other spot. And that could be more troublesome. And I want to show you something that sometimes we can use the simple color and the brush, how to do it. I'm going to go with that Pen tool. I will start on one side. Go here. And I'll make this sort of selection. Then heat, right? I'm pressing Control and heating on my tablet makes selection. Feather radius at, this is big picture. Image I keep at five pixels the edge cannot be too hard. It could be even more because it's really beak size in each. I'm choosing the B as the brush. As you can see, I will take the sample by choosing outer option. Take the sample from here. Well, that wasn't the perfect one. So we need to make sure we take in the good sample. And instead of clone stamp, you can see what I'm doing. I just painted over. I couldn't be bothered with the clone stamp because this was simple area of the same color. We could just paint it over. This is the this is the result. Slightly. We could change the shade, but it's hard to really say if we did, because you can see it's not so much different. I can try to maybe even this out with healing brush, but that's the that's the easiest step. Also, I mentioned to you we can correct the hair inside before we do it. I feel I need to do some correction here. When it comes to the cross-hair. Once again, Clone Stamp, smaller size. And what we will do softly painting this will require some more practice and some more, some more training. What you can see, I'm just softly painting with the direction of the hair. Just like this. And this is how it is done. As I said, it might look simple when you look at this. I think if you don't have too much experience might be a little bit difficult. But don't get encouraged. It gets better. Just need to practice. And some people would say, also don't overdo the correcting the hair because you don't want the results to be too, too artificial. It's really important. This looks better. It will be here. Maybe on the bottom here, we have some hair loss or on their skin. Kind of correct that a little bit here. Some of these crosshair on the bottom here, we can try to correct the better outcome. This is it I don't want to do to match on this image. Maybe around the lips are it will beat and we will be ready to move to the next lesson. I don't want to show you the retouch that the debate that it's based on overdoing. Of course, we don't want to overdo things and we want to do the things as naturally as possible. Now, this image still looks uneven. We have some spots, but all of these will be solved. Of course, working with the Dodge and Burn that is on the 100% non-destructive retouching technique. 10. 09 Introduction do DB Skillshare DONE: Let me introduce you to only one fully non-destructive retouching technique in Photoshop. And this is Dodge and Burn. You can easily understand this as painting with the light. You see. Skin is not the flat texture, especially in the areas that we did some cleanup. That light is not reflected evenly over the face and this is why it doesn't necessarily look good just yet. It does seem like the model may be a little bit tired. So we've Dutch and burn is not about making model or person look perfect, but it's making the person look healthy, well-rested, like it's in the best day of the life. Jumping to the technique itself, we need to find the perfect tool that will allow us to paint with the light. And for me, the perfect tool IS curve adjustment layer. You see with curves we can easily brighten that area. We can darken the area. For dungeon burden. We need to create two curve adjustment layers. One would be dutch. Let me duplicate this by pressing Command or Control and J and the other layer would be burned. In case of damage, we need to make some areas brighter. So bringing this curve up to make it brighter. In terms in case of the burn, I'm darkening this. Of course it's not. It's not the fact that we are looking for we need to invert this masks over here. So as everything is white in the mask, so this square over here, this is the mask. If everything is white, it means our effect is visible. If we would reverse it to the color black by pressing Command, Command or Control N i. As you can see, the effect is not visible, but we can bring it back by painting with that white colored brush. On this layer, if we would paint with the gray color brush, would let 50% of the effort to go from how I'm doing this, I'm going to press and D to switch it x if you need to de, to choose the black and white colors X to switch them, to choose dominant white. As you can see, it has to be on the top. I'm choosing the brush. Making the larger size of the brush. As you can see. I can bring this effect. So that would be, Let's paint it. That's Dutch. Well, it's not perfect. I'm sorry, my writing is absolutely horrible. But they still managed to do retouching. In case of burn. Again, I need to invert this. That would be Byrne. With this, you can see how the effects work. Dutch brightening, burn, darkening. This is not exactly the effect that I want. We need to make some work. We need to make some work with the brush. We need to adjust the brush so I'm pressing Command Z to do many steps back, I could easily just remove the layer. I'm inverting both of them. As I said, I need the perfect brush and I'm giving you the brush. You can download the brush with this course. So this is the brush I'm using. On the bottom. This is tangent burn brush. Download it, download it because it's available in this course. This is soft brush, is designed to work with the graphic tablet. It's perfect. It's, it feels the pen pressure. So it's really important. Also the flow in this case cannot be really up to a 100%. Personally, I often work up five percentage really depends on your own preferences, on how strong cue you press, how you feel comfortable. Then I would be able to paint on this image. But you could ask how to paint at this moment you see because, well, maybe I could see that here is a little bit too dark. So I would have to paint in this area, but it's so difficult to actually distinguish it like some other points. So what we need to do, we need some help layer and this helped player. It could be black and white layer. So what I'm doing, just ask the help. Choosing Hue Saturation. Hue Saturation work perfect. So I'm taking the saturation down from this image. Don't worry, this is not the final result. This is just for help. And as we remove the color, we see everything better. Change the blending mode from normal to color because we do not want to affect the values of the light that just the color. And then we can also use curves or some other layer to darken it, maybe to make more contrast and have a look at this. And now I see. Now I see the spots that I need to work on. Like as you can see now this area is darker. So here we need to paint a little beat to fix it and have a look. That's slightly better, some shadow here, but be careful close to the nose. You don't want to go too far here. But 12, maybe I will make it even darker so I can see better, something like this. This is how you work. It might be difficult at the start, but we've the time as you practice more, it will be easier and easier. And with this technique, of course, we can achieve really natural results. Of course I'm not leaving you this way. So I'm giving you the action so you will be able to do it faster. So for now, let me remove all of these layers. You can just go to actions if you download them and install them, because I'm giving you the marching actions and can use the action for Dutch, for burn and for help player. You could say they look at dy dt will be different in debt, but inside the same. So what I did here, I created the same layer for Nanjing, but I locked it up into the group with saturation layer with no ethics. How it looks simply like this. For Dutch. I created this. We can name it d. Then I created the empty hue saturation layer. Then I selected them both to use Command or Control G. And I loved them in the group. And then I created mask, which I inverted the same as before. So you would ask why I did this. The reason why I did this, some people, especially those who press too strong, might get some saturation shifts. So if they appear, you can adjust the saturation. If you see some, something wrong here, you can adjust the saturation, although it should not happen if you do everything as you supposed to do that. I'm going to activate black-and-white help layer. I can open it. I can adjust it better. So I usually like working with a lot of contrast, something like this. But as I will be working, I will be making darker, brighter. And of course working on this Dutch and the Burn layers or rather groups. And most of the work I usually do with dungeon, and this is just the way it is that usually you have more areas that fall into the shadow. If it would work mainly with burning, you would naturally dark and the face a little bit, which is not really comfortable visually for many people to work this way, but it could be done. This is how I will be working. You can see a lot of spots here. The spots will be taken care of. Just quickly. Go into market. You can see around here. A lot of that, of course, here too, but this is less around the mouth. We have a lot of stuff going on. So always a lot of retouching here. Maybe here are on the ice. Neck, very important to not skip. And as we go more into the shadows, sometimes hear often on the temples and the chief bunch, it will be to retire. So let's move to the next lesson and let's do the dodge and burn process. 11. 10 Dodge & Burn Process Skillshare DONE: In this lesson, I'm going to continue. I already selected the areas that need a lot of Dodge and Burn retouching. And during this process, of course, I'm going to try to be as natural as possible. I will start with rather heavy contrast and dark image because I'm going to start with the areas that really do require some retouch and then we are going more than the shadows and move to the areas that require a little bit less of them, Dodge and Burn. I might start with the forehead over here. It doesn't really matter. Where do we start? Of course, choosing the soft dodge and burn brush that is available for you. And also resetting the black and white brush with D and with x. Of course, we can switch between painting with that white color brush. Over here. I need to burn it and it will beat, of course, flow at 5%. It's convenient for me. Then I will just start painting. I'm not going to speed up this video. I want to do slow process where you have good insights into how my workflow looks like. Even though it will be a little bit slow, it will be prolonged. You will see exactly how to do Dodge and Burn retouching. Not even it's not even important to see how it's done. It's important to see how to not overdo it. Because one of the major mistakes of the beginners, except patches, because many people who start get the patches. But the reason for that is because they do not start working with the tablet. So many people try to do this with the mouse, which is horrible idea and you will not be able to do Dodge and Burn process with the mouse no matter how much you are going to try. So this is the first tissue. But of course the next issue is once you get how to do dodge and burn, and once the people get how to do it, they usually overdo it. In here, you will see my full process and I'm going to show you where to stop, how to not overdo it. Based on the experience I have. As you can see, it's already it's already getting better. We need to make sure it's more than over here, close to the close to the edge near the hairline. So I wasn't getting as close, but it has to be done correctly. I'm going to brighten this up if I need to see more. So this is how I'm working with this, this layers to make sure it looks absolutely perfect. Here we are doing a little bit of retouching, I believe. And this is the reason why we got this areas. This is why we need to work with dungeon burn because the retouching that we do unfortunately affect these areas in the negative way. So this is why in the areas were retouched more. We might need to do a little bit more of dodge and burn, or at least we need to, we need to have a look if it does require a little bit of tangent burn. So as I'm going down into the shadow area over here, as you can see, I need to bring up the brightness. Because here I have a lot of other areas that do require dodge and burn. And I was speaking about this. This is very visible area. We have this white patch over here that I'm trying to cover. The burning and of course, surrounding areas a little bit with dodging uneven. This area. Important when we do it, especially when we go into the shadow area like this one here, we will be sliding down towards the cheekbones. And this is really important to not overdo it around the cheekbones. Remember, I'm about the characteristics of the face. Remember about human anatomy. So don't flatten this area out because it will look absolutely horrible. So this needs to be done naturally. Cheekbones. You might want to flatten this out, but just don't do it because the result will be really bad. So as you can see, I just tried to an even then the dark spots you see. But I'm not trying to flatten out that the shade that we have, the shadow, I'm not trying to find what the Cheekbones are meant to do a really good profile of the face. So I'm not flattening this out. Just like this. I need to see a little bit more. I don't think there's so much more work over here as you can see because these areas are not as visible. But of course a little bit of work is required. Something like here. Now again, as I'm moving more towards the lips and the nose, I need more contrast. Because here again we have, we have a lot of the spots that we need to sort out. Moving. Stronger effect. I would say we already are done with like half of the face and it's been just a few minutes for first stop in. So many people spend hours on the Dodge and Burn retouching. I used to do it. I used to spend up to one hour when doing notch and burn, but honestly now it's even less for this image. I do not think we will need to work more than 20 minutes because that will give us this natural effect. And then of course, as we progress, we might see some of the more spots that needs to be taken care off a few minutes more. Of course later when we move to some other steps. But overall, I don't think this sort of image will require more than half an hour work. So half an hour might sound like a lot, but when it comes to professional retouching, very reasonable for images. If that would be fashion, of course, that would be much less. If you have experienced with some beauty courses. This is much shorter and shorter process. And n, in this course we only use nondestructive technique. So this should be really long. If you do it right. You will also be able to save time because you don't have to keep painting it till you actually perfection because perfection is natural. Many people knock down the shadows around the nose. Horrible mistake. Honestly. Try to avoid that. Here are a little bit. I tried to zoom out. Let's have a look. Already. Huge difference. I'm afraid I might have overdone this area a little bit. So I'm going to burn this a little bit because I might have done too much of a dungeon. So far. Looks really good. As you can see, when I'm zooming out, I might come back to the forehead. Normal process that when we zoom out we see on it a little bit more. That's why I also encourage you to zoom out when you do retouching process really important. Now, I think few more touch ups on the lips. I'm actually going to go to cleanup layer. As you can see with this high contrast, we might see a little bit more what's happening here? A little bit here. Now I'm going to move to the neck. Let's have a look how their face looks like. I think we achieve really good results. I think this area of the cheekbone, we might need a little bit more work at the end to redefine this area and it will be better. But first, let's take off the neck here, even less work, but it's really visible that The neck needs some work. You don't want to return to the face and leave everything else. So whatever else you have visible, if it's the neck, chest, arms, It's really important to retouch them as well. Otherwise it will look strange, even though it's very natural and soft retouch. You don't want to miss those areas. You might. That's also beginner mistake. When you, when you look, you might think, hey, this area look, look fine but it has to have the same level of so-called brushing. It has to have same texture. The way, of course is the natural texture changes. But I believe what I mean here is, Roger, clear. See this spots here. We need to brush it. The neck was rather easy. Step back because I over did something. As I said, I wanted to redefine the cheekbone just a little bit more. I think that transition from the shadow to the highlights could be a little bit better. Just like this. Let's have a look. We achieved really good results. I feel here and a little bit more work on the neck. And after that, we should be good for just for now because later maybe something later. Come outside. Don't want to say it's all finished, but of course we need a lot of brighter adjustment layer because nothing was visible in this area. Here we have a lot of hair. I don't really want to retouch them. I usually prefer to even out the area just with the dodge and burn. Some people were three tangent, but then of course, we get a lot of the issues with the texture after that. So I don't think it's the best solution. I think the best solution is actually doing Dodge and Burn in this areas and softly covering the imperfections with the light. Okay, so for now, I think it is finished. I will do a few more touch ups on the lips. Actually, not around the lips but on the lips. You can see the wrist few spots. Also when it comes to the beauty image, it's good to make important lips look absolutely perfect. When it comes to the contours and all the other stuff, just make sure it looks the way it should look. After that. I think the image is still, still natural looking. You can see it's actually huge difference. But it's very natural. Little bit more would be, would be needed on the eyebrows as well because we do have some holes in the eyebrows. So there's few things that I was missing. As you can see, once I'm zooming out, I'm actually seeing hey, eyebrows. But they think that's pretty much the one of the last things to do. I think when you will be working, you will be continued yourself in the same spot. Hey, eyebrows. It can be better. That's just how it is. Let's finish for now. This is my Dodge and Burn process. When I see something later, of course, I will be adding to it. But for now, this image looks the way I want. Natural. And of course, the skin looks perfect. 12. 11 Eyes Skillshare DONE: Regarding dodge and burn technique, this is not only useful when it comes to the skin retouching because it can be used for a lot of other tasks. For example, Henry touching, if you have really messy her to retouch, you can use it. I wouldn't do it on every image because that's a little bit too much. And in this lesson, I'm going to use it to improve the eyes. So to improve the clarity and to add some dynamic to the iris. So I could work on these layers that I already have. But for the eyes, I preferred to create new curve adjustment layer. And I'm going to call this eyes. And the task is really simple. We just need to brighten this a little bit. And of course, invert the layer mask by pressing Command or Control and I. And then I'm going to use the brush, but this time I'm not going to keep the flow as low because that would be that would take too much time. So I'm usually going with the flow at around 25 per cent. And this is really important, so we need to pay attention how the light is distributed here. So remember that usually when it come to the top, the iris, the lens, you will have some shadow. So usually the light is a rather on the bottom. So that's the first thing. You don't want to go all around because it will look unnatural. It might look nice on the first side. Especially for unexperienced people like something like this. But that's kind of a natural look. So you want to do this slightly more selective, which will give some more dynamism and also will be more natural effect. So I can even zoom in a lot. And that's quite strong brush. I didn't change it. And I'm just going with the direction of the light here. You see just on the bottom here. And this is how you create the dynamism, also a little bit more here. So the transition is smooth. And on the other eye the same. So you see we have these reflections that are inside. And that's where we, that's where we paint essentially before, after. So very simple work, don't overdo it. But there's simple tip I wanted to give you because I often do this regarding my images. And now, as we're nearly done with Dodge and Burn, I believe maybe some other corrections as we progress with our work. I can put this all to single group, so I have selected them all. Checked the layer with the eyes, press Shift, go to the bottom, and then Command or Control N G. And this is my Dodge and Burn group. So we can have a look before and after huge difference. And let's move to the next lesson. 13. 12 Color Grading Skillshare DONE: What we are going to do now is a little bit of color grading. So what I usually do at this moment after I finish Dodge and Burn process is adjusting the contrast and the colors. For this image, you can see the highlights are already very strong. So I'm not going to work on contrasts right now because if I would push this highlights a little bit more, I think that would be too much. So what I'm going to do now is adjust the colors to make this image look a little bit better. So first of all, what I see, and the neck is slightly more saturated than the face. So let's do this first. And to do this, I'm going to use hue saturation. And I will rename this to neck. So we know what we're doing. And I'm not going to take down too much of the saturation. If you want to see the result at first you can do more, but then we can adjust. So once I take down the saturation, I select the layer mask and then press Command or Control and I to reverse the color. So then I'm going to choose B as the brush and I'm going to work with my soft edge brush. But of course this time I can change the flow 200. And I'm just going to paint over, over the neck. I can see, especially this part of the neck is quite saturated paint over here. But be careful to not go too far, not not on the face. So this is way too much, right? I think I took down way too much of the saturation. So now let's unjust is to the right level. Is it the negative five? Maybe around this, I think I was expecting, I will only take down like maybe three. I think here maybe was a little too much. So let's, let's paint over here. If this is still too much, I was thinking negative three. So we can be very careful and they start to not overdo this. I think if I would paint stronger, the negative three could be enough. Let's have a look, especially here in this part. So see from the, from the distance that this looks about, right? So this is how the layer mask looks like. I can paint over here to make sure that actually everything is painted. Their next step that I want to do now is adding just a little bit of the color grading on the highlight area. So what I'm going to do, of course, because before I move on, I want to change the blending mode from normal to the color. So I will only affect the colors and do not affect any lights. Then I'm going to color balance. So I'll rename this to color grade, and that will be very soft. Color grade dollars each choose preserve luminosity over here. And what I'm going to do, I'm going to go to highlights. And for the highlights, I want to add more of the red light and more of the blue light. So this image, we will not be as yellow and cyan, so we will get a little bit more. As you can see, indistinguishable color. And it help us to push this cheekbones even, even a little bit more. So the phase will be having a little bit of better profile, I would say, say over here. So this is the goal I wanted to do. Then going once again to hue saturation. And this time I'm going to take care of the background. Would ask how I'm going to do this. You can see with this color grade, maybe even too much. I will choose two for the rats because I think it's maybe even to read even one. Let's have a look that that's probably better now, for the background, I want to select the background because I want this to be gray. If I change the background color to pure gray, the face will pop out more, which will have really nice effect on the viewers. So I'm making sure the Layer Mask is selected. And then I'm going to select and choose Color Range. And with that, I'm going to choose this plus and eye dropper and hit the background, right? So then we have to lower the fuzziness. So we cover all of the spots inside and we will be able to extract the background from this. So if the fuzziness is very high, as you can see, I can probably extract the edge very well. So that would be difficult because I would have to paint over the hair over here. I want to make sure that this Her are nearly 100% dark. And if I lower this to fuzziness, I want 5040. I think this is absolutely enough. So I'm going to hit Okay, there's one more thing. I have to do, some going to press Alt or Option heat on this mask and I will paint inside. So I'm going to press D to reset the colors and then x with black color, I can, I can even change the brush to solid so I can be very careful on the edge. So I covered this all in the color black. And of course, reason for this is to perfect the, extract the background. And I think now, as we achieved that, maybe a little bit more over here, we do have to be careful close to the edges. So now press Alt or Option again to reverse. And I will lower the saturation to make sure that we get the pure gray. And the next thing I'm going to do, and it will give amazing effect. I will darken the background, not too much because if we do it to match, as you can see, the edges will be very visible and this doesn't look well. So I wouldn't go more than 20. I think 20 is the maximum we can go to make sure that the edges are somehow preserved. That's even too much. So maybe 15 is either maximum. Let's have a look before, after. So this works quite well. Uh, we can try to work, work this out a little bit more if we need. So make sure you check all of these areas that they're well darkened. And we can also use the soft airbrush to work more on this. As you can see, this area covered very well for, for now. If we have some visible edge, we also can work this out a little bit more. You can see to cover just this this top of the hair, we have this colorful line. So I don't want to lower their luminosity to ten because I do want the dark background. But we've done, i'm, I'm getting this edge here, so I want to blend this in this way too much. So let's reverse. That was a little too far, but now I think I got it right. This is how I do. Here, is absolutely perfect here. Now, after painting this over, this also look really good. So this is the effect that I wanted. And now we're ready for some final adjustments where we can also add a little bit more contrast. 14. 13 Final Steps Skillshare Beauty DONE: As we are approaching the end, I'm going to show you some of the final steps I do to make sure that the image look perfect. So to do this, I'm not going to use an adjustment layer for me. The best way of doing the final adjustments is to create the final layer on the top. To do this, if you work on Mac, you need to press Command, Option Shift and E. And if you work on the Windows device, that will be Control Alt, Shift and E. And then you will have this layer on the top. I'm going to rename this to final. Of course, before doing this, you need to make sure that everything you wanted to do before regarding retired, she's already done. And then I'm going to hit tried. And I'm going to convert this layer to the Smart Object because we are going to work with the camera raw filter. So we might want to go back and forth with adding the effect. So it's very important for you to keep this as the smart object. As I already said it. We're going to work with camera raw filter. And the reason why I'm doing this, because you see I can do everything at once here. So I don't have to, of course, I might not have so much of the control regarding the layers as I would have with adjustment layers. But this doesn't matter for me because I believe the time is also important. And as I work on the single image, I work in camera now. But of course, if you would work on the set of the images, sometimes it's easier to important to Lightroom maybe. But as I said, as we work on one image, I'm showing you this in the camera. So first thing I'm doing, I'm increasing the contrast. And as I'm doing this, you can clearly see the saturation on the image increased by a lot and we need to correct this. So this is why I'm lowering the saturation, maybe 45 points. I might do more. But you can see this is about right there. The five points is about right amount of the saturation. I'm going to see if it's needed more. So for the shadows, I want to make the hair of the model more visible. And also I'm going to increase just a little bit of highlights, but not to manage because as I said before, I would rather be careful. We don't want to overdo it. I think maximum would be ten, still acceptable. So I could go with around ten for the highlights. So that would be it for now. The next thing I want to do is improve the texture. So this is really important for me as I do. Because you see for the images when we add them to social media or whatever else, we need to make sure that the texture is reversible. So this is why I'm moving the texture app to make sure that the details, the skin details, of course not the blemishes are more visible. If some people like to add clarify, you can do clarify, but this is the way to overdo it. So I would not use clarify on the beauty images. They just simply increase the contrast in the mid tones. So not ideal. For the next thing I'm going to detail because I want to work a little bit more on the sharpening. So I did increase the texture, but I think adding a little bit more of the sharpening. So first, choosing the amount, radius. One pixel is for sure way to liters. So I would go with radius up to two pixels. And now the sharpening is clearly more visible, especially around the eyes and also the detail. Let's bring it to 40. So this numbers are rather random and you need to adjust them for your own image. But this image is rather standard high resolution beauty image. So if you shoot with professional cameras, this is the size of the image. Obviously you are going to have. So let's zoom out a little bit. And maybe not that much. Let's feel that this is before. This is after. You can see way more contrast and way more texture visible. But this is not everything. So there are another thing I want to do. I want to add a little bit of grain. And for this I need to zoom out a little bit. Once again, grain as important for me to not make images look maybe too artificial to digital. The adding grain is becoming more and more popular in recent years and it become the standard. The benefit of adding grain is if you have really harsh transition, the grain nicely blend this in so it's smooth out the transition between the edges, between the highlights to shadow. So that's why adding grain work well. And I want maybe the grain itself not too big, but maybe the amount of grain, not that much but size, rather beak because it will give me nice transition. So as you can see, not that much grain, beak size of the grain and roughness I keep at 50, which is pretty standard at this moment. So let's hit Okay, and see how it looks. And if this is not enough, I might do something more. So before, after. I think I might still tweak them, saturation a little bit more. I feel the highlights could be could be too much. So I'm going to check out if I can fix this, I'm going to basic and lowering the saturation more. I want to see if I can lower highlights. And instead of highlights or add some exposure, probably given me more satisfying effect as of now because the highlights to flatten out the lights over the face model. So maybe I will go even with brighter option 15. The image look nice and bright, and I think this is absolutely enough for this image. I don't see a reason why I would do more than this. So let's hit okay. And the last thing I would like to talk about, of course, is adjusting the frame, essentially the crop. So what I'm doing, I'm choosing the crop tool. I checked delete cropped pixels. So of course, I want to remove this just in case I don't want to delete the crop pixels as of now because I might want to go back. But here I feel I have too much space on the top of the head. So I probably could do it a little bit better. So I'm going to try this original resolution. Let's make it a little bit smaller. So I don't have that much of the of the space to make it better. But we'll try my best so little more. Maybe something like this. And that would be probably somewhere about final result. Important thing to mention when it comes to their final crop. Well, this doesn't look the best but important thing to mention regarding cropping. If there is photographer working with you, of course, the photographer can decide on the final crop here. So I think I will do a little bit, Les. Let's try maybe something here. I'm this. And I will, I will finish at this stage, but of course, if other crop is better, so this is now a little bit more focused. I think this is before. This is after. I feel I had too much space on top of here. Now this image is a little bit more forecasts. So this is it. This is all course. I do hope you enjoy it. I hope it wasn't complicated. My goal is to make everything simple and straight to the point. And I hope this course was like this and from now on, your images look much better. Thank you. 15. Skillshare Beauty is Retouch Trailer DONE: Hey there, my name is managing. I am professional post-production artists with ten years of experience. And this is my professional retouching course in which I want to teach you how to retouch fast and what's most important in non-destructive way. Obviously, you can find my credentials by visiting my page, margin mucus.com, where you can find my retouching portfolio or visiting my Instagram where you can see my retouching portfolio in a little bit different form as well. If you think I'm the right person to teach you here on Skillshare. Then let's jump to my course. And in my course, you will be able to learn how to process image in Camera, how to process the raw file in Camera Raw to start working in Photoshop. And as you can see on the screen, we will go through the whole process of retouching. And what's important to say for me is you will receive the high-quality image to follow along. This is really rare to receive such a great images done by professional photographer, in this case by Dominica Gene scar, that I did a lot of work together. So you have this image and with this image, you can follow along and practice at your own peace. Of course, I'm showing you how to clean up the image. What I mean by not simple blemishes scars her how to perform Dodge and Burn retouch, which is on the one fully non-destructive retouching techniques out there. How to do simple color grading. And of course, how to do final adjustments where you adjust contrast when you sharpen the image, simply how to make sure that your image look absolutely perfect to send to the customer. I am professional who worked for many years in the field. And if you are looking for the right person tissue, I believe I'm the one. So if this is something you want to learn, Let's go to the first lesson and don't forget to download the resources that include images and actions that will help to speed up your workflow. So let's start.