Beauty Retouch With AI

1. 0. Introduction: I Hi. I'm Mac Moses Michael, and welcome to Beauty Retouch With AI, a complete guide to professional portrait retouching that combines the power of artificial intelligence with traditional retouching techniques. In this course, I will walk you through a clean, non-destructive worklop that blends manner precision with smart AI tools to help you achieve stunning realistic results. We start from the basics, imposing your photos and preparing them for retouching. Then we dive into essential techniques like healing, frequency separation, dodge and bone, teeth whitening, and eye enhancement, all designed to bring out the natural beauty in your portraits. You will also learn how to add sub to volume, balance skintone, enhance the background and subject, and create harmony throughout the entire image. Along the way, I will show you how AI tools can speed up certain parts of the process while keeping you in full control. By the end of this class, you will have a solid understanding of how to blend AI efficiency with human artistry to create portraits that look polished, professional, and truly alive. So if you are ready to elevate your retouching and discover the perfect balance between skill and technology, let's get started with beauty with touch, with AI. See you in the next lesson. 2. 1. Importing Your Photos: Before we get started, I quickly want to show you guys something we are going to be using in this course. So when we get into Photoshop, what I'm going to be using for retouching, it's the Retouch for me and a combination with manual retouching. Now, keep in mind that me making use of Retouch for me in this course does not really mean that you have to make use of Retouch for me to retouch your own photos. There are so many plugins out there like, Okay, so here we are in camera of filter. You can just go ahead and make basic adjustment that is if this is not really okay for you, but this is really okay. For me, but I'm still doing something. So what I'm going to do is to start with Auto and see what I'm going to get with the auto. Okay, now, the author did a great job, but this is still too much for me. So what I'm going to do is to go over to the exposure, and I'm going to reduce the exposure to somewhere around -20 works well for me. And for the contra, the contrast is okay, the shadows, I'm going to bring down the shadows a little bit just to add more contrast to it. I think plus 17, works well for me. I think I'm going to bring down the exposure. This is too bright. I can write this up or lighten the photo back in Photoshop. So I think plus five or let's go a bit higher. Yeah, plus 15 works well for me. So every other thing stays the same. I love the vibrance. I love the saturation. It already decreate the saturation, which is actually fine by me because I can work on that later, and everything looks perfect. So once you're done with your basic adjustment in camera raw filter, what you want to do is to hit on open. If you hit on done, it is just going to save this to your raw photo and it's just going to be there. Camera arrow fifth is going to close, and it won't be open right inside of Photoshop. But the good thing is that if you input this photo back into Photoshop, when it opens in camera arrow, all these adjustment you have done so far, it's still going to be on your photo, so you can just proceed and open it up in Photoshop. Now, once I'm done right here, I'm just going to hit on open, and this is going to open the photo inside of Photoshop. Okay, so here we are inside of Photoshop. Now, I want you to understand that my workspace is completely different. And I'm quickly going to explain that. Reason is I drop a lot in Photoshop. So having my workspace like this, this is just a way I use it in drawing in Photoshop. But I can also make use of this too with touch inside of Photoshop. It really depends on the kind of workspace you want to make use of. I really don't need anything much, and I prefer putting up some things as just panel in Photoshop to and when I'm done, I close it, but I just like my Photoshop workspace like this. You can play around with your Photoshop workspace, or you can just easily go over to Windows. If you don't know anyone to use, just go to Workspace and you select photography. When you select photography, it is going to give you the photography workspace and Photoshop that you can go ahead and make use of making you or helping you to focus on just the photography tools available in Photoshop. But I will go back to my own workspace, which is what I'm going to use. So that is it for this lesson. In the next lesson, we are going to start with the healing process in Photoshop. So see you guys in the next lesson and make sure before going over to the next lesson, you have input your photo right inside of Photoshop. 3. 2. Healing: In this lesson, we are going to heal our photo. Normally, you make use of the traditional method to heal photos in photoshop. Either you make use of the spot healing brush tool, the healing brush too, or you make use of the remove tool. Yeah, which is still okay. You can go ahead and do that. But this is all about making use of the manual retouching and AI retouching to retouch a photo. So what I'm going to do is to make use of the retouch for me heal to heal my photo. But when I zoom in closely, I'm not really seeing anything much here, but that's fine. I'm still going to work with that. So the first thing we are going to do is to hit on control. J to make a duplicate of our layer. I'm going to double click on that layer and I'm going to name that to ill and on enter. Now, since you are applying a filter to this filter, you can just convert this layer into a smart object, but I really don't think it is necessary because everything we are going to be doing is just going to be on this particular layer. When we are doing something else, we are going to duplicate this layer again. So keep that in mind. So when you duplicate this layer, you want to go over to filter scroll down to Retouch for me. That is, if you are making use of Retouch for me board, whatever plugin you are making use of just go ahead and locate that plugin. Then you want to locate the Hull, which is this one right here and click on that. Give it some time it is going to open up. Okay, here in Retouch for me Hill we have the front option. We have the Auto. We have the close up, we have the half length portrait, and we have the full length portrait. So depending on the one you want to make use of, that is what you are going to use. So from here, I'm just going to turn this to a close up photo and allow this to process. Okay, this is finally done processing. We can hit on Zoom to zoom in. So let's quickly focus on the phase. Now, if you hit on space bar, it is going to show you the before. And when you release the space bar, it is going to show you after. So this is what we have before, and this is what we have after the before and after though, there are some issues here, but that is not much of a problem. And let's scroll all the way down. So this is the after, and this is the before. Take a look at all these. Although it did something weird here, but I think that doesn't really matter. So let's take a look at the hand. It also removed this from here, and everything here is really looking good. So I'm going to zoom out. Now, once you are done, if you want to fine tune this, you can go ahead and fine tune this. The sensitivity is up to 100 and I am perfectly okay with that. Now, once you are done with everything you want to do here, you can just hit on apply, and that is going to take you back into Photoshop and apply the retouch from a hill, which you just applied not too long ago. So now we can quickly see this right here. And we have this on a different layer. You can apply this on one particular layer, but the reason why we apply this on two layers is just for two reasons. Number one, for us to be safe, if we have any issues with this layer, we can delete this layer, it on Control J and continue from where we left though. And number two, it's that we are going to use this to see the progress of our retouching as we keep going. So this is what we have before, and this is what we have after. Now, if you have any other thing left on your photo, which you think you want to remove, like what we have here and here, you can just go over to your tuba and look for the healing brush too, or you can make use of any one of your choice. Now, one mistake people do whenever they make use of this healing brush, too, is that if they pick up the two, they'll just go ahead and make use of the two just like that. I think I'm going to switch to the spot healing brush too. If they just pick up the two, they are just going to start working on it just like that. Now, at this point, when you zoom in, you might not be able to see that Aero pod. I let me just explain that. So the error we usually get or most people usually get is that when you pick this brush two, this brush two, the hardness is always set to probably 50 or 100%. Now, you can see that the hardness is set to 100%. When you are retouching, you want to decrease this hardness. If you did not decrease the hardness, it is going to some hard edge on your photo which you won't be able to like, which you won't like when you are done. So now you can take a look at this and see. But of course, I did this multiple times. That's why we have this issue there. So before you make use of the healing brush to, you want to make sure that you go over to the hardness and set the hardness to zero. Currently, I have the size set to pen pressure, which is really okay by me. How hard I press on my tablet determines how big the size of the brush will go. So with this now, I can just press a little on my tablet, and that is going to take only that area. And it is going to help me control all those issues. I'm going to have whenever I retouch or whenever I heal with the spot healing brush. So I think I have this on the lifts. I'm going to take that away and even this one. And I have this one here, and I have this here, this here, this here, including this. And this this one and this one. I think this is okay. I'm not going to take anything else away from here. Everything really looks good, and that is fine. So I'm going to hit on Control zero to fit back to screen. And right here, I'll come down to my layers panel right click and hit on new group. And I'm just going to name this group here. Hit on Enter and drag this into the group and I can close it so we have the hill in a group. So now, once you're done, you can just hit on save and proceed to the next step. In the next lesson, we are going to talk about the frequency separation. Frequency separation it's yeah, a little bit stressful, but I think we just really need to know. I'm going to see you guys in the next lesson. 4. 3. frequency Separation: In this lesson, we are going to talk about frequency separation. Of course, I won't go in depth explaining this frequency separation. I'm going to show you guys how to create it, and we're just going to touch or photo. Now, you can also make use of the touch for me to create this frequency separation, but I really don't think I like that. You can just go over to the plug in section, and let me quickly make a duplicate of this. Now, at this point, we already have a group and we have a layer here. When it Control J, you are going to duplicate the group. You can also open up the group, select the layer, hit on Control J. When you hit on Control J, to duplicate the layer, you can just drag this out of the group. But yeah, that's a little bit stressful. So what we are going to do at this point is to make a merge copy of all the layers we have in Photoshop, leaving the first layer as the fourth progress of the merge copy we are going to create in Photoshop. So to do that, you want to hold on Control plus Shift, plus O and plus E. On your keyboard, and that is going to make a merged copy of all the whole layers. You can just go to filter Retouch for me and frequency separation. This method is still a little bit confusing to me, so I'm going to stick with the manual method of the frequency separation. Okay, so now we've already make a duplicate of our layer. We can just double click on that and name that to color or you can name that Low depending on you. So I'm going to hit on Enter, it on Control J, Dub click on this one, and I'm going to name that to details and hit on Enter. So we're going to turn of the I of this layer and I'm going to select this layer. Now we can go over to filter. You can go over to blur. You can make use of gasianbl if you want to, but I'm going to make use of the surface blur and click on that. When the open up, wow look at how the tt is shown right here. So I think let me just quickly zoom this out, right? This is a little bit better. Okay? So now, you can see the effect of the blood. I think 15 as a threshold is okay, or maybe I can take this up a bit to 17 because if blood is out, we're still going to bring back the details. So I think, 17 works well for me here I'm going to click on Okay. And now you can see that we've lost in detail on our fourth. So we need to bring this back. So when we enable this, but I think this isn't doing that much here, I'm going on Control Z to undo, and I will go back to filth and I go to blow and select the surface blow. Here. So I think I'm going to increase the radius a bit and take these down. Let's look from here. Let's take the threshold. I think, let's take the threshold up Okay, this is okay. This is pretty okay. So I'm going to hit on. Okay, to go back into Photoshop. Now we can see that because I turn off the eye, I turn on the eye of the details layer here. Okay, so this is what we have with the surface blow, and now we're going to turn on the details layer and select that layer. Then we'll go over to image, scroll all the way down to the pad that says applyimage. Inside of this window, you just want to say the layer. The layer tab from here, you want to set it to the color because you are trying to extract the details from the color layer and put it onto the details layer. And the blend mode, you want to set the blend mode to subtract because you are subtracting. And the scale you're going to set the scale to two and the offset, you're going to set the offset to 128, and you're going to hit on, Okay, now, if you want to know more about this frequency separation, I have a dedicated course which you can go through that is going to explain more of this frequency separation. And you also have the option of going over to YouTube to check video or to look for several videos that explain frequency separation in details. So from here, I think I have this here and let me close this. From here, we go over to our blend modes, and we just set the blend modes to linear light, and you can see everything. It's really okay. Now, at this point, we need to group them, but before we do that, we're going to select this layer here on Control J to duplicate the color layer. Of course, we want to smooth this layer. This happened twice. Okay, so I'm just going to delete one of them. Drag and delete this. And for this one, there is nothing really serious about creating this layer. It's just to have a backup. So in case we are smoothing the skin, we have any issues, we can just delete this layer and on Control J again to duplicate this layer. So now you can just right click on this layer and create a clipping mask. Like I said, this is not necessary. It really depends on you. So now I'm going to select this first one hold and shift and select this one, don't control G to group it, and I'm going to name that to Fs which is frequency separation. Now, at this point, we're just going to open this group select this layer and we go over to our tuber. Under the brush section, we're going to select the mixer brush. Now, inside of this mixer brush, there are some things you really need to do. So here you want to make sure that I'm going to select the Fourth soft tram brush and Photoshop, which is this one here. And from here, you want to make sure that you want to make sure that you have a clean brush which is this one here. So I think I might want to reset this, this is pretty okay for me. No, I think the load I will set the load to I'm going to say the low to 90. The mix should be ten, the weight should be 20, and the flow should be 100. Now, you can play around with the settings and see what really works well for you. As I keep working, if this isn't really going well, I am going to adjust the settings as I keep going. Of course, I have a dedicated settings I usually make use of, but I just want us to try something different and see. Okay, one thing you need to uncheck a sample or layer as well. I'm going to show you that. So let me zoom in and then increase the size of the rush very well so that we can see, and I'm just going to paint crazily. Alright, now take a look at it. You can really see what we are having here. The reason is instead of this to just focus on this particular layer, it is also sampling from the detail layer, which is exactly what we don't want. And this is happening because the sample layer is checked. So once we click on this and check that, when we paint again, it's undo. Now we don't have the clean brush here. So we just come back here again and enable the clean brush. And when we paint, you can see that everything is going to be on that particular layer. So I'm going to hit on Control Z to undo. And as you paint, you don't want to paint like me, dragging everything all around. It is going to be messy. You just want to do it gently. Now, most of the times, People will tell you not to zoom in once you are doing frequency separation or once you are smoothing the skin, yes, it is absolutely advisable not to zoom in when you are smoothing the skin. But the only work around for that it when you zoom in as you are smoothing the skin, make sure you zoom out from time to time just to be sure that you are doing what's right because you are going to focus on zooming in every now and then. But when you are done smoothing the skin, when you zoom back out to 0% or to 50%, you find out that you've done something crazy. So it is always advisable to zoom in and zoom out why you keep retouching. Okay, now, as you keep retouching, as you keep smoothing the skin, you don't want to go like this. No, it's not going to make any sense. Any area you focus on, just focus on that particular area. So if you're smoothing this part, just make sure you focus only on that particular layer. Do not drag it across any other part of your subject, I said layer and it's not layer. So I'm just going to smooth this and speed through this because you really don't need this. You already know how to do it. But I'm going to delete this before I speed through it so that you really see what I'm doing just in case you are new to smoothing the skin. And another thing you need to keep in mind, it's that as you keep smoothing the skin, make sure to increase and decrease the size of your brush that is necessary. If you're trying to use one brush size across your whole photo, and ending of the day, you're going to find out that you have some issues all over your photo so just Make sure when you get to large areas, you increase the size of the brush. When you get to smaller areas, you decrease the size of the brush. Keep that in mind. And when you are smoothing again, don't really focus on all this part as head. Don't just go over there and smooth it. The eyelashes, the eyebrow, the eyelashes, don't do that. Don't do that. No, no, don't do that. It's really going to be so crazy. So you just want to do it gently. As you keep smoothing. And I'm going to take this out later on. And the places where you have darker spot, try as much as you can not to move it into the areas where you don't have darker spot. Just concentrate only on those areas like this, and see that I am focusing only on that part where I have the dark spot, not dragging it into any areas that does not have that. So now you can see at this point, I decrease the size of my brush and I increase it again, depending on the particular area of my subject I am working on. So at this point now you can zoom out and see what is going on. So this is the before, and this is the after. You can really see what we are doing here, the before and the after. So at this point, if you are having any issue just like me here now, you can just easily adjust the issue while you are zoom out and I have a little bit of an issue here. And of course, you don't need to worry because you are going to dodge and burn this. Okay, so this is the before and this is the after. This is looking good, so I can zoom in again and continue. One thing I keep doing here is to always increase the size of my brush and decrease it in some areas. And most importantly, not dragging across my subject. You can see how I am doing it. Now, when you put your mouse when you click on your mouse, as you keep smoothing, you want to make sure you release your mouse click on on intervals. So you don't just click and hold down, then you drag. It's not really going to be okay. And if you're making use of tablet, you want to repeat the same thing. Okay, okay, I'm done. I'm done, too. Let's take a look at the before and the after. So this is the before, and this is the after the before and the after. This is looking absolutely fine. I don't have any issues here. Here. This is looking good. So I can just hit on Control Zero to zoom out, and now I'm going to close the group. So take hat of time, smooth the skin of your subject. And the next lesson, we are going to proceed to the dodge and the bone. See you guys in the next lesson. 5. 4. Dodge and Burn: In this lesson, we are going to dodge and burn our further. Now, after putting the skin, so we're going to lose some light and some dethils. And, of course, we're going to bring the back later on. But for now, let's just focus on dodge and bone. Okay, now we've done with the frequency separation and the hell. So before we proceed to the dodge and burn, let's quickly take a look at the before and after. So this is what we have before and this is what we have after the before and the After. Now, this isn't a big change, but it really did a lot. So now we're going to make a merge copy of all the whole layers we have here by holding down Control plus Shift, plus eight plus E to make a merge copy of all the whole layers. And this time, we're going to name this to dodge slash Bon hit on, Enter. And now we'll go over to Fa retouch from me, and Dodge Bon basically conduct Okay, here in the Dodge boon, we have the same option like we have in the hill. So we're just going to select the closer portrait and allow retouch form to do its thing. Okay, so now the dodge and burn is completed. Let's take a look at the before and the after the before and the after the before and the after. Not much of a big change. So what I'm going to do, I'm going to come down to this blend, and I'm going to increase the blend a lot. So now we can see the before and the after before. The after. Now, this is the before, and this is the after the before and the after the before and after, before and after. And pay close attention to parts like this, the hands, the body, the nails over here, this part of the body, you can really see before and the after the before and the after. This is a nice change. So I think I'm just going to drag this all the way up to 100. So let's see the before and the after before. And after. This is really looking good. And you also have the option of turning this into a sup light layer. And I think I don't want to do that. I'm just going to hit on Apply. You have the option to play around with wom as well if you want to go ahead and do that. So I'm just going to hit on Apply to go back into Photoshop. Alright, the dodge bond has been applied, so this is the before, and this is the after. So we're going ahead on Control G to group this, close the group, close the group, double click on the group, and name that to Dodge bond hit on enter. Okay, as you keep doing this, don't forget to hit the controls to save. It is very important. If Photoshop crashes, you are going to be frustrated. So hitting Control is very important. And now, this is the end of this lesson. In the next lesson, we are going to take a look at how we start enhancing the features of our subject like the eyes, the Ts, and so on. So that is what we are going to start doing in the next lesson. Make sure you are done with all these steps, and in the next step, this is the part where you are going to add lots of details and draw attention to your portrait. And this is actually the part why you were going to call this a beautiful retouch because you pay close attention to most of those parts where people want to see. So I'm going to see you guys in the next lesson and don't forget to hit Control C, which is very important. 6. 5. teeth Whitening: In this lesson, we are going to enhance the **** of our subject. Okay? It's still the same process. Everything is just going to be repeated, just like we've been doing it in the previous lesson. We're going to make a match copy of our layer, and we're just going to rename this to tat. Here, you can group that and name that to whiten tit or tit whitening depending on the one you want to do. Okay, so what we are going to do now is to go back to filter score all the way down to Retouch for me, and we're going to come down or locate the one that says white tit. Okay, here in the white tit, you want to do the same thing, which is a closer portrait. There is another technique I'm going to show you in making use of this without show me plugin. But then we're going to be doing it when we get to the eye enhancement. That is what I'm going to show you in the next lesson. But you can also use that for the **** and so on. But I just feel like it's going to be okay to do it this way. Okay, so now it is done. Let's take a look at the before and the after before we do any adjustment. So let's take a look at this. This is the before, and this is the after. Absolute lim night. So now you can increase the white if you want to. So I think 33 is fine. And the brightness, I'm going to increase the brightness to 40, which is good. So this is the before and the after the before and the after. So now I'm going to hit on apply to go back into Photoshop. Okay, so this is looking so good. Let's zoom in closely to the portrait. Let's bring the face down just the face alone, which is this. So now we're going to hold down Earth and and click on this one to see the before you can take a look at before and the after, take a look at it before and the after. Okay, in the next lesson, we are going to enhance the eyes. When you look at the eyes, you can see that every other parts of our subject, it's looking bright, looking nice. Even the teeth, it's looking fantastic. But the eyes is very dull. It's not really looking good. So we need to brighten the eyes. We need to enhance the eyes to make the eyes look good and match the retouching of our is what we're going to focus on in the next lesson, and don't always forget to group that is if you want to, but you can just leave this on a separate layer. And I just prefer putting mine in groups and nothing else. So I'm going to name this to tat white name and he don't enter and he don't control. And I'm going to see you guys in the next 7. 6. Eye Enhancement: In this lesson, we are going to work on the eyes. We are going to enhance the eyes. In the previous lesson, I told you guys that I am going to be giving you a new technique that you can use with retouch for me plugin to focus on a specific area of your subject. The first thing we need to do first is to make a merged copy of our layer. Now we can just double click on that and name this to I enhancement. I hit on NA. Now, we're going to hit on to select the rectangular Markey two, and we're going to zoom in closely to our subject. Now we want to have the focus on just the eyes alone. So what I'm going to do is to make a selection just on eyes alone. And with this selection, we can go over to Fifth scroll all the way down to Retouch for me, and we're going to come down to the pad that says eye brilliance, which is this one, eye brilliance. So let's click on that. When you get into the plugin, it is only going to focus on that particular selection you created. And at this point, I'm going to stick with the author because the auto it's really okay. I'm not going to do anything right here, because we just have a specific focus area here. Okay, let's take a look at it. So this is the before, and this is the after the before and the after. Not doing that much, but you can increase this more and more. I think I'm going to increase this, and if it's too much, I'm going to reduce it inside of Photoshop. So this is the after, this is the before, and this is the after. So now we can hit on, Okay, to go back into Photoshop. Of course, this is doing a great job. And now you can hit on Control D to the select. So this is where we have this is what we have before the eye brilliance, and this is the eye enhancement or the eye brilliance, and this is what we have after. Now, if you want this to be much, you can just hit on Control J to duplicate this layer. No, sorry, that is not actually going to work. Yeah. You can also repeat this, but I think this is okay. Now, if you Sorry about that. Now, if you want to enhance this more and more, you can just come down to this part here, create a curves adjustment layer. And when you create the curves, you can just increase this a bit and go to the blend mode and say this to let's say this Let's say this to color dodge so that it is going to enhance the the coves layer a bit, and now you're going to select the layer mask and head on control. I to invert the layer mask. Once you done that hit on B to select the brush to, select the brush to from here, if that is not working, select the brush to and make sure that you have the soft round brush selected. Now, if you're making use of a mouse, you want to select the soft round brush and paint gradually by reducing the flow and the opacity. But if you're making use of a digital tablet, you want to select the soft round pressure paxity and flow brush to select that and I'm going to decrease the size of the brush and zoom in a B to focus only on the eyes. And now, if you're working with bi layer mask, make sure that your foreground color is set to white because we have a black layer mask here, we need to review. So I'm going to reduce the size of the brush again and just paint in here. To review the curves. Now, before we complete that, you can see how bright and sharp the eyes are looking. Okay, this is good. You can go ahead and do this as long as you want. But this is really good. You can see that the ice is very bright, but it's making our subject to look red. So we'll go over to the layer and we can reduce the opaquity to let's say 70%. Let's give it at 70%, but let's see before and after. So I think we need to go down again to about let's say 60% should be fine. Et's say before and after, 60% is okay. That works well. So I'm going to select both layers, head on Control G to group them, double click and name this to I enhancement, head on Enter. And in the next lesson, we are going to add volume to our portrait. Now, let me show you something. When we do so many things, you can see now that our subject is looking a bit flat. So let's go back to the original image. Now, you can see that we have a lot of depth on our subject. You can really see. Now, you might not be able to see that very well, but when we get into the next lesson, you will understand what I'm talking about. You see that we have a lot of depth on our photo. But when I bring back all these layer, you can see that our subject is just looking completely flat. After the dodge and bond, the hills, and so on, it really make our subject to look a bit flat. And that is what we are going to fix in the next lesson. In the next lesson, we are going to make our subject multi dimensional by adding depth to our photo. And I'm going to see you guys in the next lesson. 8. 7. Adding Volume to Your Photo: In this lesson, we are going to add we are going to add volume to our portraits to make it look multi dimensional. So now I'm going to hit on Control eight plus Shift plus E to make a merged copy. And I'm going to double click on this layer and name that to PV or you can name that to portrait volume. It depends on you. I'm going to hit on ENa. Now we'll go over to filter research for me, and now we can select the portrait volumes from here and we're just going to select the closer portrait and wait. Okay, this is done. This is done. So let's hold down space bar. This is the before. And this is the after. Take a look at this. You can see how flat our photo is looking before. And when I release this, you can now see how three dimensional it is looking. So you have the option to increase the blending or you can also decrease the blending. So I want this to be merged. I want this to show very well just like this. So let's weekly see the before. And the after more three dimensional. So I think maybe I'm going to reduce this a bit. So this is the before, and this is the after the before and the after. You can see some of all those highlights that we lost are just completely back. And the shadows, they are completely back, which make our photo to look more outstanding and really nice. So I'm going to hit on Apply and go back into Photoshop. And I'm going to hit on ControG to group, close the group, double click on that and name that to portrait volume and hit on Enter. So now we can really see what is going on here. So from here, I can hit on this eye to disable, and now I'm going to enable all. So let's start from the hull. So let's zoom in a bit closely to our subject. So we started from the Hull, which is this, then we head over to the frequency separation which did a massive job on our photo. Then we head over to the Dodge and boon that soften most of the heart shadows, and we apply the whitening of our teeth, and then we enhance the eyes, which is really looking very beautiful. And now we added a portrait volume. Amazing. Now, you can see how this is going from where we started from. Okay, in the next lesson, we are going to balance the skintone. Now, when you look at the skintone, you can see there are some areas. I don't really know if you can see this, but I can't really see this. You can see there some areas we have something like a touch of green, but not really that much. Something like a touch of green. But the skintone is not just consistent. So we're going to fix that in the next lesson. So don't always forget to save. This is very important. At some point, Photoshop can crash, keep that in mind. So in the next lesson, we are going to enhance the skintone of our subjects. 9. 8. Balancing Skintone: In this lesson, we are going to balance the skintone of our subject. This might not really be effective on this portrait because this seem to be more balanced than it is supposed to be, but I can still see some inconsistency on the skin, which is the reason why we need to balance the skintone. So we're just going to hit Control plus plus shift plus E to make a merged copy of our layers, and we're going to name this to skintone you, and now we can go over to fifth scroll way down to Retouch for me, and we're going to look for the one that says skintone and select that. And now we're going to select the close up portraits. Okay, now we are done. Let's take a look at this. This is the before, and this is the after. You cannot see that much, but I can see it is a sub to change. So I'm going to increase the blending a bit. I think I'm going to take this up all the way to 163. So this is the before, and this is the after. And, of course, we have some issues. You can see that it is also affecting the lips which we are going to control when we get inside Photoshop. Now you can just put this on a soft light layer that is if you want to just do this easily when you get into Photoshop, but I'm going to leave it on the layer itself. So this is the before and this is the after. Now, you can see that we have some greens, like I said, in the previous lessons, the previous lesson. But when you look here after we've applied the skin tune, everything is looking more red and balanced. So now I'm going to hit on apply to go back into Photoshop. Okay, now, let's pay close attention to the lips. So let's see this is the lips without the skintone balancing, and this is the leaves with the skintone balancing. It actually affected some areas which are red. So what we are going to do is to add a layer mask, and we're going to select the fourth soft front brush in Photoshop and set our foreground color to black. And we're going to paint over those areas where we don't want the skintone balancing we applied to affect. So I'm going to paint and erase this from the lips Make sure to take your time to do this so you don't leave some places covered. Okay, let them into the Okay, so I think that is all that we need to do so we can head on Control zero to zoom back out. So this is the before and this is the after. So we're going to head on Control G to group that and we click on that, and we're going to name these two skin enhancement. That is what we are going to name that to skintone balancing. Okay. It on a balancing. Yeah, that is fine. Now, at this point, we are almost done with anything that have to do with Air. What we are going to do in the next lesson is to apply some basic makeup to the pace. When you look at the original photo, you can see that we have something like oblche or whatever it's called. I'm not a female, so I really can't tell what this is. So we are going to bring this back and probably apply something else to our photo to make it look outstanding and gorgeous. So hit the save button and get ready for the next part. Now, we are also going to be making use of the retouch we plug in to do this. You can also do this yourself in Photoshop. But of course, it is going to take a lot of time to do this yourself in Photoshop. That is why this is a combination of manor retouching and AI. But I promise I absolutely promise this is the last time we are going to be making use of AI in this course. See you guys in the next lesson. 10. 9. Applying Make Up: In this lesson, we are going to apply makeup to the face of our subject. So to do that, you know, the drill, we're just going to hit on Control plus out a plus shift plus E to make a merged copy of our layer, and we're just going to double click on this, and we're going to name it to FasmaO you can name it to makeup depending on what you want to do. Now we can go over to fifth, scroll all the way down to the pad that say retouch from me, and we're going to locate the facemk from here, which is this one. We're going to click on that. A lot of things going on in this facemk. First, I'm just going to give you a basic work through so that you really understand what is going on here. When you look at the top here, you can see that we have phase one, that is phase one. Now, if you have more than one subject in your fall through, you can select the particular phase which want to apply the makeup. But we don't have that, so. We're just going to leave it that way. So here we have efting. We have makeup, we have displays, we have texture. And we have reshape. So when you click on when you enable anyone, you are going to get extra option. So first, let's work with the lifting. So I'm going to click on the lifting, and this is going to take some time because it is processing on your device. So now you can see what has happened. My subject is looking really weird. So now I'm going to take this down to somewhere around, let's just say, I think 20% will be fine, which is this what we have here. And I'm going to do it I'm going to make use of the feminine lifting. So now let's take a look at this. Let this finish loading. So this is before, and this is the after four, and the after four and after. You can see that four, it looks like the forehead of my subject is a little bit smaller than the chain and down to the jaw. But now with the face make, you can see that this is looking accurate. So keep that in mind. Now I'm done with the lifting, so I'll head over to the I'm not going to make use of the font mode. The font mode is just going to help apply random effect or random filters to your photo that maybe you can play around with that and see what you are going to get. Maybe it is really going to give you what you have in mind if you don't know exactly what you want to do. So I'm going to turn on the makeup. And take this down. So for the eyes, you can see for the eyes, we have none. So I'm going to zoom in closely to the eyes. Let me bring this down. So for the eyes, I'm going to come down to this spot that says, yes well we have none, so I'm going to click here and select the smoke veil or smoke Ve, whatever it is. Now, if this is what you want to apply on your photo, just go ahead and do that. But, technically, I don't like this because it makes my photo to look more darker. A little bit weird. So I'm going to come down to this part here to go to the next one to see what's really going to be. Now, if you know exactly what you want to use, just click on this job the menu and you can select that. But if you don't know, just select the first one and keep moving or keep checking all the effects you have here with the forward and the backward arrow. So I'm going to click on next so I think this is looking a bit good. I like this one. But I don't still feel like, Okay, this is looking a little bit too much. Maybe I can come back to that, to the name is smoke whisper. So I'm going to come back to that if I did not get anyone that works well with my photo. And keep in mind that you also have the option to change the hue and also play around with the depth. If this is too much, you can reduce it. So I'm going to go to sparkle steel. Yeah, sparkle steel is looking sparkling steel, it's looking beautiful, but m m, I'm not going to make this of it. Oh, no, hold on. I think you, it's causing a little bit of controversy on that particular part of my subject. So I think the mocha drama is looking a little bit better. So let's just wait for this load completely and see. The Mcardramas gorgeous, absolutely gorgeous. So what I'm going to do is to reduce the depth of the mocha drama. 70% works best for me. So let me quickly see the before and the after the before and the after. No, this is a little bit different from what I have there before. So it's still causing a little bit of controversy. So let's play around with star doors. So I think the star dos might work with what I have there before. So this is the before, and this is the After. Okay, the star dos work, but let me see if I can play around with the hube to get something. Let me see the black this is not black, but, yeah, okay, this doesn't do much changes to what I have there before. So what I'm going to do is to reduce the depth, let's take it down to 25, and let's see what we can get from here. So this is the before, and this is the after before after before, after before, after. Awesome. I love this. I'm going to stick with this. So now I'm going to come down to the skin. From here, let's see the golden dots or let's start with the sun kiss, and let's see where we can get. And this is absolutely fine. This is I really love having focus on my artwork. But for photos, if it's not on your model, you don't want to put it, but if it's on your mode and you remove it by retouching, you can go ahead and apply that. So I'm going to make use of the next to see. I don't like the golden dust. So let's see the nature touch. This is good, but this is way too much. So we head over to the next one. Okay. I think I like the soft rose. The soft rose is really looking good, but we have a little bit of an issue here, but that is not going to be a problem. The soft rose is really looking good. But let me see if I can get another one, okay? This is blushed radiance. And the blushed radiance, too, it's not really bad. Looking absolutely fantastic. This is lovely. I love this. I love this. Okay, let's check something else. Maybe we come back to the blush radiance. So let me see this one. This looks good. Now, not as good as it can be, but this is exactly what we have there before. So what I'm going to do now is to go back to the eyes. And let me see if I can match this. So let's see know that it's not really matching. So let's go over to the green. So let's see, know that it's still not matching. Let's go over to let me see. I think this is really looking a bit closer to what I have here. So let me zoom out, let me zoom out. Let me zoom out. Let me zoom out. This should be looking like what we have on the chain. I think I am close to that. Let me see. Hold on. But I think I can exaggerate. So let's go back to the blush radiance. And let's take this all the way down to this side. Okay, the blush radiance is perfect, really perfect. But I think that let me see if I can get a little bit of red on that, something like this. And let's see. Okay, let me zoom out. So I think this really works, and that is fine. Now, you can go ahead and do the reshaping, if you want to have different kinds of reshaping, you can do from here, you can play around with women women, too, and so on, but if you want to do something funny, you can go ahead and try that. And for the leaves, you can also apply different kind of lipstick. But keep in mind that this is actually not going to work very well, so you can see, but I think this really works well. Now, it's not really going to work very well. Take a look at this top part from here. You can see, and you can also see from here that it is really not working well. That is the reason. And this really works with a portrait facing front. But that is really good. So now what we are going to do, we can play around with the depth so that it is really going to blend in very well, and it won't be that Off. So let's zoom out. You can see that it's not off. So we can also reduce the depth a bit, a little just like enhancing the lifts a little bit. So now we can click on Apply to go back into Photoshop. Take a look at this. Looking so beautiful. So let's zoom in closely to the lives. Let's zoom in closely to the labs. So you can see all these extra as we have here. So now we can add layer mask to this layer, and we're already selecting the soaps and brush. So now we can just brush away all these parts, the SS. We can just brush away the SS areas. Awesome. And now you can also create a new layer, and you can just with the soft front pressure paxity and flow brush, you can just pick from here and paint over all these places. Let me switch that that is painting different thing. The so when I pick a color, switch it to the background color. You can just use it to blend this not to paint that in completely. You get the idea, but I'm just going to delete this. I don't want to do anything. Everything looks good. So now I am going to Hein Control G to group that and do a click on that name that to face M and head on. Okay, so now we're finally done rig AI, it is time for us to go in and do the final enhancement to our subject like color grading, enhancing the skintone, separating the subject from the background. That is what we are going to start doing in the next lesson. But before we do that, let's quickly see between the before and the after. So this is what we have before, where we start from, and this is what we have after where we have gotten to. So don't forget to save, which is very important. And I'm going to see you guys in the next lesson. Well, we're not going to spend much time in the next lesson. We are just going to separate our subject from the background and group them separately. And in the next lesson after the next lesson, we are going to start doing our adjustments. See you guys in the next lesson. 11. 10. Separating Subject From Background: In this lesson, we are going to separate our subject from the background. So whether we are going to be able to work on our subject separately and work on the background separately. But before that, looking at this, I think maybe I want to reduce this because it's a bit too much. I think it's a bit too much. It's a bit too much. No, I'm going to leave it that way. You can reduce it in yours if you want to. Okay, so first, we are going to make a merge copy, but we don't need that medge copy. You're going to delete that, but we just need it to create the separation between our subject and the background. So I'm going to hold down Control Alternate plus Shift plus E and make this merge copy. Okay, so what I'm going to do now is to hit on W to select any selection in Photoshop. So we have the I am going to select I'm going to set up here. I really don't want to do anything much. I'm just going to hit on select subject and allow Photoshop to help us select our subject. Okay, Photoshop is done selecting our subject, it did a great job, but not as great as it should be. So let me zoom in. So just like here. So I'm going to hit to select the last or two, and I'm going to hold a shift to add to the selection just, like, Liz. I'm going to see you guys when I'm done adding this selection. Okay, so I'm done with this. What I'm going to do now is to create a new group I'm going to double click and name that group to subject, hit on Enter, and I'm going to add a layer mask to it. Now, it is going to mask out to the background. At this point, anything I do, it's going to affect only the subject layer. So at this point, I'm going to hit on control. J, again, I'm going to select the mask and hit on control I, and I'm going to invert this. Now I have masked the subject from the bagram. So anything I do in the second group, it is going to affect only the bagram. So I'm going to double click on that group. Me to background and hit on enter. So this layer, we don't need it anymore. I'm going to hit on the leak. So this is what we are going to do in this lesson. In the next lesson, we are going to start treating our subject separately from the background, see you guys in the next lesson. 12. 11. Subject Enhancement: In this lesson, we are going to work on the subject alone. So there are so many things we need to enhance or we need to work on our subject. First, like the bits we have here, we need to work on it to make it shine and make it pop. And we also need to work on the nails of our subject. We're also going to make it pop. So that is what we are going to start with first. So I'm going to select the subject group. I'm going to create an exposure adjustment layer, and I'm going to increase this just like this, my target is only on the bids and the nails. So don't pay attention to the other part. So I think this is fine. And I'm going to set this to color dodge or maybe let's see let's try overlay, so light. Now let's go to screen. And I think Color Dodge works better. So I'm going to work with the color dodge. So I'm going to select the layer mask here on Control I. So invert the layer mask, and I'm going to select. I'm really going to select the soft round. I'm going to select the regular soft round brush in Photoshop. I guess we can try that first. And now I can just paint with the foreground color set to white, I can just paint over here. So this is way too much, really, really too much. So I'm going to reduce the opaqity of this layer and I can paint over on others. Well, let me just finish painting on every other thing here. We can also play around with the blend mode, do some adjustments to it. Okay, so let's take a look at this. This is the B four, and this is the after the before and the after. But this is way too much, so we're going to decrease the opaquity of this, so let's see the before and the after before and the after. This is 50%. Let me quickly say something. Yeah, so most of the highlights are blown out completely. So let's try and play with the offset and gamma correction. So let's see before and after. I think I'm going to reduce this and increase the offset. Now, just like this and I'm going to take down the exposure. A bit. So I think this is fine. Let me see if I can plan with the let me see, lighting, screen, lighting, screen, lighting, screen, collage. I think the screen works best for this. So let's see before and the after. The screen work best for this. Okay, now, we need to add another curves adjustment layer, and we're just going to brighten our subject a little bit, so this is the before, and this is the after. Now, you can go in depth. That is, if you want to have lots of control, you can make use of the labels where you can adjust the individual parameters like the shadow, highlight and the mintin. So I think I'm going to darken the maintain a little bit. I think this is fine, and I'm going to increase the highlight just a bit. And for the shadow, no, I think a little shadow is fine. So before and after, before and after, a subtle change, and it did a lot. So the next thing I'm going to do is to create a selective color adjustment layer. And first, I'm going to work on the red. I'm going to enhance the red. And here, it is set to absolute. So I'm going to enhance the red. Let's see, just a little bit. And I'm going to add yellow. I think plus nine, all the yellow is fine and black so that it's going to make it punchy. So from here, I'm going to select the yellow and I'm going to add a little bit, just plus we say plus one of yellow. A greens no, I don't want green I'm going to Dicer to reset it. So I'm going to go I will add a little bit of yellow here, a C plus two. I think this is a little bit saturated. So let's say this is the before, and this is the after the before and the after four. Enough. Yeah, that works. Okay, so now, what I'm going to do with this layer Im selected, I'm going to select the brush to and switch my foreground color to black. And I'm going to paint over. Let me see. Let me paint over the scarf to take away color grading from the scarf, just a little bit, a little bit. Not that much. Okay, this is fine, so we can see before any after, before any after. All these places are okay for now. So I'm going to leave that. Alright. Now, let me see. You can go ahead and keep doing more and more adjustment as you like, but I'm really okay with this. So the next lesson, we are going to focus on the background alone. So let's weekly see what we've done to the subject. So this is the before of our subject, and this is the after. Look at how punchy our subject is looking. It's completely standing out from the background. And now let's head over to the background. 13. 12. Background Enhancement: In this lesson, we are going to work on our background separately just as we work on subjects separately in the previous lesson. So we're going to select the background layer. So the first thing we're going to do is to add or curve. Most of the things we are going to do here is just going to be the exact opposite of what we did to the subject. So I'm going to reduce the highlight or I'm going to darken my background a little bit so that it is actually going to stand up from the subject. So I'm creating a complete sepreation between the background and the subject so that my subject, it's going to stand out completely from the background itself. So first, I'm going to add a vibrant. I'm just going to reduce the vibrance of the background a little bit and desaturate it just at least minus five, so that it won't be that much, and I'm going to close this. Then I'll head over to selective color adjustment. At this point, we're just going to select from here and go over to neutral so that we're going to do a lot of adjustment to the background itself. So first, I'm going to play with this. I'm going to add lots of cyan. And let's see, I don't want the green. So I think that cyan is okay. So for the yellow, I think, I'm not going to add much yellow. And I'm going to leave the black that way. So from here, I'm going to select the greens. Let me see if I can make the green pop very well. So here, the green should pop. I don't want it to look here. I want to add that a little bit of warm feel to the green. So let me see if I'm going to make it bright or let me increase the black a bit. So here I'm going to come down to Cyan nothing really much is going on in the cyan. So let's go to the green, which is that one. I think I'm going to take this all the way. I'm going completely on that magenta, so this is going to hold on that part. So let me enhance the blue here as well. And the black, no, I'm not going to play with the black. So the blues not really much is going on with the blues, so I'm going to leave the blues that way. So let's head over to the white and let's see what we can do with the white. Not really much going on with the white. And that is fine. So I think I'm going to leave it this way. So this is the before, and this is the after. So here, I can just add a little bit of levels and just take this let me just bring this down a bit and increase the highlight. And the shadow, I think the shadow it okay, that way. Okay, so let's quickly say this is the before, and this is the after. This is the before of our subject, and this is the after. So now you can see how we created the separation between the subject and our background and treat the subject as something separate from the background itself. I'm going to see you guys in the next lesson. 14. 13. Summary: Add a watermark, go ahead and add a watermark. If you want to do adjustment, go ahead and do your adjustment. It depends on you. So let's quickly take a review of everything we've done so far from the beginning of our retouching till the final stage that we are now. So the first thing is to input our subject into Photoshop, make use of the camera arrow to apply a basic adjustment. And then we apply the he which we can see from here. And after you heal with the frequency separation, where we duplicate our layer into two name one the color and name one the detail and also make a copy of the color layer and smooth the skin of our subject. After that, we apply the dodge and bone, which we use it to balance the shadow and the highlight our subject. Now we head over to the teat. We brighten the teeth to make it stand out. Then we enhance the eyes, making the eyes look so much nice and outstanding, making our subject pop out very well. And due to the fact that we've lost the three D form of our subject, we need to apply the portrait volume to give our subject lots of depth to make it look more three D, and we head over to the skintone due to the fact that we have inconsistency across the skin of our subject, we applied a skintone balancing to make our skin look the same on every part of our subject. And finally, we did some manual, we did some adjustment like applying makeup and adjusting the face to make our subject look more beautiful. So this is what we had before, and this is what we have after. This is really looking so good and perfect. And then we head over to separating our subject from the background, we treat our subject as a separating from the background. And now this is what we have after we are done with our subject. And finally, with the d to the background, and overall, this is what we have as the final retouching of our photo. You don't need to worry about that. You are going to get this document in the project file. And I hope after you watch this course, you are able to do a beautiful researching. We just Photoshop and any plugin of your choice. Keep in mind, I make use of Retouch for me, and I make use of Photoshop and this course does not mean that if you're making use of sbts like Affinity Photo, Evoto AI, Retouch Pro, and so many other retoarching plugin and retouching software, you have to switch to Photoshop or switch to Retouch for me. No, these are my own tools that I feel comfortable with researching. Now, if you want to try them out, you can also go ahead and try them out. That is if you wish to and aside from that, just make sure to take everything you've learned from this course and translate it into what you can use in your own day to day activities. You don't have to copy everything I did. Now, every numbers I used, every slider I moved, you don't have to copy those numbers, all the way I move my own slider. Of course, there is no specific way of doing all these things. You just do what works for you. And what works for your photo. Most importantly, that is what you need to keep in mind whenever you are retouching. The way we retoch this photo is definitely going to be different from the way we are going to retouch another photo. There are lots of photo in the project s. Go ahead and make use of them. Do this retouching multiple times repeatedly and make sure that you understand something, you learn something and you grab something. So I'm going to see you guys in my next course where I'm going to prepare something amazing. So until then, take care practice a lot, and don't forget to stay creative.