Professional Portrait Photography & Retouching - Start to Finish | Manfred Werner | Skillshare

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Professional Portrait Photography & Retouching - Start to Finish

teacher avatar Manfred Werner, Retoucher and Photoshop Instructor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      The Photographer


    • 2.

      Lesson 1 Photography Part


    • 3.

      Lesson 2 Light Setup & Diagram


    • 4.

      Lesson 3 Preparations & Raw Conversion


    • 5.

      Lesson 4 Help Layers & Notes


    • 6.

      Lesson 5 Basic Retouching & Cleaning


    • 7.

      Lesson 6 Fixes & Light Boost


    • 8.

      Lesson 7 Building Background & Merging Subject


    • 9.

      Lesson 8 Color Grading, Eyes & Contrast


    • 10.

      Lesson 9 Dodge & Burn


    • 11.

      Lesson 10 Sharpness & Final adjustments


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About This Class

Dear Students,

First of, thanks for the interested and taking this class. Now that you joined, please download the added work files and use them right away from the start. 


Included in this class – 2 Hours Step by Step guide

  • Lesson 1 – Photography Part
  • Lesson 2 – Light Setup & Diagram
  • Lesson 3 – Preparations & Raw Conversions
  • Lesson 4 – Help Layers & Notes
  • Lesson 5 – Basic Retouching & Cleaning
  • Lesson 6 – Fixes & Light Boost
  • Lesson 7 – Building background & Merging Subject
  • Lesson 8 – Color Grading, Eyes, Contrast
  • Lesson 9 – Dodge & Burn
  • Lesson 10 – Sharpness & Final Adjustment

Included working files

  • RAW – Source File
  • PSD – Photoshop File
  • Two – Texture Files

I venture into some glossy territory with my this course – The Photographer, as I give you step-by-step lessons on how to create amazing vintage portraits. The shooting process involves working with up to six strobes and this tutorial includes complete sections on understanding how to accurately set up the lights, as well as how to simplify the retouching process.

This course will offer the user new challenges and tasks. Besides a complete lesson on photography and light setup, the lessons that follow provide a wide focus on retouching techniques. Techniques such as working with textures & building backgrounds, advanced masking & merging subjects, colour grading, light fixes & corrections, as well as creating a realistic feel & light look.

When applying the methods presented in this course, the user would be able to photograph and retouch amazing vintage portraits. At +/-120 minutes, the Photographer course offers the user the methods to give his/her image that quality definition and shine we so often see on magazine covers, books and movie posters.

The idea behind the course is not only to familiarise people with the techniques but also to help them understand the reason for using certain methods and how to improve on their retouching techniques.

The idea is to make retouching fun and easy. May this be for your images or for clients. The aim is to teach you how to get that awesome wow / pop look onto the images with a few simple photoshop techniques. 

Thank you,


Meet Your Teacher

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Manfred Werner

Retoucher and Photoshop Instructor


I Love Sharing & Teaching Online.

Here on Skillshare, I'm an instructor that teaches Photoshop for beginners, but if you are more experienced, then take advantage of my advanced Photoshop courses. I’ve been teaching Photoshop & Retouching on skillshare since 2012.

In my personal capacity, I’m an owner of a Digital Media Agency where the core focus lays in Content Creation. I’ve been an active photographer and retoucher since 2010 and have worked on many advertising campaigns in Cape Town “South Africa” for clients like Mercedes, Zara, H&M, etc,

When I'm not working on campaigns, I'm producing online training courses & I have realized that it has become my passion to teach online, this may vary between Photoshop, Photography, Design... See full profile

Level: Beginner

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1. The Photographer: This is the photographer pro editorial. So hi, guys. Welcome back to brand new pro tutorial episode. My name's Manny and you can find me on Facebook at me to throw in this tutorial. Want to talk a bit about the whole set up here and everything that was in my head for the photographer Pro tutorial. So, yeah, my main idea for this project was again to showcase in 19 sixties photographer, kind of a cool, retro looking photographer kind of what they looked like back in the day in 19 sixties. So with this day today outfit kind of on a photographer on a mission and, yeah, with a cool background kind of a portrait being very proud. He's a photographer standing. But that was my main idea for that. Also, I had in mind to kind of replicated work from Dean, Rachael, Tim, Ted, a really cool back on the background, texture wise, also light wise and retouching. Also, to get another level that retouching out of there. The portrait's just looked so amazing from the Bradshaw and Tim Teddy, so I try to kind of go in the same direction and practice that a little bit so that was also part of this project. Okay, so let's start talking about the project of it. Firstly, for me very, very important for this project. WAAS planning. So I would say 95% of this project is planning the rest. The last 5% is literally going on the suit set up and model set up everything styling and pressing the button shooted. Firstly, 95% is planning it. Really, really help me with this project. Let's also talk about that a little bit. Firstly, I started out just focusing on my model model was very, very important for me to get a really good looking model. Also someone who's in comfortable in front of the camera as a big, nice beard and could kind of fit into a 19 sixties look. Now that was also the Step one finding that white person also, is it a female male? I wanted to go with a male and also decided on that The point number two was location very important for me to shoot this in studio and indoor as well, so I kind of have a really controlled light set up. There's no weather interfering you working in a bit easier with the assistance with the stylist year foods, maybe some music on set, something to drink and it just makes the whole working atmosphere a bit more awesome on. Obviously, everybody has fun doing this project with you now also for me, very important in studio was having a background so I can shoot this on a very controlled gray background because I need to retouch it in the end. And the retouching process is also a big key off this project. So again, shooting this on the great background at the even lit gray background and then obviously have more light on the model again, the location very important for me as well. Then let's talk a point point three with that would be lights in studio again. I worked with six lights, six tropes here. So again, I'm not gonna go through the whole set up off the light. But again, it was important for me to have the model it properly and the back on this world. If you guys want to know more about the lights it up, you can check this in the video Here the light talk about this whole project. It's another whole Siri's, and this goes quite into depth because it's kind of technical. Point number four again also outfits and drops. This is also another big key. I would elaborate on outfits at least have to three different outfits with jacket without a jacket with like a bright shirt and a little bit of a darker shoot. Something detailed spots on the shirt. Little details actually makes this image look a little bit better. Then it's well, also having a camera having a camera bag in 19 sixties or something about a little camera, something that would really put the image already right away into the 19 sixties. Look just with outfit and props already without even focusing on retouching, model or lights just already. The what you see with your eye when you look at him that for the first time when it doesn't look awesome, it'll just played. So when you have a look at that and it looks great and you know yet that kind of works, then add light at retouching and cool back on color effect on whom you have an amazing image. Then let's also talk a little bit about the camera that refused but this project again. I worked with a D 800 because it has good pixels and etcetera. It's a good camera. I don't want elaborate too much on that. It's just a good camera for me, and I haven't had it available then as well. A shot with the 60 millimeter lens kind of around 35 because I wanted to showcase a bit more body, not just up a waste, a little bit more from the legs and her variety to shoot a bit longer so we can always crop photo shop again. But for me, that was also important, then is, well, 1/1 25 of a second shutter speed in compensating again with strokes F 11 for really nice, sharp image. I could always in photo shop, put a little bit of a learning onto the background to have that field, and yet then also eyes 100 because there's a lot of light in the studio set up already with the stroke 100. Eyes work perfectly for me as well. So yeah, and then also finally retouching process very important, and in the time off planning, I plan in again to shoot on a grey background because it's easier for me to drop in the background, the textures onto the background. You guys can learn more about that in the pro tutorial in the retouching section. Then also, it was important for me to kind of put the clothing into a direction where it's also warm color tones, brown looking kind of brandy that fits again with my end result. So I first had my final image that I looked at from Dean Bradshaw. Tim Teddy kind of inspiration, obviously. And I had the brown look and thought, Why not go with that same look? So obviously has told the stylist Hate. Try to work into these color tones and with these clothing styles. So yeah, also very important that makes my retouching life easier. And also that the final result. Just look to the bedroom. Yeah, then also, let's talk a bit about some tips here, So festival use a studio. I think this is just way better. You have controlled light. You can work with assistant stylist. Everybody's in a really cool working mood, and it just makes your life easier. And there's no weather predictions as well and you can maybe just book half a day and get it done within half a day. You plan so much so that should work for half a day, then also again. Second point planning, planning planning. This is 95% of this project is planning. Work with your assistance with your stylist. What type of model? What type of background, what final result do you want? It makes your life on the day of shooting. Just 10 times easier for planning is number one for me with this project. Then again, as I mentioned earlier, different outfits have you different outfits. That's all a bit lighter of the darker, also clothing that have really cool details on them, with spots that just stand out a little bit from the background. Also, that suit the color tones in the end again and also props obviously have a few props and said this might be glasses again, the camera or bag or a stick, or like a little old school dry part or something that goes into the direction also belt, adding details that's important for the image. Then Stylist onset helped me so much, so Stylist is also key here so you can focus more with your assistant on the photography part and getting really the best out of this. Whereas your stylist focuses on styling and helps you with props and styling upstairs. So yes, styling. I would definitely recommend that. Then another point. Shoot different backgrounds. Either go out a few days earlier and shoot a few different varieties for retouching. Just makes your life easier again. But if you don't want to do that, have a look on our website. We also sell a texture package which suits this whole project. Another point here would also be assistance work with assistance as well. It just makes your life also 10 times easier on set because you can work quicker and let you assistant help you with the light. And you can focus maybe a little bit more on your final image that you have in mind analysts to get that perfect image that you're working with assistance and stylist and you can literally just focus on getting what you want and what you want to credits an artist. So yeah, guys, thanks again for watching. And if you enjoy this content, don't forget to hit me up with thumbs up there. Also, don't forget to subscribe and share. And if you are interested to learn how to do this from photography, light and retouching, you should check out our pro tutorial on the Web site. Yeah, so that's it again, guys, for this episode, Thanks for watching. I'll get you all in the next tutorial. 2. Lesson 1 Photography Part: so. Hi, guys. Welcome to our first lesson of the news. Prosecutorial. The photographer today I'm joined five when they sail again. Commercial on advertising photographer. If you guys want to know more about Monday, you can also have a look on the training page. We've got all the details from him in there. Yeah, when I was going to start right away with all the photography pot on the camera sittings. What camera refused with body. What, Linds? Yeah, It's all your school, right, Men. Um, thanks. It's nice to be part of this. Um, I had lots of fun doing this today or yesterday, so Yes. So basically, the camera that we used obviously got it. Yet it's the Nikon d 800. Um, the reason that we like to shoot with a D 800 is mostly because of the obviously the quality of the system, but also the It's a nice high resolution cameras 36 megapixels, which is which is really great if you want to go to large sizes with the final product. Obviously there's lots of details to work on, so that's really good. And the quality is really great off the images obviously with the Nikon system as well. The quality of the optics is really good. So yep, the reason why we shot with the 60. Or should I say we shot with a 60 mole Macro, Fisnik Nichole's 2.8. So, um, I just really like this leans. We're now bought the equipment also at the 50 million millimeter lens. I like to shoot a lot of my work, even specialized portraiture. I really like shooting focal ding closer to wide angle side of this picture, which is quite unusual for portraiture. Portage is often shot, probably 90 moves upwards. But I quite like the reason I like a bit of a wider focal length is because I like to be closer to this subject when I shoot. I don't like being very far back, fuel to distance, and it z easier for me to interact with with the subject. You come a little closer and this gives quite a nice combination between, I think, shooting little bit wide. It gives you almost a nice dip to the shot in that there's some perspective that comes into the shot which are quite like a well so 60 millimeter incident is one of the lenses that recommended for the high resolution center off the the 100 Really wonderful lanes, and I just used it a lot, but a great leader. So So that's cool. And then our camera settings that we worked with. So we showed most of the most of the shots run about. If you live in a reason for that is again, it's kind of pretty close to the sweet spot of the lanes. Run about 8 11 in terms off quality is going to be your best area, and you also have not dipped of feel to it when we do these. We don't really want O background or have much blur on our subject. We wanted to keep everything pretty pretty shop and here. So we went for a slightly higher dip the field. So if you live in a combined with slightly wider focal ing actually gives us really not dip , dip the field to the shot shutter speeds. We stuck 225th of a 2nd 1/1 25 Reason for that is again when you're shooting in cedar. Obviously, when you probably shoot the shadow, speak places to you're seeing speed or to your maximizing speed of your camera. I know I can get up to about 160th of a second on the D 800 so I usually work just just below that, just to avoid any I sort of in any of the shuts a curtain coming into the shot and darkness off any of the ages, 125th of a second don't really want to go a lot slower, because then, even though we working with flesh studios quite bright, so you don't really want introduce the chance of any camera shake in the shot. That's why we did that. And then we work around about also 100. I think when we started, we worried about us a 1 62 100 Very often we would adjust the lots to get us the exact exposures that we want to on. Then sometimes what I might do is if I wanted just, actually, while I'm shooting instead of playing with a light on my just about, I set up by 1/3 of an F stop just to kind of get their small adjustments. So maybe we should like I saw 100 after I saw 1 60 Yeah. So that's that's basically the savings that we used for the shots that we did with Adam with photographer yesterday. Sure. Yeah, that sounds good. Oh, yeah. That's also for this lesson already. I'm gonna continue on the second lesson, we're gonna talk about the lights it up and run, you guys also through the light money. 3. Lesson 2 Light Setup & Diagram: All right. Welcome back to lesson to now we're gonna talk about just the lights it up on all the modifiers we've used for the light again. I'm gonna let when they do the talking again cause you guys always see me talking. So yeah, Okay. So many. And I we used a combination off a pro photo and Ellen crime Lots shot. We did. I think when it comes to strobes, it doesn't really matter what you're using. Obviously, the more you pay, the better quality they are. But I don't think it should stop you from doing shots if you don't have expensive, so expensive strokes. So if you've got about a set of budget strokes, um, I think it's kind of whatever you got to make the shot work. That's what you do. I think when we started always the same pretty much a big borrow, not quite steel. But whatever it took to get the shotgun, that that's what we did. So the moment that that's are set up. So Theo the the lot specific he was the the profile. Did he once? Yeah, I did. That one is which are nuts. In that day off monitor lights, and you can. Obviously, they can plug in to remain since year a Z well as having the optional Beth back, which is quite nice for location works. That's great. And then the in crumbs I think we use mostly, I think that the origin of your ex light, obviously little plug in and how is most of them? Probably run about 500 or thereabouts. That's pretty much what we worked with, right? So let's look at what lights we used for the shot as well as the light modifies. So the first light in C coming up was our hair light. For that, we used one of the profiler lights with the beauty dish and a grid. The reason we using the grid on that is just to focus that life so that, specifically is only on the head, maybe some of exposing to the shoulders. But you really containing it so that it doesn't get out of hand and swollen the whole seat . So it's really the whole set up that were used yesterday. All the light was very focused on specific areas, and that really works when you want to start layering light and combining lots multiple life in the same shot. The second lack of see is the right room light again. For that we used with Ellen crime lights and we used stripped like for that as well as a grid. Again, just Teoh. Focus the light that when we placed you've seen the diagram NATO on reported place that a little bit behind the subject, kind of pointing away from the background and just hitting the subject quite specifically, Left room light is the next one, so they can see again pretty much the same effect stripped life with the grid. And this, um, there's some good, very well matched. We can see the in terms of intensity and effective a lot, so you might want to just play around with that in position and forward and backwards in the angle, just to get it exactly right according to the feel of the shot. But that's the effect it. Life number four was a key light again, for that means the beautiful beauty dish with a grid so that probably could seize the brightest light of A with the shock that we used obviously refer to that as a key light um , there again, we use the grid on that. Against that, we could focus the life and avoided spelling. Will overshot. We wanted the shot to graduate a little bit darker towards the bottom of the shot, so he didn't really want to key Like to like the whole subject. So you can see the place that probably just to camera slightly off center camera left. And it was probably about a foot or so about the subject, like my fathers are for like So for that we used a big umbrella, um, a little bit further back behind a shooting position so you can see again there. It's very subtle and way we focus that a little bit lower just to full a little bit of light into the bottom of the subject. I wanted to really the subject's head. We really wanted to, like mostly with a new dish with our key life you see, on the full light is just bouncing a little bit of detail back into the bottom of the shot . And that's really just so we keep the details. So we didn't really want to expose the bottom of the shot to the same intensity as basically the sort the shoulders in the head. We really just wanted to make sure that we keep detail in the shadows. You can see that it's quite a low intensity. And they now final liked was background light that we used to Christ the little little locked behind the subject. So for that, we used just a small monitor light with a I think we used a honey Come on that I know we actually didn't. We started without get way did. That's right. Actually, what we found was when we used the honeycomb we got a good highlight or nice circular highlight behind the subject that worked very well. But the ages with very dark it was pretty much too focused. So we took the money. Come with a grid off the life, just you and we've moved it back of it just to enable us to for some of the light from that life also too, like the rest of the background, just so that the corners don't didn't go quite as dark as they work, because especially wouldn't wouldn't want to add the Grady int afterwards. You don't really want to work with black Or should I say the textures You still want to keep detail and that always, ADM or darken it often but in post production. But if you don't have the detail when you start, then it gets a little bit difficult. And then also just reused to Polly boards, flag the light. So also in grief. When we saw that the background was a little bit a little bit dark, what we did is we did the two Polly bullets just found some of the two room lights back on to the background, so we just placed it. I'm just probably next to the subject just to bounce some of that lot back. Yeah, one term, I think in once we can actually, you can actually use it to flag like, first of all, if you don't have on on the strips, especially when the light obviously, when we're focusing the life towards the camera, you want to avoid flare, especially the fact if you're shooting slacking more wide angle, you already more prone to flare than you would. If you're shooting further back with the lens would with maybe 100 more 19 million. So yeah, flag can come in quite handy. In instances like that, the grid also helps with that on the modifiers. Yeah, that's a good I think a good explanation about the whole lights have refused. Like, modifies is we'll talk about settings, just the generation. Sure, we could do that. So basically, as you can see that if you look at the diagram, you can see that the two room lights probably the brightest lights that we used in terms of exposure. Um, and the hay light The light was probably I think they mean when we measured the hair light , it was actually about the same exposure of the two sidelights looking a little bit dark on that, but I think imposed to be adjusted. And the final shot did come through quite nasty. So, typically, for this kind of portrait, you probably want to do your room lights. Run about it. One if stop brighter than the rest of your Reese of your exposure special. Your key lights. Look at your key light. You probably want your room live to be one stop writer and we can see there the other lights. It's really mean. The nice thing shooting digitally is we can get a good idea you can feel fill it out as you as you progress on the shot with the exposures or where you want them to be. But I guess the full light is probably a stopping 1/2 darker, then the key, and then that background lot again. You can kind of just sit exposure on that, depending on how much light you went behind the subject and how much great sort of Grady and you went to the edges of the show. Yeah. Also, I think how far you place into the background also determine our fight your spoke girl. So that's a good point for their background. Like obviously when we took the grid off so we could were quite far back with that, like with the grid, It was a very focused, focused life. When we took it off, that wouldn't be quite flattened, spoke quite even over the background. So if you still want that nice, accentuated, punchy a lot behind it, then you just move it close and you'll actually get that effects. Some of it will spell. But depending on how close you work with it, you'll still get a nice difference. Very brunch, bright, airy behind and being graduates off the edges quite nicely. I think I wouldn't spend too much time on the shooting with that. Tried to get a very even and opposed. You can always brighten it up with Dr Easily, so it's not. Don't pay too much attention. I think that's a good point. We also when before we did the shark, we said, Should we do the back like you could probably do this without it. It's It saves you time by shooting with it because then you don't really have to. You don't really have to do it on the background or your texture layer. You can obviously create it. Actually, that's brighter in the same and off to the edges. But you just save you time and a lot of a lot of commercial photography and more efficient the more efficiently you work on the list, Industry said, the more you can do in camera will save you quite a bit of time. In retouching off. Yeah, yeah, sure. Okay, That was actually all about just the light of the refused the light modifiers on roughly about the lots of power that refused Yeah. So that's all for this lesson as well. We continue now with the next lesson, we're gonna start with our retouching process. 4. Lesson 3 Preparations & Raw Conversion : so Hi, guys. And welcome to our first lesson here of our pro tutorial. The photographer. Thanks again for purchasing this course and having interest in our other courses as well. All right, so let's get started right away, as you guys could see in a dope rich at the moment here. And I've already selected under the content area the image that we're going to work on today, which is basically this straight out of camera. Nothing adjusted after the light up that we just had earlier this the result that we've got . All right. So when you take this image from camera or bridge actually here into Camero, do few adjustments and then take it into further shop. Now, some of you guys are most probably familiar with light room. Some of you do your selections in light room. I love to do my selections in Adobe Bridge here. Just select them over here, double tap, take them into camera rule, adjust their and then obviously taking into photo shop, which we also going to do right away. I'm just gonna select the image here, double click on it and it will go right into camera rule now as well. Guys, if you're not familiar with any of thes a dub software's here, have a look on our freedom towards page. We've got tons of predatory ALS teaching you hard to work with the basic steps of these tools. All right? Yeah. So basically, we in camera, Rhona. First step that we going to do is just do very subtle small adjustments and pre adjustments to get our image ready for further shop. So I'm not going to do loads off retouching here or extremely a lot off adjustments? No, we're gonna do that in first shop. All right. So on the right inside here as well, you guys can see the complete palette ear from camera roll and also a few sliders now as well before we even start. I knew usually always say this in the editorials is that there's no certain rule hard to work with these sliders. I usually take the sliders all the way to the left all the way to the right, and then I see what I'm kind of getting what affect him. I'm getting. And if I think that effect looks great, I'm sticking to that. And also what I normally do is I swap between different sliders here. So if I start out with exposure, then I think it's going to dark. Then I changed my shadow again. Then I take that up, so I jump between those sliders. I'm not starting right from the top all the way to the bottom. I jump between those, all right, so let's start right away. First of all, I'm also not going to work with too many of thes adjustments here at the top. The options. I'm literally going to start out right away, just again with details. I normally start with my details due to that, that I'm going to just the sharpness a little bit on this image, meaning that I will just in haunts the sharpness a little bit and tweaking a little bit more. So it's already tweak in the rule image here. So normally I take the mount all the way to up to 60%. Sometimes 62 sometimes 70 and very important here, Radius 0.5. So again, that gives me a really nice contrast, the sharpness, I would say to just enhances the details a little bit, So if you want to push this little bit further. You can actually take it to run 70 to 75. But I wouldn't do it too much because we obviously in further shop, it's still going to do another sharpening class. We were just going to sharpen the beard and all the heads. All the little fine details. All right, so that's basically already just for sharpening and details. I'm gonna go back here to my basic sliders and gonna continue now with the first basic adjustments. All right, So under basic again, I'm going to start now with my basic adjustments here and also, first of all, white balance. I'm not even going to work with these presets here. I love to have my own custom preset under temperature here. I'm not gonna work with tent because that's going to just give us a re it color correction . So I'm just going to stick with temperature and for days image. I'm going to go actually to 4800 because I think I want to keep a little bit warmer. The overall color grading will be a bit warmer. Someone ago, somewhere between 48245 usually 45 a little bit cooler for a little bit warmer. So let's stick with for a two day. Obviously, that will also increase the saturation the Reds a little bit, which we can also take Dar little bit. So, as I mentioned earlier, I will jump right away, down all the way to saturation and maybe just take this down to like a minus three or so minus three minus 45 This is sometimes it always depends on your images. Well, but I think for this image of minus 3 to 5 is actually good enough as well. Now I'm gonna go back to exposure. I'm pretty happy, actually. With exposure, I might even just push the shadows up a little bit because I want to have a little bit more detail down here. So let's have a look. If we push the shadows up a little bit like a plus nine, have a look. Can that brightens up a little bit, obviously, for this whole image years? Well, my main our main idea was to have a little bit off darkness and a little bit off, like some really nice shadows going through the complete person here from the top all the way down, so I don't wanna put the shadows all the way up. It's just going to brighten the complete image. All right, so shadows up for that. Now, let's push the highlights a little bit like a plus two plus three as well. Okay. And the Blackstone here. Due to all of that, I'm just gonna push the black star a little bit just to give it a little bit of a boost again. That strong contrast. So just like a minus two or three kill, but less minus four. Yeah, that's pretty much a good start. Ready? Pretty happy with the adjustments so far. And that's basically all that I do in camera roll here, basically for the role adjustments. If the image is a little bit darker, I sometimes push the exposure also like a one or two. But it's going to push the pop a lot here, and we're going to do a few more adjustments on the image. We can actually keep it two plus 0.5 And I'm pretty happy, actually, with that. All right, So before we take the whole image now into further shop last step again, like I usually do. I go to my work flow options down here and just check quickly my color space, the depth size resolution on the sharpness. So normally, I work with the dope RGB 1998. It's also better for printing then as well. Due to the recording's here, I'm working with eight channel you guys at home. Please switch to 16 bit. It's just better quality, higher megapixels and high files as well, since I would recommend working on 16 bit here now, as well size. I want to keep that to the standard size. Am a resolution to 300 DP eyes, Wall said. Super high quality sharpness. You can add more sharpness if your screen isn't that good, but I would recommend not adding more sharpness. Keep it to none for the start now as well opened this as a smart object. In photo shop. I sometimes do this, and if I want to do a double role conversion, I opened as a smart object. If I need to bring this image back into camera rule, I'll open it as a smart object. Then I do few adjustments. Take it back, bring it back into Photoshopped begin. So if you want to do that and switch between these layers and also do double rule conversions, you can do it with a smart object. I'm not going to take this box today. I'm just gonna hit, okay? And that's basically it. Now I'm going to say open image and we finally done. We taking it into Photoshopped. OK, so as you can see, it has loaded already. Our first layer is in here again in the background. We still have bridge here for shop on front. So I do a few certain steps now, First of all, I switch off bridge here, so I closed bridge completely down. Just right. Click Quit bridge. I don't need that anymore. I'm gonna go back, switch to further sharp here, press f for full screen mode and our everything is out of my way. I don't I'm not distracted by my background. Everything a solid here and I can start working on the Photoshopped file also if you guys don't have this like me, if you press f and you have the whole screen still in the back, switch here to window and just turn application frame to off yours might look like this. So if I'm gonna hit the plus button, yours might look like this. So it's quite annoying. I usually go to window to say application frame off so I can switch quickly. Be to be in my background and my photo shop here. Okay, f again for full screen. And I want to see you guys. Now, in the next lesson, I'm going to start with our first preparations here. Notes and the hell player. 5. Lesson 4 Help Layers & Notes: Okay, So in our second less now, we're gonna start right away with just our help. Plays, notes and things that stand aren't ready now to us. We're gonna put that on a separate layer. Yeah, Throughout the retouching process, it might help us. So we remind ourselves what we still need to do now as well as you guys can see here. First of all again, background. It's still our import from camera or on the double. Click on that. And just rename name this to Basic. So it's my basic start. And that was the first layer now, as well done here, I'm gonna create a new group. Just rename that to help and as well a new, empty layer down here called This Hell Player. So this is my first layer on which I start painting just with the normal brush and also point out all the steps now as well. You guys will see me do a lot of different groups and help players. First of all, it's for you guys at home. So if you open your further ship far, you can also see all the single steps that I've done in all my life. groups and filed here in and layers. And also, if I come back in a year or two years and I want to know how did I retouch this? I know exactly how I got to my effect. It's not tons of different layers. They all sorted. And I know my way around the photos show file. All right, so let's start right away on the hell player I'm gonna take Just be with the brush And normally, just with the normal brush different foreground colors and painting and writing actually here on the help play a few things that I need to do now as well. Guys, I'm working with of acumen. 10 years, five pro tablet, which basically means I've got wheel here and on the left inside I can just quickly easy by the wheel, change my brush size. Yeah, and paint with this and do certain things with this. I guess some of you guys already know about this now. If you guys don't have this, you compress control altogether. Move left and right. This will obviously change your brush size up and on changed the hardness. So you will see me do this Quite a lot throughout the whole retouching process here. Also, if you guys watch a lot off my free tutorials, I guess you guys already know about this. All right, So when you change the hardness, 200% take it all the way down to just, like a 5% of something. Five pixels to be able to right here on the Photoshopped far now as well. I still have black as a foreground color on a double tap on here. Just take red for the start. Okay? 100% capacity. Great. Let's start writing are all right. So the first thing that I want to do is just add what do I need to add to the whole image here? I want to add a bit of a background here. Someone had just right here at the top at background. Okay. And my writing won't be that good today. I'm just going to write it like, quickly, easily, art. Okay, so it's just like a small reminder for myself at background. We also want to add some texture. So let's also do that. Maybe here on the side. So we have a bit of space stove to work on the person. Actually, year. I'm just gonna right here again at Textor that we don't need to forget. Okay, Lets him out again. What else do we need to add? We also wanted to add some sharpness. Someone is zooming a little bit in plus sharpness. Right, That sharp nurse. There we go. OK, next step again. Throughout the process, I think we need to also add a vignette ing. Maybe you will do that just with a few adjustment curve layers. So I'm just gonna write it. Plus, here in yet very quickly as well. And yet ing I'm gonna do, like, a bit of an error. So I don't forget that at the background act textures, sharpness, That's most the the first steps that I need to do just for the background. Okay, then it's what What I still want to do is obviously I want to blur the background a little bit when we later have texture and everything. So again, I'm just going to right here, blur texture, so don't forget that. Okay, Adam, also going to do, like, just a little error pointing out again blur textures. Okay, then as well. What? I still want to do here. That's maybe all I think so far for the background, for texture, color we can actually right here also tell a grating. So we want to add a bit of color grade. Don't forget that color grating. And now let's also concentrate little bit here on our subject. First of all, what I can see is we need to retouch quite well off here. Someone's gonna right here, here again retouch that I get. Some of you are a little better than me with writing here. Okay as well of here. We need to retouch that that we want to concentrate a little bit on here. These hairs, I might retouch that a little bit he and just clean it up a little bit over here, the beard and really like that area here. I don't want to retouch this of here. The here, Maybe this here then also I can see I thought actually earlier in the retouch here is a big here that needs to go out. So I'm just gonna right here here as well. So I know what is going on here. Okay. And as well, let's go down. Here was also a big here. So I'm just gonna do this line, as you guys can see. Here goes a big here. Something weird going through. I want to retouch that. I'm just gonna right here as well. Okay, let's zoom art So that so far, the process is well, not want to switch again? The foreground colors. It's also just switched to maybe a yellow something. Okay. Yellow of here? Yep. And I'm gonna still what? I'm looking at this already. First of all, what I need to do is we need to clean up the bottom partier. So again, I'm Arizona. Right here. Clean up. There we go. We need to clean up this guy. We'll hear retouched that out. And here is we'll just clean up. Okay, then what I wanted to do is I can see over here. We need to fix this a little bit. It's very, very bright, and it just stands out too much. If you look at the image like this, if you imagine the background in it, This area here from the bag, it's to soup. Right? So what I want to do is again just going to write here. Fix. So when it fixed this area and just maybe copy a little bit of texture from down here or cried some new texture dark in this as well. This part of the year has so much nice detail in there, and it's kind of lost because it's so dark. So what I want to do is well, with this is maybe also just fix this up. So again, I'm just going to write your fix, okay, so that I need to do can and zoom out a little bit, have a look again in my image as well. I think the camera over here it can like especially the branding here. The loader. Well, if that can use a bit of fix a little bit of a boost as well. So I'm just going to write your fix. This can also have a little bit of a boost. It's just right here. Boost something at that. Okay, sir, I want to add a bit. Concentrate a little bit on that. Also over the area here it's going quite dark. So again, just right there boosts as well. And then also else, I can see that we have a bit of some dust marks and here on the background itself. Sometimes she just going to point that out a little bit. With a few dots, I remind myself, Hey, don't forget. Here are some dust marks. You want to take those out dust here? My writing is so good, Dust marks. OK, then as well Dust marks that we want to do. Okay. And then also throughout the process, I definitely want to add a little bit of dodge and burn here. I'm just going to create again a new color year, just maybe like a DB. Put your d and B. So don't forget the Dodge and burning stage. That's very important. And as well over here, I definitely want to do a little bit more dodging burning here on his face, especially in this area. So again, I'm gonna right here a d and B that we want to do a little bit over here. Maybe. I guess so. Just adding a bit off again, bringing that shadows and that dark areas back as well. Also, over here on this parents again, Yeah, just adding a bit of dodge and burn to that as well. So that's basically already my help lay here just so ensuring you Geisel the steps that I want to do that I think about now. And this helps me always when I start retouching and yeah, now that's also all. So for the next step, next lesson we're gonna go in the second. We gonna start with are basically here and concentrate, first of all, just onto the background. 6. Lesson 5 Basic Retouching & Cleaning : All right, So our next let's now, First of all, what we're going to do is just start again with our cleaning process, the retouching and all little fixes here as well. I'm gonna keep basic to my basically, I'm not going to touch it. Not going to start retouching on that. If I do a mistake, I can always fall back on the basic. All right, So the help players, Well, I can I'm going to switch this off now. But if I needed and when to switch it on and move it to the area where I needed All right. So let's go to the new group down here, and I'm just going to right here for the first step. It's just gonna be retouching then as well. We also going to do some clean up in there and as well, some fixes. So again, retouch, clean and fix all in one group. Now, in there, we're going to do some sub categories and sub groups as well. But festival we're going to start now with just adding again the basic image. So we're gonna make a duplicate and just concentrate on the background. So come on, Jay duplicate that Move that into retouching clean. And this I'm also gonna right here. Background. So you guys actually know what we're going to do in this background retouch. So basically meaning a little dust marks and little areas that I want to take out. For instance, also, this guy down here, so I need to do that. So this is I'm gonna put again into a new group also called a subgroup background. Okay, then we're going to start with another subgroup. I'm already creating a few groups here because I know these steps that I want to do this I'm gonna call retouch there. Basically, it's gonna have everything to do with cleaning the subject. Upsurges basically healing, cloning, correcting hey, all of that kind of stuff and that we're also going to do on a separate single layer. Let's also create that lay a straight away here in the movie just into retouch, and I'm going to write your healing and cloning. So you guys know exactly where what is so again Here are sub categories already this weekend actually move into background. Let's open that. Okay. So, again, a nice sorted PST file and lastly on top here. We still going to create another group called fixes and want to be ready with all. We're going to start working in fixes. But again, it's just a few subgroups. Everything That's nice, assorted. All right, so let's get finally ready in the background retouched. We can also turn off basic here. We can just now start with basic retouch. We're going to just clean up a few certain dust marks here. So when it will go through the image here, press J for the heating brush tool and as well now for the healing brush to first of all while I'm with Jay Heating Brush tool, I want to select us the normal healing brush to not the spot healing to stealing brush over here on a just a few things. So again, at the top, I want to switch this again to currently because I'm gonna work just on this current lay here current layers. Well, I'm in a press control old move left and right. And first of all, feather my brush completely. Okay. And also, let's switch here just for safety. Everything back to normal. Also with d, you can switch it back to black and white foreground Callous. This is not really necessary. But I really like to work like this. All right, so very simple. Again. Hold old sampling area close by and I'm literally Nargis with the heating brush painting again A little bit in here, cleaning some of that background up due to that. We obviously going to add later a complete new background onto this texture Now through the whole process. We also mentioned obviously that we shot this for a reason on gray because we obviously going to add later the whole texture to this gray background says, obviously bleeding here on the gray background. Then again, we also adding texture. So you doesn't need to be super super clean the gray background because obviously the texture we'll go over this and will obviously make it a look a little bit more grand jury. But if you have just the solid color, say, for instance, you just add a red or a black or safe once a blue, then your background should be actually very clean and very need in the background sets a solid going color through there. Okay? And as well I'm gonna go through down here. Have a look A little bit on the background That looks so good here. We just need to retouch this guy's well, take a little bit through. Let's start. Maybe here on the right inside Ault again Sample again. I'm still in the healing brush to as you guys can see year. Just a few things that I wanted up. Okay, let's zoom a little closer over here again. People Pen tool as well. Guys, if you're not familiar with the Penta, we've got also free tutorial on the freedom Told Paige teaching you hard to work with the pencil. So basically just going to create a rough path year around the guy's pants is world just to get that out and all the way around here. Okay, combined the path with the lost anchor point here, right? Like while I'm still on the pencil, make a selection. Zero feathering, please. OK, and now we can easily work in the selection. Someone Ajay again press here maybe just s for clones them till this time we can also go right click here, cleanse them toe have look quickly current layer. That is right. And I'm just gonna make this a bit bigger. Hold control tas. Well, I want to check the fitness, okay? Or the hardness? 50%. That's good. Hold old and we literally just going to brush over this. Okay. Nicely like that. Great. So we took that out. Come on, D out off the selection. We can move of here and also do the same step now with the pen to again. But it started right away. I'm actually gonna start right afraid away from the top here and just do a solid nice selection with the pen tool. Okay? All the way around. We also stealing a bit of pixels here because that doesn't really matter. If you stealing a bit of pixels, then nobody's going to notice that. Okay? On around here. So again, as I mentioned earlier, please have a look at the free tutorial. If you uncertain. Hard to work with a pencil. It's very simple, actually. You just create anchor points control these anchor points. Yeah, and then you continue until you done like here combined the whole path at you've created a solid path, people. That mental right click makes election again. And when he hit zero here, don't feather that at all. Okay, so again, we have a nice selection year. So now what I want to do. I don't want to even copy and start from here. I want a copy right away from this area and believe that in. That's why I also selected everything here So again s for clone stamp tool and make this a bit bigger. So it's easier to start right away now. Also, I wouldn't copy or clone. Actually, from here right away, I would clear a little bit further way somewhere over here. Because if I cloned from here, I'm easy going to paint the pants in his well cause week learning obviously from here again . Cloning. Very simple. Hold old. So again, you sample this area here and then you painting in on the destination. And you exactly painting which the thing that you're the area that you sourcing from. So you can hold here, old sample that I literally we just easily brushing this in super easy. Okay, come on, D. Nice selection. Nice cut out. Everything looks great now as well. The same is Well, we're going to do this over here, people. The pen tool. Let's make a little bit of a biggest selection this time, Cam, going closer to the pants presses it to zoom in. Also, you guys consume and also here of either navigator. I like to use it. It's just quicker. All right, So what? I'm going to Jews again, people. Penta will get back to this and we again just creating a rough path year. Okay, here. I'm gonna be a little bit more carefully. I'm stealing away a few pixels again. Let's remarked again. And let's also why don't we just do it throughout the whole pants instead of going through here so again? A little bit further? Well, we're done again. Just working with a path. Super easy, kids. Omar, little bit. And we just combining this whole path of here on, we can close the path. Okay, let's zoom out. People paying to right leg make a selection. Zero feathering, please. Okay, now, as well as for clearance. Them too. And this I'm not working from this side. I wouldn't work from this side whips that changed a few things over here. That's make that of its smaller okay and religiously going to clone again from here. Hold old So this is also very dark. I wouldn't go too far away Old over here, I literally just brush that in. And I think first of all, my brushes also still too hard for this process. Someone leave it like that. I'm just gonna press controlled, feather the brush completely and take the opacity to, like a 50%. So it's just we're going to bleed this area a little bit better here because it's very solid and hard pulled old sample again, the area close by. I'm also sometimes trying to stick on the same lines here. So I just dragged down to help line here to kind of be in the same positions. I'm not sampling from the top. It's little bit darker. They hold old a little bit down here, actually hold old and I'm just sampling again of here, slowly brushing that in. OK, come on, D Also get rid of that selection year. Sorry, the help line. Let's zoom out a little bit and I concede kind of works. It's just a little bit dark here on the edge to again. I'm just gonna process and also change the opacity. Maybe just like 20% Okay, Hold old without the selection. I'm just roughly over here brushing case. I'm a bit in the year. As for clone stamp again, Hold old. Yeah. And just literally brushed a bit of a year. Okay. Like so what's gonna make the brush of it bigger, Actually, the clone stamp tool. Yeah, I like. So Okay, let's zoom out again. And that's already just the first step of retouching. Just art the bottom. Stand here as you asking. See? Super easy to do that as well. All right, so that's the first step for that. Now we're gonna concentrate just on retouching the person someone to go into the retouch lay here of the group actually gonna open retouch group. Go on, healing cloning. I'm going to start first of all with just healing, including a little bit the here, here in the top here, and cleaning that up a little bit of a bit of the here. So let's zoom in a little closer the same. Also going to do this again with the clone stamp tool. So s for Clarence. Them too make a little bit smaller. Passivity 100%. And this time, first of all, what we're gonna do is here on the current layer. We're going to switch this to always because it's not gonna work on the currently. There's no detail, so it's not gonna work, so we need to switch it to all there's says can also work here on the background. Okay, Make this a bit smaller. Hold old, and I'm literally just going to brush this away, all still in the clone stamp tool. We can actually use the heating brush for that. So when you go a few steps back, take for healing brush again, switch to all layers. Yeah, and as we'll make this a bit smaller can normally switch between those two healing brush and clones them too. Okay. And I really love that. We actually have so much here. You on the side, but every here I do want to clean this up a little bit. Lets him a little bit in. Here s for Clarence. Them too. So this is a little bit trickier. I normally do this with Clarence Stamp to I'm sampling again. The border, the edge here, going a little closer and just paint that over super quick as well. Over here. Border and just brush over cannot. We copied it exactly a little bit. Someone had a little bit further down sample from here on. Brushed that out. Great. Okay. Over here, we can go through the here a little bit. All the big ones that stand out, we can actually get rid of those. So again s for clone Stamp Tool. And this summer, we're gonna change the opacity. Maybe just to, like, 20%. Or actually, 50% holdout. Sample the areas close by. So we just brushing those art slightly and slowly que make members of its smaller And you can actually play between this. Either you're going to use the Clarence M Tool or the heating brush. Want to switch back to healing brush? Let's do this a bit easier. Okay, again, heating brush might work a little bit easier for this, so I don't want to brush out too much theory away. That's actually the like. It kind of suits this image. It's not a beauty portrait. It's supposed to have local bit wild here and have a little of hair spilling again. Hold old. Also sampling exactly from here. I just brush of that. Okay, there's someone who work in a moment. I still wanna have. Look at these first hold old sample again. Yeah, I just clean that up slowly. It's a bit trickier here with the here with us. Concede kind of smudges here. So what I do with this is prince s for clones, them tool. Then hold old against sample here. The lines from the top and literally just brushed that a bit better. Okay. Again. Old layers. Yep. That's very important. It's going to be down here again. Old sample this away and again. My brush is still 50%. Let's change at 200%. Caleb Moore Just brushing that away of here. That here. So just cleaning the big hairs out a little bit old. I'm sampling again this area a little bit. Okay. This I might just retouch that a bit. Here's a big here that I want to take out. Okay. That's okay. Like this Also, this guy. Yeah. Let's also go down here. This guy want to retouch out? Definitely. Let's have a look here. If we can just copy the areas close by again, and I'm sampling directly on the hairs. I'm kind of trying to put in some new here. This guy want to retouch out? So again, sampling right here from the top. So I'm gonna go away from the top all the way down, hold ult close by, and I'm literally just brushing over this again from the other side. Taking this guy out. Just brushing this in super easy. Okay? Here, the bed. That's okay. Actually, I love that when I have that in, maybe just clean up this guy so you can obviously spend hours retouching here and taking loads of here out. So again, here on the top, we still wants to clean this up a little bit. As for Clarence them to to switch Lee in here. Brushing those guys out looks just a bit need to And nicer Caleb Moore and this guy. Yeah, and I wouldn't want to do actually want to keep this here, but I just want to dim it down a little bit. Someone impressed Jay? No, actually, clone stamp tool stick with a start clone stamp tool. I'm just gonna take it to, like, 20% of passivity. Make it a bit bigger here. Control all together so I can see the hardness and the hardness should be Yeah, let's also say around 50%. Okay? And also make this a bit smaller. And I don't have pain with the inside like this. I want to paint just with outside and obviously, is just 20% capacity. So hold all three sampling right here next to the head, aunt. Slowly brushing over this is just dumbing them down a little bit. And obviously with the background with the texture with color, they would kind of fade a little bit away later. Caleb Moore on yard like 12 steps again, I'm actually seeing that I'm sampling here, so let's Goel the way back. Yep, To some way over. Here s I need to be further away. Hold old sample this area. So as you guys can see, I also still do mistakes here. You just have to correct it. Then again. Okay. Dim that are a little bit a bit more. Okay. No, that learned again. Old? Yeah. Obviously we can spend way more time doing this, cleaning all of the's hairs up here. It's again a old close by understanding them down a bit old. Sample this area. Dim that down a bit more. Okay, so zoom out again. And this guy of hero definitely retouched that just with its Clarence them too 100% capacity. Make this a bit smaller again. The brush hold old and it's actually easy to sample. Let's just go with the lines of the here on paint into the same direction as well as the here. So, you know, going into the different direction. Okay, old samples by and it should be. Just brush that over again. I'm sorry. Sourcing here. This line going of they go up for the first up and also down again the same over here. Clone. Go down and go up. Okay, Now that guy's out of our way. It's not too bad. And obviously you can do that now throughout the whole image retouch all these little heads . I'm not going to do too much now is actually love this rough look on him. What? I want to still do scuttlebutt down here and just clean up in here a little bit. It's for Clarence. Them to hold old. Yeah, and cleanup thes here's here again. And also going to do that just with a clone stamp tool killed more poor old sample those areas. So if you do mistake just Chris. Come on, set. Go Step back again. And here we have a big here going through here. So again, old, I'm actually gonna sample from the top, literally. Just brush over it. It's also very, very small. All those little details. I think the more you concentrate on details, the better your end result will be. Okay. Copy that. Out and again. I can also see here's kind of a local like that little pattern is missing. So what I want to do is just hold old on this patent and exactly sample this pattern in here. And that might even look better with the cleaning healing brush. So again, come on, set a step back J for healing brush. Hold old sample. Exactly. This area. And we'll just super easy merging their perfect. Okay, let's zoom out a little bit. Again. What did I still want to show? Let's switch on the help lay here. I'm gonna turn everything off on just the basic one on. So we re touched this area of a here. We concentrated on these hairs a little bit on that and the top. Okay. And Liberte here on Harry touching Ondas. Well, what I want to do now, it's just concentrated a little bit here on that. Okay, let's also switch off the hell player and basic. We're gonna put ALS the rest on again. Case on healing cloning here, which, presumably closer s for clone stamp tool, this time again. And we just want to take out this here, whatever that is. Old sample. Very close by. And I'm literally just brushing of this all down here. Sampling again. This don't watch worry too much now about the patterns with sample at in a little bit old, okay? And I'm just brushing that in also here. I'm trying to concentrate more lines and stuff. Okay, That doesn't have to good old again, Don. Just brushed that. Okay, a little bit down here again from down here. The lines. Copy this. Take the sad's. Okay, hold Ault again. Sample straight from here. Okay, Hold old here. Sample down. Old old sample down. Hold out. Sample down. Okay. And I'm gonna brushing from this area. This a bit easier now with you. I'm just gonna go with the lines as well. All the way like this great super easy or with just a clone septal again is our before and after before and after before and off. That looks a pretty easy Also, you can still go back in here, Clarence them to again with s on the same layer again. I'm just gonna hold old sample this pattern over here and painted back in here. Cool. All right, let's zoom art again. Yeah, That's also also far for just healing the background and cleaning up the person as well. Cleaning a little bit the Harriet the top. So again, if you guys wanna have a look before on after little Zuma But let's see here before after you can actually see that that much because we have all the layers on here. Okay, now that's the before on this is the after before and often we still need to retouch a little bit on the actual face here. So what I want to do is I don't want to really retouch a lot on the guy and create a complete new person. I just want to clean them up a little bit, and I'm not going to do that super quickly This is not a high end beauty retouching when you need to focus on the skin. So again, I'm gonna hold old with the healing brush tool and just take a few simple pimples out this , for instance. Maybe the butt over here here a little bit, and there just ended up a little bit. Watch out a little bit for the details, things that point out to me as well. Over here, I really do like these lines here. I'm gonna keep those lines and wrinkles there. Prominent. Obviously, we can maybe just clean up this a little bit, but still keep the line back, sir, if we just go with the healing brush over this, okay, lets go down a little bit. Think for the last steps. It's all fine so far. If there is a certain beard here that stands out, I'm just gonna take that out as well. Hold altogether. And just with the heating brush paint a little bit of this. So it's just a very bad, more cleaned up here at the top. But obviously over all, he has to look as rough as he does with the beard. And yeah, I'm not gonna do too much on this. If you want to retouch more here, you can try the same effect that we've done earlier at the top and also cleaning up all these areas. Okay, let's zoom out again. Yeah. And that's so far the first steps that we're going to do just for the background and starting to clean up the person. All right, so in the next lesson, going to start just on concentrating here on the fixes, and we might also work a little bit more on some hairs here at the top. 7. Lesson 6 Fixes & Light Boost : All right, so in this lesson, first of all, we're going to start out again with just the fixes here on the image of itself. So let me just turn on the help over here. What I definitely wanted to do was give this little bit of a boost here. The camera fixed this a little bit of here. The exposure fixed also this area a little bit the brighter and fix this area. So a few things to do that's too And everything on again and same directly. What we're gonna do is under fix been a festival. Just fix this area of here a little bit. What I want to do is just create an adjustment layer and also a curves adjustment lay here and just completely dark. And this, actually, first of all, we want a bright just this area here, so I'm just concentrating on this area now. I'm just taking this up a little bit frightening that a bit more. And also down here are dark sides pushing them up a little bit. Okay, so the next step would invert the whole mosque. Come on. I on it inverted everything, and I want to do is Just be for the brush again and literally just paint this out again. So controlled again, feather that a little bit. Say to 80% your brush que a little bit smaller and we have to paint with a wide foreground color at 100% capacity. All right, so let's just brush over here. I think, Yes, let's room a little bit closer and also controlled again with the brush so we can feather even more. Actually won a feathered completely. Okay. And also, just slowly brush over here. I'm just gonna make the breast a bit smaller so I can brush easier in the corners, Que all the way around and again up here. Okay, that step that I missed here getting the bells. That's maybe give that a bit more exposures will watch out for the army at the top. So I'm gonna take that out, okay? And I think it's still a little bit too bright. Looks a little bit heavy. So what I want to do is just take the overall curves lady here, the opacity, maybe just on there to, like, 85% of sir. Also, you can also still tweak here. You adjustment late for that. But actually, I'm pretty happy with that. So, again, that's our first fix here, before and after. Okay. For the second fix, I want to just copy here a little bit of that area. I guess if I'm just going to create a new adjustment layers here with curves and to stalking that down, we're gonna lose a bit of that power. And Pop and Dimmitt. So what I reckon I'll do is just again with pen to create a quick path around this area here. So literally just copying this area. So I just want to get a little bit of this texture and sample these areas here. Okay? Maybe. Like so, completing that path, right? Like, make a selection. Zero feathering, please. Okay. And now what we're gonna do be obviously still on this layer here on the adjustment layer, we need to go to background here, go to the background layer and copier directly from here. So when the press come on, see and command v duplicate and pace that move that all the way to the top here now as well . Guys, I'm working with a Mac. If you guys are windows users. When I use command, you guys have to use control. So use control C and control V to copy and paste. So I'm just going to write it back, texture. And let's have a look. Texture. Okay, next step. Also, I'm gonna move that all the way up to the top here. It's also move that just over here we can scale this little bit with. Come on, T hold shift again in the anchor point here on the side so I can rotate that together evenly. Okay, Like someone to make it a little bigger on. Just place that somewhere over here. Okay, Just drop that. Except that on a first we're going to scroll through just my blending options here to have a look. What will dark and give me that looks actually critic Good. Ready with dark. And some might even go with the dark and over here again quickly, the normal and darken. So what I'm gonna do is also create a hidden mask on this Hold old, just create a hidden mosque. We can actually make this a bit bigger here and on the hidden Marston. Um, went to brush this a little bit be for the brush, Obviously white foreground color this time. So swap again. If you have black hidden mosque, you need to paint with white. If you have a white mask, you need to paint with black. Okay, Also change the opacity. Maybe just to like, 80% for the start. It's still further completely control. All together. Yes, Hardness is completely down. Okay? And I'm literally just brushing this in a little bit. Also, this time I wanted to have these edges here. Stick to the edges. So it's really nice and bright here, so don't want to paint over the edges. Have to have that bit of that rim light coming through there. Okay? It's still a bit too hard, I would say, but mawr down. You can actually do this a bit rougher and then later paint that back in better. It's nice that we get these patents here as well. Okay, this was a double paint on that. So it's again not double the effect More great. Okay. And I'm going to clean up the rest in a second. Okay, A little bit more here. Yeah. Now we're gonna switch with ex foreground color and literally just give a little bit of an edge here again. So the borders come out really nicely. Can a Bickmore and as well of here I want to give this little bit of an edge. So you get that really nice highlights here. Shining through. Okay, the same of here on down here as well, Giving that exactly that nice, distinct line again. A little bit back here. It's going to step back on. Let's be a little bit. Okay. Now I want to go a little bit lesser in Turn off the whole mosque over here and again with the pen tool. Just literally going to copy this area here. Also want to copy Liberte off the shadow that we have X year? We're gonna copy this with a path. Okay, Let's also just complete the path, right? Like, make a selection again. Zero feathering. Okay, turn on the mosque again and on the mosque. We brushing again B for the brush. Just literally brush that out. Super quickly. Okay. Come on, D on again. Just in here. So you guys can also see me? I'm changing my brush size quite frequently and a lot swap again. I want to get rid of this little highlights here. My brushes still feathered be in mind and it's still it 80% opacity. Okay, great. Let's also zoom out a little bit. That looks ready a little bit better. Also, with the highlights here on this side you obviously zooming. I'd like this. Nobody is going to recognize that you have actually copied this, which you can also still dues to select lay here and that. Now, when you're looking at it like this, you can take the opacity down a little bit and maybe just dim it because it might be a bit strong like this if we deem it down. Yeah, to say, like, 80% 85%. That's actually pretty good. So again, before and often and again if we have a look already, the fixes so far before and after before off looks a bit even and your eyes not really drawn to that bright area. Okay, next up that I want to do is also focus here a little bit on the camera. So again, what I'm going to do is just go to adjustments and just create another curves adjustment layer came a little bit of space here. And first of all, just gonna push this little bits of the highlights popped him up a little bit. Also take my dark sliders here to Sprite and someone flattened the blacks actually, a little bit. Don't want to do it too much. Just a little bit. Also here in the centre, take the curve a little bit down again to just give that a bit of a boost again to have a look here if we turned that often on so before and after the dark Sliders are still a bit too bride flattening the blacks too much, taking it down again. So before and after before and after. But that already gives the camera nice pop. Okay. And is we're going to just invert the mosque with command. I again be for the brush. And are we going to continue exactly the same step? We're just gonna brush over the whole area. 100% capacity on the white here, basically on the mosque against I'm just literally brushing a bit the camera through giving it also a little bit of brightness here. And I'm doing that really roughly actually. Caleb Moore, I'm gonna make the brush of a bigger again Bear in mind that your brush is still faded quite a lot. A little bit more here and also here on the top. Let's have a look if we just press old and just select this one layer and also obviously a background here. Okay, That's not even gonna work. Let's just keep everything on. And I'm going to go to an everything on. Just start fresh. That'll art again. Similar but lesser. Be for the brush. Looks like we have covered most of it. Okay, again Before and after before and after. Okay. And I want to do is go back to Adjustments. And Craig, just the levels adjustment lay here. Just take the midpoint. Sliders down a little bit. Just contrast again. And the highlight sliders up a little bit. Signaled on it again, like so, contrast are a little bit giving that a really nice boost. Okay, invert the whole mosque amount I and again, now we're brushing just on selective areas here. So again, the first the whites here, these metal parts are definitely one of Brighton Them a little bit so brushing over those as well of here again. The professional sign. Well, maybe not. Let's leave that normal. Well, this area, but lenses here love it down here. Obviously, we still going to do a bit of dodging burning at the latest stage, so we can then write in these areas up in. They also, we're going to brighten this a little bit of here a little bit. The highlights here. Okay, let's go to the top. And we're just going to give that a bit of contrast again. Okay, A little bit around logo here, not painting over the longer. Okay. All these years now, I wanna go and create another adjustment layer just again the levels and just brighten that . Okay? Pregnant. Even more. Invert with command. I again be for the brush white foreground color, literally just on the highlights so that we don't need to do too much. Started burning later here on the center part. Highlights here, liberty or on the name my year. And also the brand here a little bit again. Still 100% capacity. Also down your professional a little bit art. Great. A little bit more on the highlights. A little bit. Here. Highlight of here. Okay, let's just work a limit on these highlights. Still nice there, Slowly coming through really nicely now. Okay, let's zoom arts. Yeah, that's basically already just for the fix here again to have a look before and after before and after it really stands out. So it's a bit of a light painting effect as well. Last night that I want to do now, I'm not gonna use it. Actually, at the beginning here for the whole area. I'm just want to create another adjustment layer here on the curves levels adjustment layer when it said it curves and when the right here background brightness. I can't use it yet at the moment because I need to first make a duplicate off this layer in order to get the subject. And then later I'm gonna go back in here and in the background. So this day is only affecting the background. So if I'm going to take this down a little bit, you guys will see what I mean with this now. So obviously here with I'm controlling how strong should be the texture and the color later , with a vignette ing effect, should be a little darker. The background or should be bright in the background. Little bit. Let me just take this anchor point here. Should we flatten a little bit? But more about that, once we get to that stage, when I turn this off, keep it in fix, background. And again we can have a quick look here at our before and off the stage again. So before and after before and after already controlling just this area. Okay, so next lesson. Now, we're gonna continue just on cutting out the person. 8. Lesson 7 Building Background & Merging Subject: or it's on this lesson. First of all, we're going to start building here the background color and also the texture. So basically meaning completely building a new background for this whole image, then as well. After that, we're going to start off cutting our person and just refining the edge, placing the model again on top. First of all, I'm gonna start to just create a new group over here, And I'm just going to call this again background and person because it's going to include all of the background and our person in there. I'm gonna create two new groups. So basically one will also just be the background. So building the background, we're gonna move that all in here and also group to, you know, right here, person. So again, it's all organized and files everything sorted. Okay, so for the background, first of all, we're gonna create one new empty lay over here and on the empty layer. I'm just going to write a color, and this is just basically going to be our main color for the whole background again. Left side. I want to go to the ecliptic, all marking to basically directing in a marking tool and just make a complete selection around the complete canvas going to hit while I'm still in marking to right leg. And we just going to say failure. Fill this up with color. Yes, color and the color picker will come up and ready. I already have a pretty cool color. But what I want to do is to show you guys how I actually got to there. I'm going to select the pants over here because I'm kind of looking for a light gray color , something that works also together with this. The main idea for me is to have a little bit of a brown warmer feel to the whole image. So again, I want to start out with the pants here, just like a lot brown. But it's way too dark as you has Come see over here. So I'm gonna move it over a little bit. I'm kind of looking for very light chocolate Ebron. So again, Not too warm or not to dark and not too light somewhere aren't say Maybe here eight something with 80 That always was pretty good Here. 80 They regard it okay, 805 almost. It was like a light. Very light brown. Okay, Select Okay for that and is well okay over here. And you guys can see already a light chocolate Ebron commodity out of the selection. Another tree comes in. It's very simple. Just go to the blending options here and switch it all the way to soft, light and directly. This will also be applied just to the background. And that's a huge trick where we also shoot on grey backgrounds. It's not very simple to just add a complete new color in here. Yeah, applied directly to the background and already works pretty nice with the grading here. That's why we also shut with another light for the subject behind the subjects. We have a nice spot, a little bit of a vignette in effect, but we will still concentrate and control that a little bit in further shop. All right, so you can either change it too soft, light or to color as well. Cal, it's just little bit strong a little bit too much for me at the moment. Obviously, I can still take capacity down here as well and control it also with the opacity for the moment, I'm going to keep it, actually, too soft life, because I found this a little bit nicer. Okay, So soft light for the start. So for the next step now, I'm gonna add also some texas to the background here because it looks kind of boring. Just him without the textures here. So my idea was to add a bit of, ah, detailed textures and a bit of, ah, say grungy wall or something with the concrete wall Liberte off some nice the textures. So we've added to texture files here into your download file as well. I'm gonna take both of them and just import them straight into further shop now as well. These two texture files here are coming from our textured package, which you can also find under our pro tutorials called Stones and concrete. All right, I'm gonna import both of them as well. And there's actually a reason why I'm importing to when it take you guys street in a minute . This aligning them quickly. Here. There we go. And also the right leg say rust arise layers. I don't want them to be rest arised Now. I first started just importing one texture, and that was basically this war. And then it looked kind of boring. And I thought, Wait, maybe I need to add another one but I didn't see that right away. So what I did is just added texture in go to blending options soft line as well. And as you guys concede, clips really nicely ready to the background. And over here it looked kind of boring and just too simple. So I wanted to add something more. So went back into the Textures folder and had a look at a front. Just a very small textured lay here with these little fine dots here and added that as well . And it's also a little bit lighter, so we'll give this whole image a bit of a boost. So again, switch that is soft light. And as you guys can see, this looks irritable. Better already. So again, a little bit more off some tech Cherie wall here. So sometimes it's better to just add to Texas's ones. Okay, so basically, that's awful. Just adding the texture is very simple. You can drag them and add them as a soft light, and that will be applied to your background because it's obviously great again. Okay, so for the next of what I want to do, So obviously in haunts a little bit the backlight here because it's kind of fading away Zumba to settle. And the subject is so brightly lit actually here, so they will be more like behind him, which should actually so again, what I'm going to do, it's just good to the marking tool over here on the left hand side, selected collecting and marking tool. This time, I just make a really nice selection behind him also. Not too big, something like this. And I would just need to further this selection. So again, I'm gonna go to filter over here, basically select modify and feather, and the first of all gonna feather this with 2 50 pixels. I actually want to further this with 500 pixels, but you can't go bigger than 2 50 So first of all, 2 50 Okay, that feathered ready again to select, modify, and once more feather under 2 50 pixels. Okay, now we've got a really nice feather nous around our selection, which you can't see now, But once we apply a new adjustment layer with a curves adjustment layer to sit that us can see. Our mosque here is really nicely feathered from that selection. Okay, so I'm gonna make this little bigger year so we can actually see something. And next up that I'm going to do is just twist the highlights up a little bit and have a look. If I'm gonna push them up now, look how awesome that gets. It's getting really bright behind him. Also, you can push the dark side. Is you up a little bit? I wouldn't do too much, but obviously I can really control this now. Just a little bit like a spot behind them to make it really nice and bright swelled work and still take it up a little bit further here in the center of the highlights. Yeah, and boosting them that we can control afterwards as well. So that's a simple and super quick method. Just adding a new background here. Now, obviously, we still just need to get our subject on top. So again, what I will do is to turn off all the background on the personally here, go back to retouching in cleaning, and now I'm gonna press command old shift and e all together and merge all these layers together to once I'm creating like a master Short cut. Okay, double tap on here. I'm gonna write your person, and this is the layer will be just going to cut out the person, gonna move it back here to person, layer and actually drop it in that group person on or the background and person as well. We're gonna open that group is long. Let us make also a bit of space here. Person will select that. And now we can also first of all, go again with the pen to all the way around here and cut out the person really nicely. And I sometimes tend to do that. I've also just created a tutorial, a free tutorial where a shared how to cut this out with the quick selection two and refined the edge. And I just mentioned in that tutorial as well that you can go with the pencil around all the nice and solid areas here. The lines on when it comes to these areas. You just fade away with the pento, go around and then you save it as that as a mosque, and afterwards you just refined these areas, so that's normally how I do it. But today I'm going to do it just with the quick selection tool because it's quicker and easier. But on the long run with the pen to it is a bit more precise. So again, I would recommend you guys do it with a pencil. But you can also use this quick selection mode so literally let's go and do it with the quick selection. So just selecting the quick selection to again don't press Q. Don't go into the mosque mode at the moment, cause otherwise this tool, this goes crazy. So just don't hit Q There. Okay, I'm gonna make my breasts bigger and just brush quickly over our subject here with more of his head just trying to cover everything that are subject. It's okay. And also, you're top a little bit from the beard. Still, this little bit here, the hair. Okay, so we covered everything pretty nicely down here. We still have in, like, a bit of extra spill. So I'm just gonna hold old, go into the subtract mode and now just going to brush this out again. So We don't want this area great. And now we really have a super quick selection. So normally do this quick selection or this selection with the pencil, to be precise, as you guys could see around here and here around the bag. It's still missing a lot, so it's not picking up all of it. Now I'm going to go back to the mosque over here and just hit the mosque. I canary directly, already copied out the whole subject here. Now, obviously, we have to go back in with, obviously the brush tool and we need to refine the complete mosque. It's as you guys can see at the bottom. It did a pretty good job, but ready here, we can see with B. We need to clean up the mosque. So again, 100% opacity. Let's press control old. Have a look at our brush here. And when it changed the brush maybe to like a 90% and we're just going to brush that out with white foreground color. And with this we need to be pretty much very precise as well. Okay, And brush that out. Press X and I will swap a lot of times between the two lays here basically with black and white. The foreground colors. Camera over here. Be for the brush. Ex foreground color. Yeah, and paid that a lot. So again, as I mentioned earlier, it is quick here doing this with the pen tool because you ready? You do. You're skipping this step that we have to do right now where we have to go back in and just clean up everything. If you have been lazy and you don't want to do it with the pen till then the quick selection would be the best option to do it. Just with that. Okay, I'm going all the way through here. We still have a top. Quite a few from the backdrop. Currently, there's clean the bag here. Okay? And what I want to do you have here is again zoom a little closer. Also switch the foreground colors again so I can literally just paint the background in but more and here with the hair and will leave a bit of space here. Actually make abreast of the bigger because I want to do this with the refund edge with all the little Hayes. A little more covering this area. A lot of painting going on now. So again, a little bit and year making the brush a bit smaller, Getting all in these little corners over here. Tyler Moore. Okay. And I'm just gonna switch again. Foreground colors. We're gonna clean this up here a little bit. Okay? Also, this area here switch again for our colors, and you can also feather brush little bit more. Okay, let's move on. B for the brush again on. We have to take out this area here. Can we gonna go just along the sides here and have a look of all covered? Pretty nicely. And so far, I did a pretty good job. Well, here in the top. Here's a little bit that we can take out and as well of here. So the whole belt here. Okay, Now we're getting to the here that we're going to do with the refine ages. Well, so I'm gonna move all the over to this side and continue having a look here. The clothing get in here, we can see quite a lot off that has been attached. Quickly. Brush over that, and it's so fine. Details, actually. So if you want to spend more time? I'm doing a bit quick and are spending but more time here and just retouch. Aled, these little details here, all the corners. You're getting away of that. The edgy blue rim there. Okay, let's go all the way through. Look so good so far. Maybe down here it's a little bit B for the brush again. Switch foreground colors. Paint back this area. Okay. And with this, I want to actually leave this. No, I don't want to leave. This is exactly not so much that we can do. Your Cameron is the middle of the tensor. Begin switch, foreground colors and literally just brush that back. Clean it up already nicely. Okay. And here is well, we can also use the refined edge for that. But over here, I definitely want to paint again. Carol. A bit more and again. That's also the really nice thing with the mosque. You can always switch between the foreground colors again, paint in pain back. So don't be scared about that. Okay? Down here we have a bit off areas that we need to do. And this is also the peeping pixel areas. Some people call it so it's literally just small, small areas over here. We celebrity big gap. Okay, Take that out. The more time you spend on this, the better your mosque will be as well care down here. Let's have a look. Or with the pants Look so good. Okay, lets assume art. And again here in the center when I have a look here here. We still have a bit of a spill again, copying that area out case which with foreground colors, we brushing this area in and as well. When I zoom of the class a year and I can see I saw I should actually spend a bit more time doing this a bit more carefully. I'm doing this a bit quicker now. Okay. Here again, that it switch foreground. Colors like so. Okay. Lets you mart that all looks good. And we have a pretty good cut out just with the normal mosque. Now what we're gonna do a little bit closer again. Another trick comes in. It's very simple, actually. We're just going to use the refined edge for these areas for the here again. Go back to the mosque, please select a mosque. Not the lay here, the mosque, Very important. Hid right click and select refined mosque here refined mosque will pop up. It's another pop up here. I'm just gonna move it to the left inside and our first of all. Also, I mostly work with the view mode just directly on the normal A. I don't tend to work on ALS. The other things here on black overlay just on the normal layer, then, is, well, edge detection here. I'm not so much working with edge detection because I think it just takes too much details away. If you put it up, all the Snyders go around, it just takes all the nice pixels and details away. Then as well. Sometimes I go into contrast here and just push the contrast like a plus 5 to 10 to just enhance the contrast here a little bit more on the here and bring the here back a little bit. But obviously I'm on the mosque so I can also always just brush to hear back a little bit. Then also the output. I'm not working at all with that. So pretty much All my settings is just on layer and contrast. Sometimes five between 10 became one to make my breasts bigger and start painting right as well on here. So basically, just going over the here nicely around also around the subject. Leave that surrender, Terry. Hold old. It's baseball. Move around. The picture here had literally go here in the top and all the way around. And as you guys can also see, I'm not working with the inside, mainly, just with the outside of the brush, because I don't want to go into the center here. It's a little trickier if it's in the center, okay? And when you zoom out a little bit done ready and really nice job again, I want to hit okay for the start to just have a look, okay? And zoom Artal bed so I can see a need to zoom out a little bit further. And here at the top of did already a really nice job. But here we still need to work a little bit. And here on the sides, obviously so getting right. Like refined mosque. And again, I'm just gonna go over this area here That that run again, Ondas Well, I'm gonna go over here and again like I mentioned earlier, Not with a complete brush over everything. Just a little bit with the side. Okay? And that looks really, really great. Already may be here a little bit on the top. Okay, then I'm gonna take my navigator now and just moved on again. More here, right? Like refined mosque again, once more. And over here, I can directly re see, is a big mistake. So we need to fix that. I'm just gonna go a little bit in here, Refined this It's OK, that has rendered. And now what I can do is also go back here to my mosque, select the mosque and be for the brushes. Will make it a bit bigger. And we literally just want to paint out, hear the background. Okay, so everything looks decent on our selection year on our cut out as well. Lost step of here, right? Leak, refined mosque. I still need to re find this So again, I'm gonna make my brush super small. Now, just go over here, fix this area, okay? That looks great. And when I hit, OK, and it copied it out really, really nicely. Okay, Last ab still over here? we still need to fix this area again. Be for the brush literally. Just making a smaller. We could also use the pen tool quickly for that. So I'm just going to create a path around this area, combining the path, make a selection out of that zero feathering beef of the brush. And we just brushing that out again with the wrong foreground color. Come on. D so basically meaning the opposite for on color. Okay, so out of that yeah. And R selection looks very, very good so far. Also think that here came out really good, but I tend to do now mostly is just go back to the mosque over here Press be for the brush again. Control to further my brush. Almost say 50% or 60 is also good for the moment. And then I'm just selecting like a 50% of passivity here and now, slowly brushing just back again with the wrong foreground color. But still just brushing back the solid lay here case of giving that just a bit more density again, Like a bit more contrast, Can a bit of here, they're just going through here all the way. Okay, so if there's a bit of a spill earlier, or if the here isn't that nice, you can always go through here and brush a few times over that, especially of here. I want to do too much because we obviously painting back the background. So come on, set a step back again. And over here. Yeah, zoom out again. And that's our quick selection, sir, for now, for the last trick that I so want to do because as you guys can see at the moment, the color grading between our subject and background is totally off, and I just want to melt them a little bit better together. So the last step that I'm still going to do here in the background layer, it's literally just go to color, make a duplicate of that with Come on, Jay, move that all the way to the top on top of person here. Maybe another step on top there and literally just going to switch this to color. So when I move it old way to color and it's supposed to maybe just go in here, we can have a look first on the color copy. We're going to switch that just 20.3 opacity. So just the capacity and again you guys can really see. Here's before and after we can actually move it to the top. So it's affecting everything out off the person group here. So it's affecting again the background and the person. And this is again now that before and after before and off. This is just melting all off that a little bit together. OK, so as you guys can see, also not, this is a complete new stage here, just creating the background and adding the person on top so we can always go back in here refined the person, refined the background. Whatever we want to do, we have or separately. And we can also tweet here, our little light effect in the background. So if you think it's little bit too strong, we can also change that and are lost stage, which I showed you guys really earlier as well. Under fix. We have our background here as well. Now I'm gonna switch this on. You'll see it goes darker. That is because this adjustment layers obviously setting a lot of the docker. So if you think you want the background to be a little bit lighter. You can literally just take this point here, move it up a little bit. And apple brightened everything. It will brighten the corners here. So again, you can play with this and create your own unique feel that you think you want for this whole image. All right, so when it moved this down actually a little bit to take the opacity, like 80% or so And after when I'm done with everything, I'm going to control this once again. So take fix out or just minimize this and the background. And that's basically or so far for this lesson. 9. Lesson 8 Color Grading, Eyes & Contrast: and this lesson, we gonna start right away, just with Carla grating. So, first of all, what I want to do is also add a little bit more contrast here on top of to a person. I'm gonna go back into the background, lay here back to person and right on top of person. I'm actually going to create a new adjustment layer. So first of all, I'm just going to create a selective adjustment A here and also they got a little more space here and clip this first of also hold Ault, go between the two lays here, hold also that is only affecting my subject here. I'm gonna go now in the neutral turns. Then we'll go to the black color turns and in the black color turns. I just want to push them up a little bit. So normally I'll just go and add a little bit more here like another plus 10 11 12 and it's getting really dark now. So maybe just like another plus 10 or so to the end, before and after before and after just giving there the model overall here, the subject and nice really contrast to boost as you has conceived before again and after, but it's still a little bit too strong. So next step, I'm just going to take it again to, like, a 50% of 60% opacity down again before and after. I'm still on trolling this little bit easier now with the pass ity here getting before and after. All right, so we ready added bit more contrast again onto a person. Let's also minimize that we're going to go back to black background and person here, and I'm gonna create a new group again. This I'm gonna call again. The color adjustments color grating. Okay. And festival in calibrating. We're going to start just with the color for the subject. So again, I'm gonna create a new group here and just right color. Okay, we can move that into color grating. So it's against sorted as a sub folder and I want to start right away with adjustments and ride away with selective color adjustment layer again. So now again in here, I'm gonna work just with the neutral color turns as well. So normally, I tend to take these sliders again all the way to the left, all the way to the right and kind of see where the whole feeling with the color guards. It's obviously a lot off creative approach and a feeling as well is your screen calibrated and all that stuff. But most of the time I just tend to play a little bit just with the neutrals and push them a little bit and then also with dogs, brighten or darken that a little bit. So for the start, the Saiyan, I think I'm gonna move them down a little bit, just like to minus one or two just a little bit again. Magenta as roll. Let's have a look. If we push those up, I don't want to make it to bluish yellowish, maybe like a minus one or so, Yeah, and these are very like very subtle and small movements. Actually, the blacks as well. I want to darkness little bit more so like a plus two, and you guys could already see it's like an overall effect. It also helps to melt your subject since and the back of a little bit better together now as well. Next step, but I want to do is just go into the black turns here and also with the black turns, Saiyan and Magenta. And I want to give those blacks too much of a new, different Cal areas. It is conceivable, more green there with a say in so rather keeping them to zero. You can also play a little bit with this and I don't want to make it to greenish as you guys can see now, Magenta as well, just turning it a little bit too green. I like to have a brown subtle effect, but not also guys being mind. Let me just continue first of all with the yellow. Then I'll explain what I want to do. Yellow, maybe like a plus one and blacks is will push that up a little bit again, like a plus two plus one plus do for the start. I'm gonna have a look before and after before and after. Maybe like a plus one. What I earlier wanted to say now is obviously I'm going to push the color intensively with this. The saturation will go up. Everything will go up quite a lot. That is my first approach. And yes, that is what I want to do. And now I'm going to go back to adjustments. And again I'm gonna go to Hyun saturation and move this actually underneath this and just not with the hyun situation. Take all the situation out. So the master situation over here going to set that most probably like a minus 10 or so actually looks really nice if I take it to like a minus 19. So I normally tend to take it between minus 10 minus 20 months. 25. But a first. What I do is create this selective color, give it a lot of contrast. Give the right contrast the right blacks. And then I go in and just here take the d saturation Artal bits that gets that really nice contrast e flat look. Okay, so that's all for the color grading ready? I didn't even do more for this. Calibrating. It's very simple, actually. Yeah, I want to keep it more natural. More true again. Not too creative. Okay, so the color is completely done with that. Ready might change will, but in the end process. But overall for the start, I'm pretty happy with that for the next step that I want to do is also go here back to color. And when it create a new group and just ride ises wall eyes that we go gonna move that as a subgroup in here again, first of all, go back to adjustments again to selective color adjustment. Lay here. Gonna go to the blacks and maybe just brighten them completely like so Okay, now, when invert this complete mosque here, that's come on. I move in really close here and zoom just onto the eyes a little more hold space. And when it just take the brush with B control altogether again, have a look at my brush. And I want to feather that maybe to like a 90 okay? And painting with a white four on color at 100% capacity. Here. You can also double tap double zero on the keyboard, which switches it again to full capacity. Now again, I'm just gonna brush in here, maybe, Yeah, I can actually see Let's maybe change the feather nous off the brush little bit. So control altogether on. Let's further that maybe to 60. That's good. A little bit smaller and are slowly fading here. Okay. Sorry. Still wants more again controlled. Feather the brush completely. Okay, so you want to get those nice little edges here from the eyes? Because I'm basically painting out the eyes now here. Well, in this side. And the reason why I made them so bright is just to see where I'm painting now. So what? I'm actually getting okay. I already have now a nice selection as well. Here on the mosque, you can. Did you see it? It's so small. I've got them in here now. No, Next time they're going to do is go back to the blacks here in adjustment layers. Just which back to zero, which will basically switch it back to normal. Gonna go to neutrals and now just play a little bit with eyes again, Saiyan. So I'm also having a look now, first of all, at the eye color. So we've kind of got, like, a deep brown. Also a little bit of green in here. So I just want enhance the's a little bit so again a month ago in natural tear. And just take the blacks up a little bits of boosting the eyes already. As you can see that lighten up a little bit. I want to give them a little bit of color, so I kind of used this approach the same as I do with the camera rule. I'm kind of playing with Saiyan a little bit left and right then with blacks left and right , normally obviously with a natural dye, take the blacks up and then I go back into the blacks and take them down here. But more of that in a second. So So I am not going to push those. Maybe just like a plus five or sir Mage enters as well. Not too much, maybe like a minus two ther. And let's have a look if you push the blacks up a little bit further to brighten a greedy a lot like a minus 14. Can I really like that? Ready said, just gives it a nice boost, but not a lot to light in the kind of look alike vampire eyes ready. So what I want to do is literally just go again to blacks like I said earlier. And now we're gonna bring the really nice contrast in the eyes back. Have a look. If we take them down a little bit, they get really deep and again really nice contrast again. Here's the before and after before and after Liberte Greener and our They were actually little blue If I compare them law, Yeah, it's hard to say but this is that looks really nice for me, law step is just literally take capacity all the way down to, like, 70% again before and after before and after. I don't I always try to not overdo it. It's so easy that you overdo it. Okay, Now I'm just gonna present Zumar it again. You can also have a look further away again before and after Just giving those eyes a really nice punch. Okay, great. So that's also awful. Just the eyes. Very simple years well into turn off the eyes as well. So that's eyes. Now, what I so want to do is again create a new group here and just write your contrast. So I do want to add bid more contrast, just to this side of our subject here. So again, whenever back to adjustments back to selective color back into the black candle channels here and push that up a swell like a plus 10 or 15 that's tried really drastically. So this is obviously way too hard, but what I want to try to do set this first of all, just to soft light. So with soft line, that's kind of giving us a really hard edge here. It's also try overlay. That will be even harder case when it switched it back to soft light and take the opacity all the way down again. So maybe, like just a plus, you know, just like a 10% again here before and often I'm literally just looking at the subject. I'm not looking at the background. Okay, So before and after before and after and nurse the switch between that so I can take it up a little bit further, like a 15 before and after before and after. Okay, Next step. Now, I'm just gonna end with this command. I was completely away. Take the brush with be make the brush of the bigger also have a look controlled. It should be completely fed it still years. And now what I'm going to do also with like, 80% of pass iti Just brush it in these areas where I think I want a little bit more contrast here. So again, on the cheek beard here. A little bit dark in that areas. Voted Caliban on the pants here. Tell us more. Yeah, and that's basically it. Really? So before and after before and after just a bit more contrast and shadow there on a subject . Okay, so that's basically all for the color grading as well in the next lesson. Now we're gonna start with first of all, the Dodge and burn process, which I guess most of you already know but and have tried before. 10. Lesson 9 Dodge & Burn : All right, so in this lesson, going to start now with the Dodge and burn technique again, I guess most of you guys already know about the Dodge and burn technique. If you don't go to are free to told Paige, we've got an awesome free tutorial. They're teaching you guys three best methods off Dodge and burn. In today's tutorial. I'm gonna work again with the gray system. So great lays again, which I want to do right away here with a new group under D and B. Also, this whole system, hopefully in the future, you can get this as an action on our return pro page as well. I'm gonna create a new layer now, here in the group. Just going to rename this first of all to soft because that's gonna be my soft layer and then is what most gonna create a hard one as well. So let me just type the cells perfectly soft. Well, I'm gonna Prince Emperor marking to select the whole canvas here, right? Like, and fill this again of a C on the layer. Fill this right, like with 50% gray here. Okay, come on, D get out of the selection. Come on, Jay, To duplicate that and rename this year too hard. And this is our hard layer as well. I'm going to switch this now to overlay blending option and a soft light too soft light. Awesome. Now we done. Now we can start with the dodging burning process. Now, First of all, what I'm going to do is just be for the brush here and is well controlled. Have a look here, left and right, Feather my brush completely. So I just wanna have, like, a super soft feather brush, okay? And as well. My capacity. I normally work just to 7%. So somewhere here, just 7% capacity. And with white, I'm going to dodge. And with black, I'm going to burn on the hard layer. I usually just take small areas that I burn and also on the soft layer and work a bit more on skin, some highlights and some shadow areas hard also, some very hard highlights and some very hard shadow areas. Okay, So before I was to start with that, I just want to show you under the brush options I normally go to shape dynamics here and just take this box here in the front, leave everything to 0%. But what I'm trying to get with this is just that when I stroke with my pen here, that the end is really nice and sharp. And that gives me a really cool dodge and burn and effect. And it looks a little bit better instead of just having it like this with super big and fed it. Okay, I'm gonna switch back to shape dynamics to in that office. Well, be for the brush. Gonna make this little bit smaller here. And you guys will also see me switch so many times between the brush side. So it's very important that you change these brush sizes. Okay. Lets a middle of a clicker in hell. But closer, actually. And yes, but more press be for the brush and are literally just with black foreground color, 7% capacity on the hard layer. I'm just going to burn all these little edges here that will give us so nice details in the image. All right, So first of all, all these little lines here, especially around the eyes, pupils a little bit right here as well. And that's what I meant earlier with the shape dynamics here. If you drop the brush again, it creates a really hard edge and really sharp edge instead of just a Ron fat one. Right? Then also want to just talk in these a little bit more? Okay for the bearded one. Have a look in that in a minute. What I want to do is also dark in this a little bit. I'm gonna make my brushes of the Biggers had softer and literally just one stroke over there. I'll bit and this side and liberated and all the way through here is, well, the dark. And that a bit also here the Hail Einar Dark and these mostly right here make my brush against smaller Now again, little bit bigger because I want to go over the complete beard can a bit more and dark in this is a bit. Okay, now, let's go over to the here. Before I forget I was going to burn these a little bit in here. Very distinctive. Flying's here just burning that, getting a bit of character again. Also now under here, making the brush with its smaller but also just brushing with the hay directions. So not going against it Literally small brush strokes against that. And I don't want to do too much here. Already done that here with again are selective contrast the layer day that we did with the color again. But of here, Okay, we can also shape his ear a little bit. And I'm doing this a bit quick in our take a bit of time when you do this and it takes a bit of practices will to get really good at it. The more you do it, the better you get at this. OK, but more so. I'm gonna do this here on this side, and I'm gonna show you guys in a minute What it looks like if I want to switch off all other layers and more, zoom out a little bit, do a little bit around his beard, and I'm just concentrating now on its face for the start. Okay, switch with X two white. So we're gonna boost the highlights a little bit of here a little bit in here. Not too hard. A little bit on the beard. I'm actually gonna switch. Yeah, well, too soft light. Let's do it right away. A soft light a little bit on the beers here. A little bit. A little bit of color year lightness in there. Switch back to hard light. Go directly to the Hagan and Bruce that Hey, light a little bit. Make your brush smaller again. And just that should he go through this Okay of here, Living more more here. Few of here against this soft light. I want to do a limit on the skin a little bit. Okay. The highlights. Push that really nicely here if you want to go a step back. That was quite quick down here then. Also, when a dark in this little shadow year that comes from the glasses again be for the brush. Black, foreground color. Hardly an hour and literally just one stroke of here in a small on over the just like that ? Not even more. Okay, great. So that was basically all just for the head. Maybe go back to soft again. Still with the dark lady. Here, burn this a little bit. So we get that really nice darkness in here. Okay? Got to live it. And sometimes I tend to take my whole dodge and burn group down a little bit because it's a bit too hard. So again, have a look. Here is the before and after before and after and again. Let's also switch that quickly just to the one view mode. So you guys can see this is what the hard layer looks like again with all again. And this is what the soft layer looks like. It looks like Father Christmas. Well, it's not really just on here with the beard again. Here's the hard layer that's have look here, hard layer. So completely different elements for the hard layer and for the soft layer again. Soft layer. Okay, great Salam. Wanna concentrate on the soft layer a little bit more here, just on the person of all so again black foreground color. There's someone to do a little bit rougher talking again, a little off these wrinkles here, getting a bit off dynamic shape in here and also a little bit of a contrast to boost. Not too much, just a little bit. I don't want to let it looked that it looked completely cartoonish and dajun burned all the way through, so it should still have, like a natural look to it. Care just a withering called because it's so bright. A little bit in here, swelling here, Caleb, down there. Okay, let's go over to the pants. That's really the pants. Just turn all these wrinkled areas here. We can burn them really, really nicely now as well. What I want to do on the soft layers to switch to white and just paint on the highlighted areas here as us concede, this is already way too strong. So again commands it a step back. Control a feather brush completely take it down to, like, 2%. And now slow early. Just brush over here. That looks a bit better. Instead of having that super big highlighted brush, Carrie Bickmore and I'm gonna make a little bit bigger here. Just to bring a little bit more detail in here on the belts is well, and I'm going quite a lot of times over this. Okay, A little bit more. I want to bring a bit more here of a punchy nous to the bag again. Someone who switched to hard layer and as well to sprechen over here, love it more. Okay, that highlight Just booting the highlight of it. And let's concentrate on the cameras well on the hard layer because there's some objects and clothing. You can always Kleber between that. But obviously, this is so dark. So I think the hardly would be, but better B for the brush and what's going to switch the to 7% capacity again and physical . Maybe just the branding year. The logo. Well, that's a wide area thing. The name a little bit can make the breast of the bigger getting a bit more detail here out of that and as we live here, frightening that. I know we did that earlier already with just a little of a fix and controlling here. But this all over dodging Boone will just give it another nice pop, especially of here. Bringing that camera to life okay, lets you march again. That's super quick would have done so far. Sometimes I spent more time on this. Sometimes they spend like 20 minutes to do this, sometimes not Okay. Here again, the before we're basically just the hard layer on our soft layer. So again completely different areas. And again, as you guys can see with the hardly here or the soft layer. We didn't spend too much time here highlighting areas. Okay, so let's go back to soft light. I'm literally just taking be for the brush again. And this time with the highlighted area, just a few art lines highlighting them as well. Maybe a little bit of here. I think it looks so far good already over it. I don't want to make it too heavy, Dodge and burn. It's well here on the chest. Hes just frightening that up a little bit. What's one of making this dark in a bit? So switch again with eggs, Just giving this a really nice shadow year. It's well of here, Okay? And as I said, I'm doing this quite quick. So take a bit of time when you do this, all right? So, overall, I'm having look again at the Dodge and burn so again before and after before, and often if you think it's a little too hard or in the one or two days, you think it's a bit too hard, take the opacity. Maybe just to 80% of so so it's not that strong. Okay, so that's basically all for the Dodge and burn process, and the next lesson we're gonna still concentrate, not just on the final touches 11. Lesson 10 Sharpness & Final adjustments: Okay, So our final lesson. Now we're gonna concentrate, first of all, just on selective sharpness years throughout the whole image. Then as well. We also will have look here at blurring and all but the texture and also controlling just these really hard vignette ing edges here from the background. All right, so let's start right away. First of all, I'm gonna create a new group here and just also right here, sharpness. And while I'm added as well, I'm also actually going to write his sharpness and saturation. So is mostly I'm gonna add a last small d saturation just on the overall image on. Yeah. Then I leave it for a few days, Come back again in the 90 side. All right, so what I want to do with sharpness. First of all, select Dodge and Burn Group Press Command shift, E master Shortcut much, everything, again, together to one final layer. Because I'm gonna ply selective sharpness now. So when a credit mosque from that, and then paint again early. Certain areas in with sharpness. Okay, so let's rename this again to sharpness over here, and we're gonna take it now, are straight away into filter before actually do that. I just want to mention here that I sometimes work with Topaz Labs to pass details to and also creates a really nice sharpness with that. But for this tutorial, I'm gonna actually gonna work with sharpened, unsure Arpin Mosque over here. So that will load for us. And normally it starts right away at zero. Let's also move a little bit. I mostly use it just on here. So the beard here really Show me some nice areas where I can see how strong the sharpness will be. Okay, So for the start, normally what I do is start out with the radius. That was work between 0.5, like the raw conversion to two pixels maximum. So again, let's take it up to 1.5 for the start. Okay? And as well the mountain. Now, I'm gonna move it all the way. Amount normally between 50 to 70. So as you get a sin, see here already with 50. That's also have a look. Here's the preview. You could switch the preview here, But what I do not start with 50 and I'm gonna take it up a little bit. Say to 60 or so. So that sharpens again. A little bit. So you guys can actually see if I'm moving around? Here's before and after. It's already 11 more sharpness again. A little bit more. Say to 60 70. Yeah, seventies. A little bit harder. I'm actually gonna do a little bit stronger, and then take this a pass ity over or darn little bit. I have more control when I do it with the opacity here. Okay, So I'm happy with that. I'm gonna hit. Okay. Over here also, we're gonna zoom in a bit closer. You guys can see it now. It's just everywhere. It's a lot on the skin. A lot on the here, here. And it looks a bit grungy as well, which I don't really want. There is already so much sharpness in here, so I'm definitely going to take the opacity, Donald. Okay, so before I do that, I'm just gonna zoom out completely like so okay as the model, but more. And now what I wanna do is again create a hidden moss. Just hold all takrit to hit mosque over here, B for the brush control altogether again. Have a look at my brush that should be around. Say, the hardness around 80%. Not even more. 70%. That's good. And a pass ity 100% que make the breast a bit smaller. And I'm literally not just brushing over the beard, all the beard and as well, there, here, here, that's all. At 100%. Let's zoom in a little bit closer. Be for the brush, making a brush, smaller eyes and as we'll hear the eyebrows, Isa Swell. Okay, I'm gonna go down a little bit and maybe, just with again 100% going to go a little bit here over the bag, a little bit of the belt, the pants okay and boot ear on the shirt, but on the wrinkles, just not too much of the complete shirt. We can also include the complete camera year. Great. That's also with 100%. Not what I want to do is press five on the keyboard that switches again to 50% capacity, and now I'm just going to brush here, under here on arms and as well on the skin. That's the middle bit lesser, so basically meaning here in his face again. On here, The forehead living on the side glasses knows and under the glasses. Okay, so that's all just with 50% capacity. Now, what I'm going to do to take the whole opacity down to, like, 80% for the start, I'm gonna have to zoom in a little closer to see what's really happening here. Okay? And again, I'm switching this off before and after before and after, and it doesn't look too Grandi too cartoony. So it's kind of okay if I think it's a little bit too sharpened over sharp. And then I normally also take it down to 70 before and after before, and often I think a little bit more. 75 actually. Good. But there's already so much detail and sharpness here. Does need to be over sharpened. Okay, that's pretty much good. I like it. That's happy with that now as well. Next said that I do is go back to adjustments here and again, back to hue and saturation. I normally do that with every image. Almost I go back and just take the master saturation again, like another two or three. It even minus five down again. So just de saturating that a little bit against sometimes. Also just in the red turns. Not too much in the Masters, but for today's image. Because we have so much red brown in here, I'm gonna take the whole saturation, Donald it And sometimes also leave this layer for, like, a few days and then I decide. Okay, maybe yes, maybe. No. And also go away from the computer, have a few days where Don't look at it, then come back. And then I finally decide on color grating. And if I'm pretty happy with this, All right, so for the next step again to take both of these lays here, move them into saturation and sharpness when it turned that off. And now we still want to concentrate. First of all, just on blurring, hear the background. So I'm gonna go back into background all the way down here. Take texture number one, And when a turn of texture number two year takes 21 zoom in a bit closer and I want to blue this just slightly. It is already a little bit blood, which I did previously. So filter, blur and just with gays and blur here. I just want to set it to like a minus, or like a one or two, Not even blue. That more than that for literally, just like a 1.1. It was a little bit blood already. So normally when you sought out, it's super sharp, so I just wanted blurred a little bit. So the attention goes more into the subject, and obviously your background will be a little bit out of focus. So you're in texture number two year. Do exactly the same. Also, this looks a bit sharp, is still to go to filter and again blur. We're gonna go back to gauge in blue once again of here again. 1.21 point five. So kind of between 1 to 2. Okay. And also blue. That just a little bit lets him out to get a little bit, okay? And that really leads again. The attention more to our foreground here and not so much that we have a lot of sharpness behind him. Okay, great. So again, here we have our spot as well. What I want to do is maybe turn off the spot quickly. What's going to make this a bit bigger? And when it goes back to retouch. And as you guys still remember, we had this lay here called Background. So this weekend still control and see how strongly we want to affect these side areas. Here, let me maybe just drag the ladies here to the side quickly so we can actually see things a bit easier on what's going to make them a little bit smaller. Greats of the palate out off our side. And now what I'm going to do is just literally work here with our dark sliders from this curves adjustment layer. So again, I'm just taking them up and flattening them, actually, little bit so as you guys can see, flattening them a little more if it's a little bit easier, I'm also going to switch on again our spot here, switch that on. Okay, and that helps a lot more. We can also take them up a little bit so bright in the whole image. I wouldn't go too much, cause obviously we have so much contrast down the person. But dance again. That's the nice thing. I can go two days later, back into the file and again tweak all the little sliders here. Caleb it up here. Great punching that. Okay. Pretty happy so far with that, actually. So that's all the steps that I still wanted to do. Just an overall saturation. The sharpness and controlling the background Brightness year and a liberal blur. Yeah, that's also all next that I will do, Go back to sharpness and saturation command. All shift E one last master shortcut going to save all the files together to one lost file . And then normally I saved that as my PSD file as the day picked, if whatever I need. Okay. And also, I'm gonna read em this year. Just two final so you guys can find your way around this PST file. All right? Great. So, law, step that we still want to do here. We can actually just not go to file and hit save as, and you could save it as anything you want. I would save it as PSD. And normally then just my other father I need for tiff. Jay Pek, etcetera. Okay, great. So that's also awful. This course thank you guys again for purchasing this. Thanks again for all the support you guys are giving us and yeah, I hope you guys had loads of fun in this tutorial. Learn some new things and I hope to see you guys in the future in some of our free and other pro to tourists. Thanks again, guys. And see you next time.