Advanced Studio Portrait Retouching in Photoshop | Marcin Mikus | Skillshare

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Advanced Studio Portrait Retouching in Photoshop

teacher avatar Marcin Mikus, Retoucher and Photoshop Instructor

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

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.

      Introduction to The Course


    • 2.

      RAW COnversion in Camera Raw


    • 3.

      Healing Brush Tool


    • 4.

      Clone Stamp Tool


    • 5.

      Clean up - Full Process


    • 6.

      Remove Body Hair


    • 7.

      How to use Frequency Separation


    • 8.

      Dodge & Burn Retouching


    • 9.

      Saturation Shifts


    • 10.

      Additional Dodge & Burn


    • 11.

      Introduction to Light Adjustement Layers


    • 12.

      Creative Lights and Contrasts


    • 13.

      Adjustement Layers for Colors


    • 14.

      Color Grading


    • 15.



    • 16.

      Final Adjustements


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About This Class

When it comes to studio portraits, in most of the cases they're shoot under perfect conditions. In case of beauty portraits with polished make up, you could think of perfect portrait image.

But there is still a lot of work you can do to make person look their best! In this course I will take a RAW file and will walk you through complete retouching process starting from fundamentals such as raw conversion in Camera Raw. In this course you will get a chance to learn all of the most important steps you need to take in photoshop to get perfect beauty portrait! I will teach you how to clean up image in non-destructive way showing you differences between different retouching tools. You will learn Dodge & Burn retouching technique on advanced level as well as important tips on enhancing color and adjusting light!

This course is a key to being succeful photographer and retucher. As an industry professional I know how important is to retouch non-destructively, preserving natural texture while delivering image with highest quality standards to your client.

While you will learn every essential steps that will make you retouch like a professional, I will share with you some important insights on how to make your retouching more creative by working on lights and colors selectivelly using few different techniques.

Learn how to use the retouching tools, color grade your image and adjust contrasts to create beautiful beauty portraits that stands out from the crowd.

Course subjects:

  • RAW conversion
  • Introduction to retouching tools
  • Skin retouching
  • Eliminating facial hair
  • Cleaning background
  • Non-destructive Dodge & Burn retoching
  • Working with masks
  • Adjusting contrasts
  • Improving lighting
  • Introduction to color adjustements
  • Color grading
  • Liquifying body structure

Enjoy the course!


Meet Your Teacher

Teacher Profile Image

Marcin Mikus

Retoucher and Photoshop Instructor


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

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

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

See full profile

Level: Intermediate

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1. Introduction to The Course: Hello, everyone. My name is Martin. In this course, I'm going to teach you how to do beauty. Stood your portrait retouching in photo shop. I am professional recapture With over five years off experience, I've been working with top brands and top fashion magazines such a low official numero el just to name a few. And in this course I'm taking a little bit different approach. We will be working on the image of beautiful Misha taken by our yell Grabowski, very talented photographer and we not only going to learn the standard process, I'm not only going to show you how to clean up the skin, but I want to show you some creative techniques such as how to work with the lights, how to create Matt Effect, how to make the image look a little bit washed out at the same time, improving the contrasts how to do creative color grading and of course, will be talking out about all of the important steps, such as cleaning up and Dutch and burnt to heat. So let's have a look on the image after rock processing, the image looked like this so you can see what we did to this image off course, cleaning up, working with the lights and the color grading. So off course, we think this course you are going to get the row file and some other extra resource is so you can easily follow along every single step I'm doing. So let's have a look on the steps. Don't. We did here, I'm going toe turned them off. And of course, this is where we started. After the row conversion and the reconversion process you're going to see in the next lesson and following the steps off course in the first part, I'm teaching you how to clean up the image. We're going to talk about cleaning apples such as Hill in brush and clan stamped. These two tools are most important tools that you are going to using for the shop, or rather, the tools that you're going to use the most. So we analyze how they work and compare the differences. Also, I explain to you how to use them in which situation which tool is better. After the step, we're moving toe on the 1 100% non destructive retouching techniques in foot shop, which is Dutch and burn I'm teaching you how to use it. How toe create data and burn burn layers. And of course, in this course you are getting interactions for dodge and burn, which can speed up your process. Next we work with delights, and here I'm showing you a little bit more creative approach, not only how toe build up the corn contrasts, but we will talk about adjustment layers for the lights so you will know how to perform different tasks depending on which affect you want. Then we going to talk about adjustment trails for colors were going toe. Walk through every single adjustment layer for the color, so you will know how to use them, and you will be free to use an adjustment layer for color you want depending with which one you're going to feel comfortable and on the end final touch ups. So liquefying extra adjustments for light for colors and adding order elements, and this is our final result. So the last look, the image before and the image after simply speaking, if there's just something you're looking for, if you like this image and want to learn how to recount the image in similar way, let's just jump to the first lesson 2. RAW COnversion in Camera Raw: the very first step would do in retouching is, of course, role conversion, and right now I'm looking at the image in my bridge that allows me to see the preview right now. And it's the best way toe open your images and start retouching to see them in the bridge. We can select and planet if you start with opening for the shop. You might see on this view at first, and many people, especially beginners, with either open and trying to search the images this way. But as you can see, it's not the best way. It doesn't let you see the image, and it doesn't let you choose, especially when you have big number off images. So if you don't have bridge in your dog, what you can do, just hit file browsing bridge and your bridge will be open. Then just find the folder where you have the images you want toe work with, and here you are. So once we are here, let's double heat on this. And, of course, in the case off raw image, it will be open straight away in the camera. So here we need to prepare our image for retouching in fourth shop. What I mean by that we want to make it comfortable for us. Toe retouch this image. We might want to get a little bit more details from the shadows. If our highlights are too bright, we might want to get down a little bit with highlights. So it's mainly about the lights. We want toe justice on a little bit more. So everything we are going to do we are going to do on the right hand side. And I like to style. Start with the profiles profiles, which is basically different color outcome. Simply speaking that you could have and likely with their some recent updates, you can have more profiles over here. So thanks to that, you can get the look off the image as the one that was on your camera. So let's have a look into profiles. We can talk about this Justin Toby. You can hit here and choose brows or just hit this icon next to it, and we have some favorites and they're usually not really perfect. Bad don't look too bad, so as because he will have different outcome Off the image when it comes to retouching are usually go straight down toe camera matching off course. If you just start in, it's good to have a look through different profiles. One thing that is important. You don't really want to get Go crazy with it. It's retouching. You need to make sure that your image will have really natural look. So you need to pay attention to the profiles that give you this natural look, and you don't really want to go with something that give you extreme results. So I'm going off camera matching and going flat, as you can see. Not really something I'm looking for. Landscape doesn't mean it wouldn't work on Portrait's, but usually doesn't no trouble. As you can see Flat, which is quite good for retouching. We need to flat and this a little bit, but the colors are not really perfect. I think portrait is quite good profile to start with, but what I usually go in with camera Imagine. Of course I'm going with camera matching standard, which is giving me the result that are closer toe what waas on the camera. So I'm going to choose standard in this case. As you can see, it's 19 more saturated the colors are a little bit more punchy, so I think it's good start and I will say straightaway. Usually I go with adobe color or camera standard. When it comes to retouching portrait, then we go lower. If the white balance is correct, there will not be much to fix here. If you're wide, balance is not necessarily right. You can adjust your temperature and thinking just a little bit by the moving sliders. On this image, the white balance is absolutely good. That's why I'm not going to change it. So going down to the lights, we have exposure. If your images to dark you might bring up a little bit off exposure. If too bright, take down and beat off exposure. Contrast. It's not something you want to increase now because it will only make it a little bit more difficult for you to retouch later. And what I pay special attention is I want to get more details from the shadows. That's why I'm going up with shadows. I'm not worried about the fight that this image well, it come flattened because I just want the details, and if I want to increase contrast, I'm doing this on defender end with highlights and I'm not too strong. Now we can take them down just slightly and I think this image is a little bit dark. So what I'm going to do, I'm going to increase the exposure just a little bit till this level. Let's have a look. This is before and after. So we changed the profile which made this a little bit more saturated and also we try to brought more details from the chandelier areas. I think we might adjust. People eat more on the saturation before we start processing. That's why I would go to the panel number four hue, saturation, luminous and jasmine. So what I want to do, I will have a look before and after. That's what I see there. Oranges, yellows might be a little too strong in this case. That's why I would decide toe. They take down just a legal beat off the saturation from this colors and that would be it on the start. So as you can see, I'm not doing that match. The first step row conversion is basically preparing the image for you to make it comfortable for retouching and flattened image a little bit usually help with those things . Let me talk about the things that we didn't do. So in this basic cider he also have blacks, which is very similar to how shadows and highlight works. But now we defined it by the color so it wouldn't be bad if I can take down shadows a little beat and brought abs, um, blacks. It's actually quite good now. I think it will be even easier for me so we can work with the sliders before we have things that clarity the haze, which would just increase the local contrast, which we don't want to do before we retouch image. We have the curves which in which you can work a little bit more on the shadows. Highlights. But we did this already. The basic panel. You can move your curve toe, adjust the lights a little bit more, or you can work on the channels with the colors. Then we have things like sharpening, and once again we don't really do sharpening and all those things before retouching the image hue, saturation ruminants, which is unjust that a little bit so we can change the hue off each unspecific color here we can unjust the saturation off. It s capacity, color. And we cannot just the luminous off each and specific color. Then we will have split. Tonin, quit. Really Allow us to great the image into different colors. Once again, you don't want to greater image before the win. Your retouching, Why not doing this? And the very end? So the advice for me don't do color before retouching image. You leave this and if I ever end, we'll have some other things. Like last correction. You can enable their profile corrections which will be helpful. It will help you to fix a little bit off perspective. Not necessarily. You have tow work with the distortion later by yourself, but just nine enabling the profile correction will help you a lot. And as you can see, we will get the information off the lens profile. Then we have Fikse like fixing the grand, adding grain and post convenient in once again we're leaving at the end. What else we have here? The last thing I want to talk about his calibration sin, calibration. You can also unjust your colors and it'll be more. We did find the right colors for us by working with their profile. But if you don't find it useful for yourself, what you can do, you can manipulate with the hue off each channel. Red, green and blue channel toe. Unjust, Hugh off your image. If it's not necessary. Perfect, that's where you can do it. I could do it even now if I want this. I think it's not such a bad idea to do this when I'm looking at this right now so you could adjust the hue a little bit more off the channel and you can adjust the saturation off each channel if you don't think it's perfect. If you don't think that starting point is good, this is where you could do this. And of course, Red Channel is the wider, so the effect of this will be really strong. The Blue Channel is usually very narrow, so as you can see the effect flight when I'm moving the saturation cider, it's not so much so that would be it. I'm going to move back to the Base E once again, I'm gonna see how it looks like this is before this is after. I think pretty good preparation off the image and now we are ready to move up. So what I'm going to do, I'm going toe open. This image right now in front shop and usually without doing anything, can just heat open image. But what's really important to work non destructively all the time in fortune. That's why I'm going toe press shift right now and you can see when I'm present shift the sign here. Change toe open object. I'm going toe open this as an object. So this is the first method how we can do this just for a shift and open on J or you can check the adjustments here. The color space you always want to work with Adobe, RGB or prophet are to be on the verge of these Absolutely fine. And you can check this box foot shop open in foot shop. A smart object. If you have a checked, it will be always opened as an object. If not, just press shift. I usually prefer to press shift and then heat open object. Right now the image will be open in photo shop. So why did I open this as an object? Let's say now I'm looking on the image and there is something I want to correct. If I would open this as an image, the one way I would have to fix it is going toe feel there and then camera filter or close this image and start once again. But now, as I have this as an object which is not distractive, I can just double heat on my object and I'm back in camera with the same adjustments. I can change them non destructively than heat. Okay? And I'm backing Photoshopped. Once I make sure everything is okay. I can start retouching this image. 3. Healing Brush Tool: Now we're going to talk about retouching tools, and in this lesson, I'm going to talk about here and brush tool. So the tool that is used the most for skin retouching. First of all, let me zoom a little bit so we can see a little bit more details on the skin. We can see what we want to clean and few things. First, you always want to work non distractedly. That's why you always want to create an empty layer. Just hit a small icon here and create an anti layer. Why? Because if you work on the actual layer, you cannot really go back that much. If you mess up off course, you can do some steps bank, but it's not reaction. So what you want to do work non destructively on an empty layer. I'm going toe rename this iron in tow, Karina. So we know we're going to do cleanup here, and also it will be quite easy when you work with the smart object because you cannot really clean up on the smart object. So you will always know that you need to work on an empty layer, and now I'm going toe left hand side. I'm going to start with here and brush tool. And then also I'm going to talk about spot healing, brush some, some choosing here and brush tool fuel things to set up off course. You always want to work with hard edged brash. The reason for that. If you work with soft edged brush, you might destroy the texture of the skin a little bit. So working a few and brush tool with hard, rigid brush gives you the best result and the best nondestructive results. So let's close this now also from the other thing as the sample you want to work on the current below. You country work on the current layer because you work on an empty there, so there is nothing you cannot clean on the current layer. So once you work on empty layer, make sure you check current below or all layers. But it's not something create perfect because once you create more layers on the top and you'll be doing something here, it will not give you the best results. You might have some discoloration, so current below gives it the best results. You will be affecting this layer as well as the layer below. So these things are very important. Before you start cleaning up your image and then they're cleaning up. I want to zoom in on this image toe, see comfortable the elements you want to clean up, and we have some people over here. So how to clean this? I'm going to on just the size of the brush you can on justice on your keyboard by pressing the brackets. And of course, all of the short case are available in this cast. So make sure you down on the short is if you don't know them all at this moment to adjust the size, we just pressing the brackets. So once the size is OK, I'm going to zoom in maybe a little bit more. I zoom in by pressing set and sliding on my tablet, and then I'm going to press out corruption next to the spot I want to remove. I'm gonna take the sample and then release the out corruption and cover the spot. So what's happening right now? You copy the texture, and the color is I'm just automatically to the area wrapped so little more. Do more sports for training now I'm copying the texture and the color is adjusted automatically. We have a lot of trouble, some skin here. So of course I'm going to teach you more of our specific techniques on how to remove the hair and how to knock down some of the pores. But at this moment, what we want to take care off is simply cleaning up this major spots with here in brush tool. So this is what I'm doing. Unprecedented corruption and covering. And once again the texture is copied and the color is adjusted automatically, and it's simple. And as you can see, it can be really fast. What? You get the right piece. Once you get a little bit off experience and practice, it goes really fast. So this is the main thing about the killing Pashto. And now I'm going to show you how this spot healing brush works into. Remember, once you change to some other tool, you can press Jr people to go back to your tools. The hearing truth. So now us. I have spot here in brush tool. It works slightly different this time. We don't really have to take any copy, so we just paint on the spots and the texture as well as the color is adjusted automatically in this case. So what is the difference in the previous case, we were actually copying the texture and unjust in this by ourselves, and the color was adjusted automatically. And when it comes to spot healing brush tool, both of those things are adjusted automatically. So equally color as well as texture is just unjust. It automatically which is really useful when we don't really have that much off our differences on the skin. When the skin is fairly similar everywhere, it will be very easy to spot living brush tool I've got used to use in human, brash, dull. And I don't think I will be saving much time, especially by the fact that I've been working with you and brushes so much. That's why I will choose to work with here and brash to now. But this is the major difference, and as you can see, they work pretty much the same except the fact that we feel brushed. You have slightly more control over the choice off the texture, so I'm going to clean just people beat for now and in the next lesson. We're going to talk. I vowed next to. So now, as you know, how does it work? Off course. We did not finish yet. You know how healing brush works. And this is the two men you using before we touching the skin around the face and, of course, retouching the skin around the body. So let's move on to talk about more tools and after that will finish our cleaning up. 4. Clone Stamp Tool: in this lesson. We're going to talk about another retouching tool in fourth shop, and in this case, it will be clone stamp toe. As you remember from the previous lesson to choose here and brush tool, you could just press J on the keyboard to truce clone stamp tool. You can just press s on the keyboard, and I'm going to zoom in so we can see a few more details. And let's see, on the settings that I have for my clone stamp tool. Once you open the brush, you can see the harnesses and zero, because with clans stamp toe, I usually work with the harder zero. Some people could work using the heart Edgett brush, but the specific tasks I use Clone Stamp required it to be soft. And, of course, within this course you can download my imagine burn brush will have the same settings, and I found them the best. Whether you work with dodging and burning or you need to have a soft edge, it clone stamp brush. So first step soft edged brush. Here I keep capacity of 100 flow at 100% as well. And of course, the same settings in the sample as current below. So everything else is the same as it was in the case. Off here in brash toe, so lets him even more and a few things I can not. Just on this image is the skin off the model house. Rather week. Course I might need them to. I might need to knock them down just Akiko bit. And this is the first task I could face here on this image. What I would do. I would try to soften them using clone stamp. So that's the first usage of this. For example, here I have rather big pores. I don't want them to be done visible. So what I can do press are interruption to take the sample and once happening in the case off clone stamp as we copy texture and color. So the difference with here and brushes. In the case of human brush, we only copied the texture and color is adjusted. But in the case off clone stamp, we copied those two things. So when we need to blend in something, the clown stamp will work better. Once I copied this, I could softy try toe paint on it I'm not pressing very strong on my tablet. And then, as you can see, I'm softening this pores over here, and that would be it. I'm not going feather because I don't want to overdo it. If I have this small spots inside, it's not something I would solve with Clown Stamp, but I would switch to heal and brush. So this is the first time task for which I could use Klump. Stop the other one. Let's see, on the Ambrose, I could clean them just a little bit at first using healing brush. But if I want to blend the edges and make the better transitions, I will switch to Cranston and then try toe blend the lights and the colors using this soft edged brush. And this is really a powerful way in which you can use Cranston. Don't be more things because we have this scar over here. So once again, class town maybe not perfect. So maybe you can blend in just a little bit once again using clone stamp. And when I go come to the edges over here. I have her. I want to blend it nicely. So dopes thinks like blending, solving the edges is where I work with the claws. Stump Hill and brush doesn't really work that well when it comes to the edges off course by the specifics. When we are on the crossroads like here, it will get confused from where it meant to pick up the color toe unjust. So you will get very weird color sheets over here. We're in case of the clown stomp. We don't really get that. So first we need to deal with pores. We can deal with the edges, though there think will have her. So as you can see, this model has a lot off timing. Her and I will be trying to solve this as much as I can this small hair over here with killing brush. But then later, blending in, I will try to use close time to blend the hair a little bit to knock them down. So something very similar that I would be doing in the case off big pores. I will try to blend the hair by crown stamps. So then there will be less visible. There's one more technique. I will show you how to deal with the head, but first we need to perfect these basic tools. Also, when it comes to the edges off the leaps, we will have to work on it. We will have to perfect the edges, and then clone stamp is the best tool where we can do it. Here we have some more hair. We will try to blend it a little bit here as well as you can see softly step by step, we can actually make it better. So this is the major things I use. It edges, pours small hair and things that are difficult where we have really cross between two colors and we need to make itself off course. Remember when Jurgen Time? But you don't want to press trunk. You want to have the really good and perfected growth. Another thing where we have a lot of edges is re touching her. And I find clone stamp really good for the hair retouching. For example, when you have the cross ham, I'm making my brush size smaller once again our interruption to take the sample to clone, and then I try to paint with the direction of the head. So yeah, and we can slightly tied in a tidy them up. You don't want to remove them fully on may be the hair like this. It's not too bad, but we'll have more troublesome areas. That was easy example, but here have a legal more trouble in area, and I'm taking the club and just blend him by. Painting in the same direction will have quite a few spots that will look like this, and the club stamp will be working perfect with it a little bit more here so I can take the clone and paint on it a little bit more. Let's check on a few more spots. Here we have some really good cross hair, so small size and taking a clone and painting with the direction of the hair. This is very difficult tasks, and for sure it will require some practice in a retouching. But there is no other way to start. Then just start retouching and practicing your workflow overtime retouching hair will become very difficult. This question iss One of the most asked questions about retouching how to retouch head, and my answer in this case is soft edged brush clone stamp, and you just try to paint in the same direction as the hair You can see you slowly blending in. We will have a few more hair to do over here. But we will do it all in the next lessons when we will be cleaning all of the image. So this is how you use And this is how you work with the clone stamp toe in for the shop for retouching. 5. Clean up - Full Process: right now let's do everything that we have to do regard in skin retouching, Harry catching and cleaning up the background. So we need to check the image closely and see what needs to be done here. We did already a little get off job, but off course it needs to be much more so. I created this text layer on which I can write what needs to be done. So the first point for sure will be skin. So we need to clean up the skin. Then the second thing that we noticed before his face her So does the other thing that we already So the number three will cross her so skin. I'm gonna add it to face and body, so it will be understandable. Face and body face her cross her also. What can be number four? I'm going toe see on the inch. Let's see if we can not do something on the background. I can see some of the straight her and I don't think it should be. It's a quite bothering, So number four for sure will be here straight from the background. Quite understandable. And next thing I believe, eyebrows are a little uneven. So eyebrows, number six leaps and that's main things, but there will be a nettle bit more. When we zoom in. You can actually see that. We have some of this small veins inside and something a little bit irregular here. So I believe we need to take care of this as well. So I'm gonna create also number seven and that will be ice and that specific. I mean, veins not to make it perfect, but few of the veins and irregularities we need to actually take care off. So this are the points that I will pay special attention. And of course, I'm going to start from the skin. Faced her across her and the Bagram. So the straight her that I'm not just here. So let's start. I'm going to choose the clean layer zoom in press J on the keyboard because I will be starting with hill and brush and I get a decent on distance from the image. I don't want to zoom into much because the meaning can lead on Lito overdue in which leads toa wasting your time and just doing to match, which doesn't really look too good on the image and clean up everything I see on the skin at first. So we have some off eyebrows not re regulated, which is not good every time when you shoot him. I think it worked toe mention to model to take care of those feats, but also on the set off. It can be taken care of so on. That's a little beat. Not extreme, but quite specific example. Usually, you will not have that many difficulties when creamy, so that will be a little bit longer. Lessons. We have a lot of this small spots. When I have many of the small spots, I often switch to clown stump and just trying to blend it in. Don't worry, uh, it's ah well, look OK. Usually from my own experience and no, the Rita Cher's times toe overdo the image. But be careful to not do it. And the point off this class is to teach you how to touch fast and not over do images, because time is very important, especially when it comes to professional work where you're trying to make money. I always repeat, it's very important to retouch fast and the ass effective as possible. So we need to tidy a little bit around there. High gross that was selected in our known as you can See. I bro's under number five. So he already ended some sultan with the pores and I will make my brush for the constant a little bit bigger to do until beat more work over here here we have also so very important areas and next to the nose we have to pay specific attention. Photographers I often work with asked me to pay some special attention to the curves over here. There is often some spots in this case, not too many, but this is really troublesome. Spot knows something that is very visible, especially here. We have a lot of highlights, so paying attention to it off course, very important also around the leaps. We have the hair that I mentioned to you before. So for sure, we need toe clean this up. There's something needs that will help you with sorting out a fair. But it's very important to do as much as you can, using basic retouching tools because Onley them give you the best results. So here I still see the lines. This is very important to get this done. Even though we have this irregularity, the light irregularities don't worry about this because those things can be actually sorted by dodging and burning. So don't worry if you get some spots kind of white spots because these are just like differences, which can be sorted in different ways. So I have a lot of hair over here. I will try to sort it out using healing brush and crown stump. So it's not Don't. But I'm getting some of them irregularities here, and at this point, I'm gonna switching to Crown Stamp and trying to blend in. So around their leaps, I let myself zoom in on a little bit more because those small details we need to pay attention and blend it in here. Also, I'm gonna tryingto perfect their shape into a bit more here. There's no reason to select around the leaps. I realize that actually selecting around the lips make you waste some time. So better to just properties. And with the time you will feel confident enough to that is all Mandiri and the other side of the hair, you're so little bit more troublesome we could close so when I have the edge like this, what I will do. I would just use the cross time and try to straight the line here because the straight hair , especially the face straight hair, do not look very well, so going straight and they said it'll be so that's how I do it so you can get the general idea how I do clean up the face in this case once again constant here and you need to perfect the line and took it more. Lend this around here for now. It's not too bad we'll have to do a little bit more work in this area. Let's move to the rest of the body like neck because, of course, here we also have a lot of spots that we need to clean, and few thinks that you need to pay special attention. Make sure you see everything on the next, so we have some of the lines and you rather want to keep them natural unless your client will ask you to remove them. But if I have to keep the natural, I try just toe blend in a little bit nicer, so it all looks a little bit more symmetric. But I always keep it, because if you remove this, it might not really look, I like that it's supposed to, so it's good to take care of this, but do not remove completely unless the client will ask you. And I was very often asked to do this. So going lower, if will have for sure, some of the things like her and somewhere spots that will have to remove what's important to know. You don't really have to be that close because on the face, resume in a little bit more when it comes to the neck on. The scheme doesn't have done beak off a pores. So many people was repeat that nobody has to be retouched and absolutely angry under that. But you don't have to be as careful as with the face, because if you will retouch exactly with the same amount, us on the face, the neck, the arms, it all will be overdone. So you want to do a little bit. Last job over here just removed the major spots like a scars, sports or some really unwanted shadows that are unnatural. We have some of the lines here and what I want to do with this. I want to try to blend this in a little bit more. So the major lines here, I will try to fully remove, but then going lower on that little bit more natural. So I'm gonna try to blend it in a little bit more. Just like this. So looking good right now, there might be few others Parts like your that requires some cleaning. After this, I'm gonna have a look into the hair. Let's do it quickly. There's not so much work when it comes today. Straight her so on the background. I just want to remove their really bright head. They don't look that well, so we'll have some off them here. But the natural black her. I'm gonna leave. I just want to remove this very bright points. Be like, very careful with this. Just like this. As you can see, we can remove going with same direction off the hair on it will definitely key. Look, from these days, stance look better on the other side. We will also have some of the straight hand so few more strokes on this side here. We have to remove some of the black hair as well, so I can easily do this from the distance. This part is pretty easy, especially the endings are quite bright on this. Her Over here. I better pay a little bit more attention to it. And this one I will try to do with France time because I don't think removing fully will give us very natural result. But if we can just blend in, just a little bit more is in cross stamp that will work. Now I'm gonna take her some of this cross hair, and I want to wrap it up because we're slowly finishing. There's not many things left, but I still want to discuss about the ice and some of this cross car we do as an example. It'll be here. Let's do a few of them on the other side that's planted in. So when it comes to the cross, where the best description off it, we just blending in with not removed but blended in, and in most of the cases, you don't really want toe remove it fully. You might not end up with really natural results, but when you blend in, you might have some small cross hair still, But you want to preserve this natural abilities, but you don't want them to stand out. So what you don't want to do, you don't want them to drank all of the attention. I'm gonna do the rest in a little bit. But the last thing I want to take care of here is trying toe improve those eyes inside a little bit. So, as you can see, we have some weird regularity here, so I just want to make slightly better transition. I don't really like this vain dumping. This vein here is needed. So I would remove this. And I will try to solve this weird edge over here that we have also a little bit on the other side trying to solve these edge. And I'm gonna remove this major vein here. I don't mind this small ones. Actually, you don't want the eyes to be to fake, so that would be enough. I think the rest can be easily right and with touch and burn. And we can improve this even a little bit more. We have this irregularity over here as well, so I will remove some of this main veins and try to solve this edge here. Why? I'm doing this with healing brush tool. You might be wondered. We have quite visible edge, and we have a lot of details in. So if I would go here with Clone Stamp, unfortunately, I could destroy a lot of the details. The effort could be a little blurry. And when it comes to die, well, I don't want to make it blower inside. It will look a little fake. So that's why I'm going with healing brush just to get more natural results. In this case, it's really important, especially in the details, like this one. So now let me speed up this process. We did touch on each and specific area like her and face there was still just be thinks this image is quite troublesome. Had a lot of details. So I'm gonna speed up for the next two minutes. Just toe, make sure the cleaning up is finished. 6. Remove Body Hair: on this image on the face off the model. We've seen a lot off this tiny her and that quite troublesome, but likely for the shop. There is one technique that allows you to remove them as much as possible and keep the image natural. And that's what I'm going to show you in this lesson. First of all, we need to create the actual layer on the top so we cannot work on an empty layer. So to create the layer on the top, we need toe press. The short case, such as Command Interruption shift and E. On Mac, and that will be control out shift and e on the windows. So I created this layer on the top and I'm going, I'm going toe call this, huh? So we'll know that we will be removing face her. Once it's done, we will be applying the fielder, so if you are not very sure about their amount off the filter you want apply. It's good to convert this layer to the smart objects. We can work non destructively when applying the filter. Will will be able to correct this later on. It's not necessary if you feel confident you will see how it's gonna look bad. If not, it's always good to change this to their smart object. Just in case. If you will need to apply some corrections to working on distracting, I'm going to zoom in to see the details I need. So I still have some of the hair, even though we did breaking good job with Clean up that I'm going to filter noise and I'm going to choose dust and scratches So these filter Dustin scratches allows me to reduce. That doesn't scratches from the address and the name says, but it works really well with hair. So starting from the beginning, as you can see what we have, radios that one. You don't really do anything to the image. Once we go amp with the value off radius, we kindof apply this removing action to the image. So we applied Ashinoff removing dust and scratches under that amount off eight pixels. That's clearly way too much, so I'm going lower, probably with around 445 to December. This is really large image, so I can let myself to go up to five. Often it's too often it's three peak cells and then the fresh old. So I'm going to go up with the fresh hold to make sure that this removing is only applied to the thinks with the biggest difference. So the more ego, as you can see, the effect will not be visible because we on the apply to this very different small details . I'm going to lower that to make sure it will affect the fare and probably will go below 10 in this case, maybe 28 Let's have a look before and after very small change. It last affect more off the highlighted areas than the hair. This is not a problem because we will be working on the mask and we were able to reduce just a little bit of the hair. I believe this amounts are about right. I'm going to see it. Okay. And now what I'm going to do, I'm going to create a mask under. So to create a mask, this small icon on the bottom that I'm going to hit on a layer mask so going to heat have a layer mask on this layer. And now this layer mask is white color. We need to turn this to the black white color of the layer mask represent Effect will be visible, black invisible. So I'm going to press command or control and I to turn it black and effort is invisible. I want to bring back the effect on Lee out that fair. So honor on the jawline what I'm going to do, I'm going to choose a brush white color. I'm going to paint with soft, brash and flow in this case 100 because I want to really affect those her and you can clearly see how easy we are able to remove those parts. I'm not going too far with days because I don't really want to affect things like highlights. I don't want to affect the leaps because I want to keep the natural shine so on the one thing I want to deal with you is those head said it will be more here. This her I might just remove, So that would be about right. If you feel the value off, it is not correct. As I said, this is the smart object. They can go to dozens scratches, double heat on this and you can correct the value off the effect if you feel it's not right . You can easily correct this in the nondestructive way, so this is the easy method that allows you to remove dust scratches, but also this small body her that are really unwanted. 7. How to use Frequency Separation: this lesson will be more off a bonus. Listen, I want to talk here about frequency separation which I want you to treat as an optional thing in further shop. I'm not going to use this specifically on this image later, but I'm going to present to you now. How does it work and how to use it in nondestructive way. So first of all, I'm going to quickly explain your what's frequency separation how to create this. And of course, in this course I will provide you few actions, including frequency separation and passion burn. So let me show you how to create frequency separation and what it is. Simply speaking, we will try to ST this image in tow. Tow layers on one layer. We will keep majority of colors not all of them, but majority and other layers with another layer. We keep majority off the texture, not all of the texture. So how to do this? We need to create on actual layer on the top here to do this off course command option shift and e. And if you work on windows, that will be control out shift and e this layer I'm going toe name as the low and in here we lock it in the colors, but not all them going to duplicate this lower layer. And I'm going to name this high and from this layer will be majority off the texture. It might sound complicated at first, but it's actually not so the first solo earlier. We need to blow out just a little bit, so we will not see the details. I'm going to future bluer and gas and do 15 4 days is a little too much. I will go lower, maybe was, can or 12. In this case, I'm blowing out the details. Not too much. Don't go too high with it. So 12 will work perfectly that I'm going to the highlighter and I will try to exclude the colors and created texture here. So I'm going to image and apply image. What's important to pay attention to this number here, which tell you how many beats your image house. Usually when you start with the raw image and you don't convert this into a beat, the image will be 16 beat, and then it really affects the settings here. So as the source and as the layer. We need to choose the low and blending. In case off. 16 beat image will be on skill to and off zero and this box invert will be checked in case you will be working with eight it image. The blending will be subtract offset 1 to 8 scale to and these books will not be checked. Likely You don't really have toe war about this because I provide you the action separately for 16 beats and for a bit image, so you will not really have to pay attention to it. So we are going with settings for 16 bit image hit. Okay, One thing we need to do right now, we need to change the blending mode off this layer with majority of the texture toe lien light, so change this will allow you to keep the image as it wants. Let's see how it looks like before after what you cannot is. Sometimes the image might get slightly darker when you apply frequency separation, and this is the first corner. I'm not a huge fan of frequency separation, but many people want to know how to work with this. So if it gets slightly darker, you might go with brightness. Contrast. I just a little bit off brightness to keep the same level as before change, blending more to university just as an extra. And as you can see now, we're closer to what was here before and for this image. We already did clean up some highly, usually clean up with hard edged brush using clown stomp or healing brush. But we work on the current layer. This image is clean. I'm not working really this way and what I could use it here. His soften out, the harsh transition. And this is the task that I find frequency separation probably most useful but once again cannot used too much in case it's nothing that that's absolutely not something I would recommend. So what I could do? I could duplicate this layer by pressing command or control and Jay, So I have a copy off the lower layer. Then I could go to fielder lure and gouge and blue and I started with 12. I will go with, let's say, 17 so we increase the value off the blower and what you can see the skin getting a little eat feel traded, which is not good, but it might help us. You of this harsh transition so I could create and not the layer mask. Here, invert this. And with with white color off the brush on this black lay a mask I could paint over here to soften the harsh light transitions. So in this case for this specific task asi Quincy, this frequency separation works really perfect. And we can get the things done very quickly. When we have this weird transitions, it will be extremely helpful. Can see small change. But so some of the issues if you overdo it, it will just not. It's not gonna look nice. So this is why I'm not really always recommended this. But this is how you could work. This is one of them first methods. How you could use that. Another method is also replicating this low layer. Or you can work on actual layer that I believe and for security is good to duplicate. And as patch tool that we didn't use it work on an actual layer you can use on this lower layer the Pashto, which is mainly responsible for color so you will not affect detection leads. Try like this as you can see, What did our friend, this wide area here so easy with patched? Only you can also even out some lights, some shadows if you don't like as the addition to retouching, this is the way I like to work. Sometimes it's needed. Sometimes something might be very difficult, so you might want to work this way. I can see the dark spot here, and it could do this just here. The texture nearly untouched and the small issue is solved. Those things can be mastered using doctrine. Burn eso. We, of course, will be working with dodge and burn, which is way more efficient, was just better tool, which is better technique for retouching and his 100% nondestructive because the truth about frequency separation it is, and it'll get distracted. But if you want to work, this is how you work with it. And also, if you want to use the action on providing you with this frequency separation action for 16 feet and for eight feet image have all of the information's applied here. You can set up your garden blue automatically and all of the rest supplied, and here is your action on which you will be able tow work. So as the addition, if you want to work with frequency separation, this is how to use it. 8. Dodge & Burn Retouching: in this lesson, I'm going to show you on the 1 100% non destructive retouching techniques in photo shop, which is Dutch and burn. So what destruction burn? Simply it painting with the lights so that didn't burning Question photography for many years way before. For the shop, WAAS invented passion Burn is basically using the light toe brighter, maybe under exposed area and darkening over exposed area to even out the image and to give you good outcomes. Or you can also Dutch the highlight that area to improve them. You can burn the shadow area to improve them as well, for increasing the contrast so that dajun burn is everything about working with delight for the better outcome of the image. When the photo shop come to use on Dutch in Bern, start to be used often for fixing out the small transitions on the skin to make sure the image is uneven and that we get the flowers results and this is what I'm going to show you today. How to retouch with dodging and burning in photo shop. First of all, we need to unjust mint layers that will allow us to work with light and the perfect adjustment layers is curves. So I'm opening to Curve and Justin three years one will be Dutch for dodging, and it will allow us to brighten up the certain areas. And the other layer I'm going to create also curve adjustment layer will be burn. And with this one we will be burning certain areas. Something to start with, a dodge, what we need to do. We grant the curve in the center, go up just a little beat. So we will get the perfect amount off light and the light will be good enough to not really change the saturation values. That's why you want to increase just a little bit on the middle. When it comes to the burn, we do the same, but opposite just a little bit to the bottom off this curve adjustment there. So now we change the lights, but we don't want to see. The point is we want to work on the masks Onley in the certain area. So what you remember from the previous lessons, we're going to invert this. So I'm going to invert on this layer by person, command or control, and I and the same with burn. So let's test it now. Let's see. How does it work? Once again, we will be working with the brush that I have created that I always use You can down on this with this class unless you already have it. And you can check the settings off this brush in case you want to create your own. Make sure the control is a pen pressure in the retouching we always use What? Contempt for professional retention. So you want to have been pressure with the mouse, You can't really have it and it will not allow you to perform. Perform high quality don human burning. So this is the settings minimum diameter transfer built up. So I make sure the effort will building up us. I will be painting more and more So this soft agit brush I'm going to present you have just work first in case off dungeon when I paint on this layer mask. As you can see, I'm brightening up certain areas of the image. When I do burning next it I'm darkening on the certain areas off the image. You don't want it yet, so I'm going to move back. So Now you could ask, How do I know which things I need to retouch? Use in dodging and burning with help could come create in black and white layer. To do this, you can just go to few saturation de saturate the image. Now we don't really see the colors, which is good. We only want to see right change The blending mode from normal to color do not affect the luminosity values. Now the black and white is mind better and now you can already see some of the transitions to see them. Even better, you can use curves or levels toe increase the contrast and once increase the contrast, those transitions you want to brighten or darken will be visible even more. And having this, we can easily create some notes here. So this to Dutch Baird, I'm going toe put into the group Command or Control and G while both selected, it could be dd as Dutch and burn. And this will be my help on the top. What I want to do, I'm gonna create notes. So now I can select for you which areas need to be fixed. I'm gonna start with the color red and the red color will show you which areas supposed to be touched. So I'm going to decrease the size and quickly mark some spots for you. So you know, as you can see, your we have this dark spot here. Also, we have dark spots. We should dance this and to beat to brighten up here we have some the export here we have a lot off really thinks dark and bright that some of them will have to bright and some of them dark in here. They're very easy to notice once we have this help player and also, when we start in fifties, you will be able to see it even better. So I'm just going to mark the major ones on, then probably will do still more than this. Also, pay attention under the eyes. As you can see, there will be few spots for sure. We need to work on the area over here to make sure that make a pass. Really nice. Transitions off course. The chest. There will be a lot of spots on their arms on both sides. We need to make sure to improve this areas to dodge it. Make sure are on the voice is not done too much. But of course the transitions need to be nice. And also, when it comes to burning, I'm gonna choose the color blue and for instance, so we will have some bright spots over here. For sure, it's need to be dark Cantel. It'll be an outside off this red spot here. There was a few bright spots that will have to be darkened. I can see some bright spot over here, and we'll have some more off this part. This part usually appear next to the sports that are a return to dark. So we need toe some off this Dutch and then a little dark and this spot next to it. So we make sure will have really good transition. So this is some basic notes from which you can read it, and you can maybe understand a little bit more. I'm going to remove this right now because I'm going to use the action, the action that you are going to get, and it's exactly the same thing that I just presented. So I'm going to my action. I'm going to play Dutch plate and play black and white help player. So what I have here I have, as you can see layer for Dutch and I have this layer for adjusting the saturation value in case the saturation values will change because of dodging and burning. And then I put these two layers into the group by person, command or control and G and created mask on this. So it's exactly the same thing. But we have one extra layer and we will be painting on those layer most of this black and white help layer, which is black and white layer layer where I decrease the right and the contrast we can manipulate with them. We can change them depending on our needs. We can adjust the contrast, make sure that we see everything in the right way. So I'd be probably moving around here and adjusting myself the line to make sure I see everything. Correct. If I cannot see the shadows well, I turn off one layer and go to work with the shadow area, so that would be about it. Make sure you down on the action if you don't want. You can always create your own Dutch and burn layers. A few things Before we start, we make sure we choose the right brush and the flow. I usually keep out 5%. This is very important to keep it soft. And I'm gonna adjust the brush size not too small. This is very important. Few people you are miss. Take, for example by zooming in too much. We can't see anything when resume that much, everything is blending together. Want to keep the distance something on day? Sometimes you money to closer, but don't get too close and science of the brush. You don't want it to be too small because first of all, you waste too much time. Second of all, you might overdo it and then softly pain in the areas that meant to be done. It's hard to start. Sometimes you might not see everything as clear as people who have been working on this for a while, but it just matter of practice. And if you don't see much, always feel free, increase the contrast. We'll see that it will be better. So, for example, here you can see some of these dark spots and to visualize what I'm doing, I'm actually done and no pressing on my tablet too much. I'm very touching it. You want to make sure you're barely touching and softly just painting too bright and it's up and slowly we progress. I'm going to move to the next lesson where we're going to do more of these will retouch for a few minutes, using a Dutch in Bern and after that will speed up. So let's move to the next Hassan to practice our dodge and burning a little bit more way - the oh, wait way. 9. Saturation Shifts: If you use my actions, you will not. Is this to saturation this to hue saturation layer inside the Dutch and burn groups? Let me explain. Why is that? As long as you're rather good and vaginal burning as long as you paint softly and do not really get crazy with the curves, you will end up having rather natural results and the corrections will not be required. And look at this image when I want to check before dodging and after. I don't really see that I got wrong with the saturation values, but it appears often when someone is not relieved. Experience. The hand might be a little bit heavy, especially with the beginners, and you might end up having some saturation shifts. There is easy, so for that, as long as you will not get usedto the retouching, you can use these saturation ciders. So if you look at the image and if you see that the areas that you touched it might appear many on there tan complexion or reach colors, then you can work with this saturation cider toe. Unjust. The saturation values so with dungeon, the areas tends to get slightly more saturated and with burning. The area stands to get be saturated so you might see the shift like this, and then you can softly increase the value toe end up with the right results. Yet if you're going to work in the right way, paints off the don't press too strong on your tablet or don't really move this curve adjustment layer. Don't push it too high. You will not end up with this weird saturation shifts, so there's out of conversation about correcting them. Separation shifts and I believe many people thinks the saturation shifts will appear nearly every single time. The truth is, if you paint softly, you will not end up with this saturation shift. So I usually keep the slayers empty just in case for the help. If I would end up with saturation shifts and for a long time, it did not happen because the more you do the hand get more used to, and we can see on these layer must. I'm going to press out corruption and heat on the mask. You can see that in most off the areas I painted very softly. They're not fully while but rather grey, so there's very soft pressure on the pen. I don't press very hard, so the effect is very natural and soft. And in the burn case, it looks very similar. So that experience don't pay too strong. And if you see the saturation values, you can adjust them on this hue saturation layers. 10. Additional Dodge & Burn: when it comes to Dutch and burn. It's not on the about skin re catching because with dodge and burn, you can ekes solve many problems. For example, you want toe improve the lights on the ice. So basically increased exposure, you can use the dungeon burn technique to do it. How simply I'm going to use careful adjustment there once again, off course, you could use some. All the adjustment layer down will affect the exposure. I'm going to rename this layer in the eyes and invert the layer mask. So we are doing pretty much the same process as we do every single time. Then countries in the white brush and this time flow. I'm going to increase maybe toe 30 20 because we don't really want to stick with very low flow. It doesn't do you very nice results. That's the major issue. If we would be, keep painting with low flow that would give a little bit flat results. So we want to add a little bit more texture, the light texture to the isis. Well, I'm going to make the size smaller and what I'm trying to do. I want to paint exactly with the direction off the light that exist inside I. So, as you can see, the light doesn't really reflect on the top in both cases, but mainly on the bottom and also because of the shape of thy their allied lance in certain areas, a little bit more in some, a little bit like so when we start and going to the bottom, I might press survive we more to get the stronger. So here we are. Then I would go to the other I and also the same soft on the top and going to the bottom out, press stronger for the more impressive result and now have a look before and after we get really amazing natural looking and dramatic I So this is very important to know how to use it, how to work with it on its relatively simple. But you just need to know in which direction the light goes. Also, many other tasks, for example, want to normalize their eyebrows, for example, they have some holes in it, so if he wants to polish them off course, you can do it. So first of all, I'm going to perfect this a little bit here on the edge until it more toe, make them straight. Then I'm going to burn lower the floor, maybe this time to around 10% and softly paint in the areas where we have his bride holes. So thanks to this, our eyebrows will look, But I've done a little bit better now, the other one, especially here, where we have some of this holes. I was cleaning out this area before, So it's something sissy perfect. And with this soft painting around, we can compare to the result before went off uneven shape. So this was very important, Kate. Take care of it. So I look before and after. As you can see, we improved this holes and what I can see. We have some of the dark spots here. So what I would do, I would just dodge them these darker spots I would touch so I will get even better results . So as you can see, it's not honorable, the skill but we are able to do many different areas. We can Fikse solve many different areas of the image and this is the power off dodging and burning absolutely make up. Going to farce. Yeah, and a little too far here. On the rest, I can easily improve that you didn't bury care. We have also some of the dark spots and what's really war for, not listen. It's not only when it comes to the hair, it's not on about eyebrows. Bad off course her or an hour there object you can improve by using dajun burnt. So that was important for me to mention and the very end on. Now we are going to move toe another part of retention and we start taking care off contrasts and some general lights. 11. Introduction to Light Adjustement Layers: two major components that will decide on final outcome. Off your images are lights and colors were going toe start from the light. So in this lesson I want to talk about contrasts and on Justin that general life. So whether you want to have effect with harder light, or maybe you want to have rather soft Matt effort in this lesson, you will find out and we're going to start simple. So I'm going to show you the basic tools, the basic adjustment layers that we are going to use for work with lights. So let's open our unjust mental years and brightness Contrast. Below levels, curves and exposure are four adjustment layers that allow you to work with lights. So I'm going toe start simple from brightness and contrast, the most basic adjustment layer that you can use for adjusting the contrast or working with the height. Let's open this so you have two sliders. The top cider is brightness, so it doesn't do anything more than Brighton in your image. Once you drive the slider to the right side, and once you drag the slider to the left side, you will make the image darker. Let's keep it on zero for now and below that, we have something like contrast. So simply speaking, driving the slider to the right side will increase the contrast. Taking this to the left side, we are taking down the contrast and flattening the image more likely will not go to flatten the image but usually increase the contrast. And when it comes to the basic tools, many people think that basic tools are not good. The truth about image is that the basic tools are pretty good and you don't want to complicate your work. So, for example, I'm going to do something simple that they want to bright and even just a little bit end at a little before. More contrast you can not is that we not only change the contrast, but we change also the saturation value off the inch. So to avoid that, we can change blend quote from normal toe luminosity. And thanks to this, you Onley will be affecting the luminosity values but not the color values. And that's about every single adjustment layer in 40 shot. I'm going to remove that right now, a little bit more advanced toe his levels, so levels allow us to use three different sliders dark gray and white, darkest, responsible for shadows. Gray for me, tons and white for the highlights. And using this slider, we can adjust the balance between shadows highlights meters. So if I'm going to drag this to the right hand side, that slider that is responsible for shadows, I'm going to darken the huge. But by reading history, Graham, over here you can see that the image is dominated by the shadows. So, do you want to darken days more and made this image event more moody? Not necessary. That's why when you see he stole Graham like this better be care for unless you want to get some specific result in this case, just improve the highlights. Maybe deal this point because if we go over this point when it starts, the highlights will be blown. So until this point also, maybe I could've just a little bit of the meat stones, depending on the effect I'm looking for. And I want to keep their shadows as they are at the moment. Also below that, we have one more line that goes from black color to the color white and this line also has to cider, so basically, that allows us to cut off the limit off the color. So if I'm going to grab the black slider and drag it to the right side there, darkest point on the image that I allow this this level great. So let's stop it here and the same on the other side. The brightest point off the image is this lever off wild. It works, especially when you want to create the soft images. And by creating this effect, as you can see, we increase the contrast. But also we increased the ranch between the darkest or brightest points. So for people who look for a little bit off Matt effects, that will be very useful. Also, we have these. I dropped hers. But when it comes to the retouching, it's not something that should use. The dark eye dropper will define the darkest point off the image, and it will make it completely dark and Justin off the color at the same time. And the white one will peak the brightest point and will make it completely white. And as you can see in this case, it did not necessary work. But with the dark wants. It wasn't ready to back off course. We'll have some presents as well, whether we want to go with lighter image. Whether we want to go with dark image, we can check press. It's bad when it comes to the lights. You don't want to rely on presets. So I'm going to remove this levels right now, and we'll move to my favorite adjustment layer. And I believe also most advanced because it also allows you toe back down the shadows and flatten the image just by dragging this curve on the straight line to the right. By darken in, you can go to the left, of course before and to darken going to the right. So I'm going to flatten this little beat and the same with the white colors. We can flatten this a little bit, or we can increase this a little bit, going to the left side into flatten this in in just a little bit. We have the same Heaster graham as we had before and what I would do here. I'm going to increase the contrast, so I flat in two days. But I also I will also increase the contrast something by this. So this image soft light, slightly more contrast. And also I would change this toe luminosity So basic contrast Some effort apply depending You want more contrast? You want toe is not dark and complete Chandos you can adjust it here off course we have it all here we have this precepts and also we have the eyedropper. So this how you could understand the curves from shadows on the left side to the highlights on the right side. And finally we have something like exposure. Exposure basically allows you to manipulate where with the exporter of the image. It's not something I use that often. But I find exporter be very useful when we need to make images a little bit mutt and a little beat washed out in connection with different effect. I like to use offset And when we go to the right side, of course you're going tow opposite. So you given this extreme contrast, so careful of that. But when we need some more creative results, I find exporter being quite useful. And also we have gamma correction so we can correct the gamma body over here in the left side. We will write in the image right side. The image Well, get darker. So this is about it when it comes to their very sick tools with the lights. And now we're going to move to the next person in which I'm going toe manipulate with the contrast, I'm going to set up the proper contrast on much more advanced level. We're going to create the masks to be much more selective and accept that we are going to plan some interesting effects. So we not only going to work on contrast, we're not going to on a high contrast that will try to create some really special atmosphere on this image. 12. Creative Lights and Contrasts: Let's adjust contrast on our image and think off some creative light effect. So I want to separate highlights and shadows. I don't always do this when I'm in rash. Of course, I do everything on the one layer. It's absolutely fine, but I believe it was too given option that there is much more ways to control their lives on your image, then just working on the single adjustment layer. So I'm creating to curve adjustment layers. I created one. Then I press command all control and J to copy the 2nd 1 So the 1st 1 will be highlights and the second shadows two separate layers. So I'm going to start with the highlights. I am going to image and apply image. This allows me to exactly peak all the highlights that I have on this image as the source layer off course, we have layer managed all of the layers because you want to get the effect out off. Everything we have so much layers will let you to define the perfect highlights and shadows blending, multiply or normal, something that does not affect this highlight layer or another l a er in different way. For example, futures Lighten Your mask will not be visible here. So you go of blending by default, it will be multiply or normal and hit OK if you have to find highlights. If you first defining shadows, you can heat invert and this mask will be inverted and you will be defining shadows on this image. I'm going with highlights. I'm going to hit, okay. And this mask is applied into this highlight layer. So outer option. I'm going to press to show you and as you can see, perfect highlights defined. Then we can do another the same things on the shadows, but become also press commander control heat on this layer mask, Go to the shadows, select the shadows layer mask and we can just in a very this layer mask into the shadows some pressing command or control and I to invert. And now we have exactly inverted copy off our highlight. So I have to perfect masks. And now I'm able toe unjust the highlights and shadows. When I do, I just open careful adjustment layer of each for the highlights who can simply go up toe Brighton the highlights. We can even go in the center to just improve very soft highlights. If you want to improve just the harsh highlight, you will define this curve point more closer to the highlights, and you go down around the meat tones. So maybe, and first I'm just going to increase the lines very softly. Generally, that's how I look before the after slightly brighter, very soft light. And as the next time, I will open the shadows and for shadows and just going to decrease it over here a little bit less. And the reason why less is simply because shadows are much stronger as you can see. The mask, the white color off the mask represent where the effect is visible, so you have much more. They're white colors, much visible around the shadow area, then in the highlight area. So with highlights, I can let myself a little bit more with the shadows just very small touch. I'm going to put these two layers into one group sheaf and so like this to command or control and G. I'm gonna name this contrasts. Let's have a look before and after. For sure I need to pay attention. If it's not darker, it a slightly darker I will be very careful with the shadows here. So I will decrease the opacity to 60 maybe, and now it's rather nicely defined. So if I want to get a little beat more perspective, I still can do it. So we have quite white off the highlights. But I think we can even get better perspective here. So what we can do? We can take selection from the highlights and we can narrow it. How to do it press command option and shift altogether, or control out and sheet and heat once again on this highlights layer. And as you can see, the selection got narrow. Now I'm going to curve adjustment layer and let's have a look how it looks like our corruption heat on this. As you can see, our selection is very narrow. Now I'm going to name this highlights number two. And now I can do very similar things just to make sure that this fine highlights somebody here are slightly improved and I have three perfect strong and find highlights in this moment. Because of that, I can maybe make my first layer lowered the opacity Teoh, our own 70 And here maybe something suffer, actually. So in the center and before and after really nicely defined highlights, I need to pay attention of its Not too much. This is very important for me. I do not want to below this highlights. So that's important to be very careful. So I'm gonna lower this to 70. It's better to polish this at the very end than do too much right now. So last look. Perfect highlights. We've got here even less here. You're on Turkey. That's very good definition. So this is how I work with them. Contrasts. But it's on all because I can do actually much more with this image and what I want to do. What I planned for this image. I want to create this pain tary effect their effort that make it soft that make it a little bit more mysterious. So I'm going with exposure and what I want to do. I want to add a little beat off, offset. So once I aunt a little bit off, offset what you can see here it is creating this stretch washed out effect, and it's quite a lot. But because of this, maybe we can go together with the contrast meat, even antis under the contrast layer. And then we can work a little bit more on this what we did here. So because I flatten this, I can at article beat off their shadows and also maybe society more on the highlights. That's how I look before does the after still quite flat. So we can probably go our little beat more with it more with the shadows fully and highlights Article beat Morris. Well, in this case, and now I'm getting closer to the effect I want. I want to create a very soft effect, and I will be polishing these a little bit more. It's still a little too flat for my taste, so I could let myself go feather with the shadows off course. Remember, if you go of this specific effect, you will increase the shadow. Small as we are doing right now, if you're not really going with such are specific effect as we have right now here, you will not increases that much because the reason why we increase this so much, it's because we applied this offset. So the amount of this I do really like and here we got this soft, perfect. So I believe maybe just one touch more. Be a little too much. And it'll be more all the highlights, though. And this is about right for what I want. In this case, we might do few extra corrections and the very end. But right now, with the effect we got soft effect pantry affect something I was looking for to show you something a little bit different that could teach you a little bit more creativity with approaching your personal projects off course and the end, we need to remember about blending modes right now. I kept them or normal because of this exposure layer. But ofcourse, if we don't do it as you can see what might get slightly more saturated, so make sure to check the image with luminosity blending month. As you can see right now, I would like to present preserve the same or similar saturation values. If I would go with luminosity blending mode on this explorer layer, my image will actually get more saturated. So on this one layer, I will go with normal blending mode and I would aid slightly less saturated overall. But on Lee because of this exposure layer. I will go with normal blending modes on this contrast layers That is very important to check this how you work. So you make sure that you not really getting crazy with the saturation values and that the effect you building is not getting out of hand. So this is a little bit more creative approach. And in the next lesson, we're going to talk about colors and also when you work a lot with the lights, you might get a little bit of abandoned in for the shop. But don't worry. Those things are very easy to solve, using some simple tricks in photo shop that we will do in the final touch ups. 13. Adjustement Layers for Colors: in this lesson, we are going to talk about colors and before we start doing any color, great into this image, it's worth to say when it comes to Portrait's when it comes to their beauty portrait's or anything related to studio images, which have big presence off the face off the skin and meant to have natural outcome. You don't really want to go very crazy with the color, but the color meant to add up to the final outcome off portrait. And that's my approach. I always try to think about the colors I already have on the image and go with the color harmonies to make the image pop. So, for example, looking at this image, I have two different colors. I have different color off the background, which is a little bit gray, going a little bit in the blue purple tons, something a little bit colder, and we also have skin tones on this image. So by this starting point, I can already know. I will go with complementary color harmony, which is basically opposite colors on the spectrum, So I will go of the cold background and warmer skin tones are maybe not that much on the skin tones because, of course, it means I will try to keep the skin tones as natural as possible, and I will try to work on this background a little bit more. So this is the major point. If you will have image where you have one color, maybe warm. You don't really want to mix ABT the colors and try to force it to be two opposite colors. So that's very important to work with the colors that you already have from the image and add up something to make the image pop. So and that's the point I wanted to make. And now off course, we have some and jasmine players. I opened adjustment layers that are mainly responsible for colors. The adjustment layers that I used the most I skipped. Maybe if you did not open graded map yet, but we'll talk about this. And these are the tools that you will more likely end up working, and you don't have to use them all off course. But it's important to understand, and then using the knowledge about the colors you want to work with and knowledge about how the adjustment layers works, you can apply the certain adjustments to your each. So first tool is also related to the lights, and I'm talking about curve adjustment for years because in the curve and transmit players , we have three different channels, such as red, green and blue. This channels are not just about colors, but this channels. Many represent the color lights, so the image rjd the the colors RGB red, green and blue connected together create the final outcome out the image and gives you the final colors. So Red Channel, when we drag it down on the Red Channel with taking away the red light from direct channel , so the image becomes much colder when we increase the curve, as you can see on the red, becomes much more visible. And when I go to the shadow area, as you can see, I can drag the red down. So in the shadow area just over here that you can see the image getting much colder around the shadows area. But it does not get much colder on the highlight area just a little bit because there's not that much of the highlights off course, but I could increase it here. I added just a little bit of the Red Stones in the highlighted area. Mao and I took down some of the restaurants from the shadow areas. So then we have also green, and in green going down, we increase magenta going up who have primary color, which is green. And in this case, also, we could have a little bit of green if you want to go. If I need to be colder coloring the shadows and we could go down toe Axel magenta for the highlight Is this to green and magenta mother? Careful because these colors are not necessarily healthy colors when it comes to the portrait, then we have Blue Channel and, in case of the Blue Channel blue channels, usually strongly. The wrench is the smallest, much smaller than, for example, the wrench off the red. So in the blue, if I want more blue on the shadow area off course, all of this works the same, going up blue primary color going down yellow secondary, and I would go down just a little bit on the highlights. And as you can see by adjusting curves in very basic way, I don't we want to go complicated I will try to improve the color harmony just a little bit better. But main rules is understanding that the red, green and blue it's not necessary color, but it's the color right light that creates the image that creates the final colors off the image. And we have three primary colors, such as red, green and blue and secondary colors such as Excuse me, magenta for green. But of course, science for red, magenta for green and yellow for blue as the secondary colors. So that's a lot of parents. And of course, you can manipulate the curves in every single point you would like to not only on the edges , but for color grand grabbing. I find the edges very precise if you don't feel there is certain about what you want. The next door I opened is a vibrant adjustment layer and hue saturation adjustment layer, so this took with beaver Simula in vibrance layer. We are able to unjust the vibrance of the image and saturation off the image in rather natural way. So Vibrance has very similar feature to saturation, though it does preserve the orange towns and it will be better. So if I'm going to increase the vibrance toe maximum what you can see. I'm increasing the saturation a lot on the background, even the background. I did not have that much of the color before, but skin tone is not really that much affected, and the same thing will happen in when I go in opposite direction. If I go with vibrance Tu minus 100 as you can see the background goat fully dis operated. But we still have some color on the skin. And when it comes to the saturation, when I will increase the saturation, every single color is increased equally so you can see the difference. Now between the background and skin tone, we have much more color on the skin tone, and when we increase this equally, the image look very unhealthy. When we take the saturation down off course, the image is 100% de saturated and in the case of hue saturation, we have similar option like saturation, which will give you different results, much more unhealthy results. It does separate each, especially color toe maximum. So if you looking for just manipulating general saturation for sure, the best option is going with vibrance and when you want to manipulate with each unspecific color, the hue and saturation adjustment layer will be better and the saturating everything as you can see toe minus 100. What you saturation also allows you to dio allows you to manipulate with the hue on 360 degrees, so every single color she can see by moving slider on the here we can change the color completely and on the very bottom. We have also slider with likeness so we can make in each darker to complete dark or brighter, to complete white and in white color, and adding that curtain dark color, depending on which direction will go on false of the box color rise, which basically saturates the image to a certain point. And if you want to choose some single color on the image, that's what you can do. Not something very years for in general portrait retouching, maybe some selective colors. That's okay, and we also have different sections here so we can manipulate the saturation and the huge off each and specific color. Such a colors like reds, yellows, greens, science, blues and magenta. As so we have six different colors. This are the primary and secondary colors, from also from the curve adjustment layers from our RGB and also let me just have a look and we can choose every single color, for example, for one to manipulate with the skin tone. More likely will true threats. And if you want to take down some separation from the skin tone, you can simply in the reds take down the saturation from the red tones or yellows, which will be more off the highlighted area. You can also manipulate with this, so this is very useful when you want to be very precise with each and specified color, and sometimes we might be not necessary. Sure, which color is here? You can just choose the small hand here and heat on the skin. As you can see, this color is defined as the reds, so if you want to be selective on, that's what you can do. And if you want to be ready, precise by defining some new color, which allows you to work on very advanced a level when it comes to adjusting, the skin tone is choose the color that does not really exist on this image. We still have some magenta belief since I, um maybe greens that's not much of the green except eyes on. I'm going to choose this. I drop it'll. And then let's say you want toe, adjust some certain tone on the skin with the eyedropper. Just need to define this. And as you can see, this color was the fights, as the reds to and it replaced the greens also on the bottom. It showed the range off the color you try to define, so this still will give you really powerful possibilities. It gives you a lot of possibilities in terms off, adjusting the color very precisely. So now let's say you want to turn down in this area here, you can simply take them the saturation. As you can see, you mainly take down the saturation from this area and the saturating precisely the skin tone. And here on the bottom, you have the wrench off the color, which, of course, you can increase, decrease or change. Buy yourself a swell, for example, if I move here as you can see this ranch I selected before it's not visible animal and is actually changing the colors that were defined before so I don't want to change anything here yet, and you can define every other as you can see and adjust the hue whether you think the skin might be to read. You can also adjust the hue in this one very specific area and and as the saturation something I used to really often for. The portrait especially helps you to so very small tasks. Imagine you have some discoloration on the leg on the hand. In this very small area, you can simply choose the eyedropper to find the color on this area, mask it out and adjust the color to the rest off the body. So very powerful next door, my favorite color balance. So when it comes to color balance, we have also rgb similar us in the curve. But for color grading, I find it a little bit more comfortable because we can split the image for shadows, meetings and highlights here automatically, which makes the job much easier. So in this case, if I want to do something very similar as before, I would go with shadows and I would add a little bit off the science and blue for the shadows, something I was working before and on the highlights May God just a little bit off the warm toys, not necessarily too much. And having looked from the distance, as you can see, I did and just the colors a little bit better in similar way as I was doing this with courage before very important to mention at this moment when we will be working with the colors, we also remember about the blinding, more so with the blending mode normal. On this moment, I'm also affecting some portion off lights. If I don't want this, I will go to normal. I hit the normal the blending months, and I would change this to color so that you can not is now. There was no change in the lights. There is no change in the contrast. So when you want to be precisely on colors, you will always change blended mode to color. And if you will not want to affect saturation at all as well, you will go to Hugh and then the change is absolutely minimal. So that's a lot color balance on the next two words. Just photo filter. I will be quick right now for the future basically adds up the color on your image that you will add. Inform off the filter. Very simple, selective color. Other very powerful selective color allows you to work selectively with each, uh, color and on each color you can. Also, I add up some other course. So, for example, reds, which is the color of skin tone in practice, it will be much better, and we want to manipulate with the science. So on the arm to Sion, you add in the science to the Redstone, which is the skin taking down the side, and you make the skin more red. Then, for example, magenta added, magenta had into the red skin tone lower in magenta, taking away magenta from the reds. Same with yellows, and also we have black. So add in black color to red, taking away the black color from rats in the same thing we can do with every single color. On this image, we will have on the reds yellows, a little bit of science and blues. But for skin work, I also often used selective color together with you saturation that will lets me to adjust the color, and it will be better we have some additional tool. We will also have a great in map and the great and map is very specific because using greater Matt, we always have to pay attention to blending mode. So, for example, in this case, if I would go with opposite colors once again, I would just sum blue color for the background for the shadow areas on for the skin from something very standard with you. Which information is here over 20 not two. Separate that maybe Then let's see how it's all going to look so blended month. Of course, in this case, we always have to go a different blending mode. I don't really like it, because if we go with color blending mode, it doesn't give you really their best results over here. As you can see, it does colorize every single part of the image. So for any natural result, you would have toe takedown capacity toe ready to really low levels and going to have soft light, which blends the color quite well, gives too much off the contracts over natural color grading. I find the Grady and not being really something that will give you that much off control. So that's about it explaining how adjustment layers for the color work works. And next listen, we are going to do something very simple. We're going to do very soft color grading, and I believe you might already have the idea how we're going to approach this image. But we are going to do this once again in practice and justice, well to the results we really want. So let's move to the next lesson. 14. Color Grading: let's do a very simple color grading. And one thing important to mention at the start also is we were working with the masks for building up the contrasts. When you use certain techniques and you want to split your color, grading into the shadows and the highlights and be very selective on that, you also can work with the masks and you can simply press commander control. Pick the highlights and then let's say you want toe work with the curve and just meant Leah and you want to apply something to the highlights. Let's say you want to apply some of the yellows and some of that reds toe highlights, and this is the way you will do it. If you will work on the shadows and want to be selective by the shadows, you can goto curve adjustment layer. Apply some of that colder colors strictly to the shadows. Off course. I'm going to invert that because it wasn't the right way and a little bit of blue, and now we were very specify e and applied the effect on Lee to the areas where we have this mask. I'm going to start very simple, though what I'm going to dough. I'm going of color balance at first because color balance allows me to split this manually over here. And I find it being enough in this case. So I'm going toe add just a little bit of science and just a little beat off blue color to the shadow area. I want to be very careful with that. So I'm not going with really big amounts yet. It made me just a little bit more also in December to be visible for you right now. So I wanted to be visible that we actually did do some job. So that would be enough for now. And I will go to highlights in the highlights just going to add a little bit more off the yellow when it comes to the meat times, we have some of the meat on areas over here. We might have a look. How does it work? So to beat off the and meet tons, I want to see where it will affect. And it does affect my background as well. So I'm not going to go with meat times in this case. Meanwhile, we added some different effect, which wouldn't be probably than bad, and I'm happy with what I have at this moment. I'm gonna see a little bit more on the shadows. What else I can do if adding a little bit more science will be good. In this case, I'm not a sin. I changed slightly the skin tone. So for sure, I'm going to take care of this one thing before I want to change it to color because I don't want toe affect and light on the image. So if I want to polish the lights later, I'm going to do it in the last steps and the same about color. If I'm going to polish the color, I'm going to do this in the very last steps. So the color balance I can name with balance for simplicity and also we can see. How did it affect I was skin tone. It did took unequal beat off Redstone's and yellow tones from the skin in the shadow area, which is not too bad, but we can do some small correction with hue saturation. I'm going to to some color, and I'm going to use the eyedropper on to see specifically the area I want to correct. So we have defined it as the Reds to I'm going to at one point of yellow, and I'm going to add just a little bit of the saturation. I might take down the saturation you've ever end. It's too much for me, so I don't also want this image to be too yellow. It's very important. So here I can see more off the brown tones and that will give me a better balance. To be honest about the skin tone. I'm not feeling we did change it that much, so the correction wasn't really quiet. I like what we have at this moment, and I don't feel I want to do more off the color grading. Even we did the very simple one. A very like the hair color we have now, even though there was much more brown times before. Now it sort of looks more cool, more natural, and it gives us really nice and painterly effect and just magical beat off change for the skin tone, the animal changing the space to see in which wrench we are right now. I'm going to create a new empty layer brush, and I'm going to see the value off it. So between 23 27 22 to Turkey is the value off the huge on the skin, which is really great skin tone. 15. Liquifying: Now it's time for the final corrections and about final corrections. I like to do them on the actual layer. It allows me to be very precise whether I need to use camera future. It allows me to be very precise with the colors with the lights or if I need to liquefy image, and that's what we are going to do in this first step. We have some irregularities here. I don't think I'm going to go very far here about some small corruptions here and here could be quite useful. So as I mentioned, we will be working on the actual layer. And this will help us to solve this banding issue. So disbanding issue offer appear when we work on the contrast or when we were very drastically on the colors. So I'm going to create a stamp on the top. And to do this, I'm going to press command the other option shift and e on the keyboard and going to create a stamp on the very top. And as you can see, also, the banding just disappeared. You can see the difference can zoom in slowly before, after disbanding is so frail. And of course, on windows that will be controlled our control out, shift and eat. I'm going to name this US final. I'm going to do both on one layer on liquefying camera camera in the next lesson, but don't want to mess up too much. So, first of all, toe workmen distractedly, especially when it comes to filters. You want to convert them into smart objects. So I'm going to shit press control heat on this layer that I'm going to convert the smart object my take on to beat, especially when the file size is big. The images very high quality with life signs of the image. And we did quite a little bit of work here and now I'm just going to a filter and liquefy feels her. So the thing that I noticed since the very beginning is on her back, we have this small irregularity. I'm not a huge fan off the liquefying. I don't really do it that much, but when we have something we could slight improve, Uh, that's absolutely fine. So I will be using for work, too. And on the right, Conseil become said the size off it. We can choose the density off our liquefy tools. I have at 50 I will present to you how it would work at 100. As you can see, we affect all of the ranch of our brush. If I would change it to zero, we on affect the needle. So that's why I keep dancing. That 50 somewhere in between. And also, when it comes to the pressure is how sensitive it is. So with pressure, 100 will be very sensitive. With zero, it will be very sensitive. So also the pressure I keep around the needle and that's the most important things to know about this. So I'm trying to move it just a little bit. So you have to be really careful on you can zoom in if you I have seen small problems with it. You don't feel very confident with the distance you can slide the zoom in. And to me, that would be about enough. I don't want to go more than that. So we got this background to swell. So what I'm going to do if the bargain I'm just gonna may go brush us size smaller and just stretch it it So let's have a look from the distance before, after. Not necessarily here was police on. That should be. That's right, and I have some more sports that I've seen. So just moved toe you to make sure that this background is not visible and this lines here often under under arms. I just like toe make a magical it straight so some people tends to try to blend it and dodge it a lot. I don't like to dodge those lines. It's very important for me to keep it natural, but we might want to really provide this just a little bit for months of shape, so it really improves the image a lot. It will look natural because you keep it on what's important. It's not destructive. The natural outcome is something that we don't really care. And here and that would be it. So not too much liquefying few simple touch ups. And that's how I do it. When I opened this, what's really important? Toby now opened as the smart object so you can see futilely crew firefight You can see before and after. How does it looks like, And if you want to go back and and where we can tell it more because she not just made there is still some thinking proof. You can just hit on that when we come in and I will go back to the spot if I want to do something, kind of get more. So I'm gonna pay attention to the preview. Um, and come see that here could be just a little bit slower for ah, more natural outcome. And that's it. I'm gonna hit. OK, And this is how I liquefy in front to shop on Lee when it's needed. 16. Final Adjustements: on the very end off my retouching. I want to make sure that my colors and lights are perfect. So I'm going toe camera to do my final adjustments. I'm going for future camera future and what's really important. We already created smart object, and I'm going to use the same layer for liquefy and camera. I don't think I'm gonna do anything more with little fine. I'm very much satisfied with what I have, So I'm going to come in the future, and this filter will be applied also as the smart object. So first thing, I'm going to jump right into Carlos to hue, saturation ruminants, and I want to push unequal beat more color on the background. So going toe 100 as you can see on the background, will become very saturated. That could be a little get too much by the government. Maybe somewhere 40 50% could give me a very nice result. I like this beautiful blue color that we have both of them. Whatever I would choose, whether it's blue or whether it's this more grayish background, I think look absolutely nice meaty 44 more mysterious effort. So I'm saturating the background a little bit more. I want to see how the lines were. Maybe I want to Brighton this just on a little bit. In this case and the hue. I want to make sure that the hue works just perfect. I don't want to go too far with the hue, maybe just five, and this is the color of that. I believe really suit for this image going further. It's also nice, but maybe I don't want toe go that far from the original background. But the point is, you can do days. Kings over here using hue, saturation, ruminates other things I would like to dis saturate. The orange is just a little bit. I want to keep the skin model, the mother and the skin off the model a little beat the saturated. I do really like on this kind of thing, and also I'm going going to manipulate a little bit with the huge. So I feel the faces unequal beat, more red, are trying to push the Rex morning orangey tones, and I'm going to inside this. I believe it's going to solve some of these small issues that we could have, maybe even a little bit more with all in here in case on that would be not enough. Of course, such a thing handy perform in for the shop, but very four times to be careful with this. So that's about eight with the colors. I want to go back to basics, and I want to increase article beat off a local and global contrast, so I will push clarity just a little bit more. I believe for this portrait and in our legal beat off gravity works really nice, and I'm going to push contrast. Also a little bit more So. Contrast might saturate the image article bit more in case it will be too much. Of course, it's good to work a little bit more with the saturation, and I'm going toe actually lower their highlights. Because of this, I'm afraid there contrast pushed them Maybe just a little bit too much here and shadows Justin to get up. And I think this looks around something I'm really looking for. So whether we want the harder highlights on deeper shadows, all of these extra and jazz Mel's can be performed here, so it's gonna love that's before, and that's after so the darks and the shadows are stronger and highlights, or so a little stronger. And we did some small corrections to this skin tone are swell at the very end, especially for this kind of portrait. We might like ourselves to see how the noise works. I feel for this image and in just a little bit off noise can be really good for this. So that's why I'm going toe. I think it's and I will see how, adding the grind grain works so I don't want and a large quantities, and to have a good balance, we might zoom out just a little bit. So from this distance, I still see the noise. So I would go over days for sure. Here, my distiller, a little bit too much. We begin with 25 which is a very small noise, I think could work for this image, and then we can also set up the size of the nice. I'm also choosing the size that will be rather small on not too small. It might give you weird ethic, but some north, maybe around 20 I feel it should work perfect, and I never go with the noise start is very soft. Not with rough. I prefer the rough noise. So I'm going with at least 50. Usually I'm not going on below that. So very soft. Nice for this image. I think we'll give us really promising is out here. I want to just see the science. Maybe 30. Here. I want to make sure that he cooks perfect. And that gives me result that I really want. Off course noise is the optional thing, so it doesn't mean you have to use it. I feel for this image it will help me to break down the thons, especially between the highlights and the shadows in the really nice way. So this is the major reason why I wanted to do it. And that's what be about it. This image, he's exactly life the image I wanted to be. So this is my final adjustments. These are my final adjustments. Thank you for watching this class. Of course. Feel free toe down on the profile toe. Follow along with this class off course, you don't really have to do the same adjustments you might do. The small things were gorgeous colors or contrast. A legal get different but I don't live following the major tasks that you have will lead you to really good results and also down on some of the actions I provide that will help you to speed up your workflow. Thank you for watching. And I will see you next time.