Creative Photography Lighting: The Magic Of Color & Gels Part 2 - Editing and Retouching | Sandy Dee | Skillshare

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Creative Photography Lighting: The Magic Of Color & Gels Part 2 - Editing and Retouching

teacher avatar Sandy Dee, Sandyseyecatcher

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      The "Blockbuster Movie Look" With Lightroom (Split Toning)


    • 2.

      Creating A Preset With Your Favorite Look In Lightroom


    • 3.

      How To Bring In Color To Your Image (Gradient Filter) In Lightroom


    • 4.

      How To Enhance Your Image With The Right Crop, Adjustments And Color


    • 5.

      Changing Color With The HSL Tool In Lightroom


    • 6.

      Changing Color On Its Own Layer In Photoshop And ACR


    • 7.

      Quick Image Enhancement In Lightroom


    • 8.

      Removing A Boom Stand In Photoshop: Patch Tool, Spot Healing, Clone Stamp Tool


    • 9.

      How To Enhance The Star Effect


    • 10.

      Quick Edit Part 1: Basic Development In Photoshop


    • 11.

      Quick Edit Part 2: Skin Softening In Photoshop


    • 12.

      Quick Edit Part 3: Dodge And Burn In Photoshop


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About This Class

One of the most important aspects of photography, is lighting. But it's not enough to just know the theory - to take outstanding images you need to tell a story!

Welcome to Part 2 of our course “Creative Photography Lighting - The Magic of Color And Gels” - editing and retouching! This course is for you if you've taken part 1 or have completed a photoshoot using color gels and want to refine the images.

Color Gels are an amazing yet simple tool to enhance the story of your image. But: Instead of just adding color for the sake of color, you need to think about:

a) How it changes the mood and result of your image and 

b) How it pulls the viewer into your world!

My name is Sandy Dee. In our photo studio we have led over 50 photography workshops, specializing in creating conceptual photoshoots and in this course we will bring your creativity to a whole new level: You will learn how to unlock the magic of color and gel photography! 

So why do you need to dive into Gel photography? Well there are many reasons.

Do you want to save money? A package of gels costs way less than buying rolls and rolls of paper.

Do you want to save time? Instead of changing heavy paper rolls that might require an assistant - just pop on a gel onto your light and continue with your shoot.

Do you want to have a less cluttered studio? A package of gels requires hardly any space in comparison to storing paper rolls.

Plus you can create an endless variety of looks fitting to your model’s story, outfit and fashion accessories.

And now comes the most important part why you should learn to unlock the magic of gels: 

We all know that there is an abundance of images flooding the web these days and to stand out from the crowd is more important than ever, which can be very challenging. Luckily - Creativity is also more affordable than ever! That’s were colors and gels come into play. In the olden days you would have to risk wasting money on trial and error shots to get the look of your colored gel right in camera - but not any longer, thanks to your modern DSLR and LED display.  

However: The scary fact still stands - working with colors and gels doesn’t really follow particular rules. Personally I love to take the guess work out of lighting and use a light meter - but with gels? It’s not that easy. Also: There are many different set-up possibilities, so how do you know which is the right one? And: Gels come in all sorts of thickness and colors - and do you use them on strobes or flashguns? And - how do you know that the color look fits to your story?

All these questions can be very daunting for photographers, so today we will answer all of them and walk you through the set-up, step by step. 

The only requirement: You do need an understanding of your DSLR (manual settings) and you should have some practice with basic lighting and access to lighting equipment. Though we do explain important beginner subjects such as the recipe of great portraiture and basic lighting diagrams, the majority of the materials covers more intermediate techniques. However here we include as many options as possible: We will show you set-ups that are easily achievable and affordable with simple props, flashguns and low-end strobes. 

Our promise: Creativity doesn’t have to cost a lot of money and: creative lighting doesn’t have to be confusing. You will see exactly what we are doing inside the studio with our “fly on the wall” videos. Furthermore Matt will walk you through the lighting diagrams to enhance your technical knowledge and my expertise will bring your creativity to the next level, quick and efficient, so you will be able to achieve these looks in no time:

  • How to set-up a “Hitchcock” inspired movie look with shadows, colorful gels and gobos
  • How to set-up a Tv-show inspired “Diner” scene (inclusive a fake milkshake, color and rain)
  • How to set-up your gels to achieve a romantic glow
  • How to set-up your flashguns to create an interesting “star” effect
  • How to set-up edgy Rim lights, colorful background lights and

At the end of this tutorial you will be able to set-up images that look like a movie scene or were featured in a fashion editorial. If you want to wow your models or clients - then this tutorial is for you!

Meet Your Teacher

Teacher Profile Image

Sandy Dee



Sandy is originally from Germany and studied Photography in London, where she earned a Diploma in Professional Photography. Following her passion for creative conceptual portrait photography, she moved to San Jose, California where she runs stylized portrait workshops, and wrote the book 'Posing Like A Pro' which covers all aspects of posing for the contemporary photographer.

Sandy loves teaching and helping other artists to reach new levels in their technique and creativity! New In 2021: Sandy now also teaches paper crafting. No matter if you want to learn photography, portraiture, photoshop, creating backdrops on a budget, paper crafting, card making, mixed media....Sandy has a class for you. Happy Shooting and Happy Crafting!

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Level: Intermediate

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1. The "Blockbuster Movie Look" With Lightroom (Split Toning): and as promised, here are some quick tips and tricks on how you can enhance your images even further in photo shop or here we are now in light room and let's have a look at this image first, because from here we want toe bring this image into this typical block pastor movie look. And we said that this is possible by just shifting the tonality was highlights into a more orange tint and with the shadows into a more bluish tint and forces, we can easily go into our split toning which you find here and when it just opens us up. As I said, I've got here highlights and shadows option. And if you click on to all the option, then you will see this full effect at 100% saturation without even moving this slider here all and we want to go into this slightly orange tone on the skins or something about here. And as I said at the moment, you will see this effect at 100%. And if you think that's two extremes and just don't bring the saturation here to the full 100% so we could probably go here about 45 to 50 and nothing that looks already quite nice . So it nearly looks already like a street light on fee bees phase. Without that, there was even any gel on this light year. So that was our white light from the first tutorial. So if he clicks his on and off, we can kind of judge if we likes us, or if we want to adjust this now further. So this is one part off this kindof blocked pastor movie local that you would see and very popular movies where they always go for this highlights orange tend and the shadow in this bluish tint. So let's have a look now on to the second part where we just yeah, just does the same thing with the shadows and once more. If we just click onto auto option and move the slider, we can judge the color at 100% and we want to go here for the slightly night look. So that's it's kind of bloom where we said it symbolizes nine time and maybe about 220. No, I think this looks nice, so at 100% once more as it's far too extreme. Then we also kind off get rid off this orange on the skin. So we have to play here a little bit with the saturation, wants more. So I'm thinking maybe about no so t and then if we're not quite happy with the balance, and we can also shift this year, so if we go more to the right than the balance will shift more to the highlights. And if we go to the left side, then the balance will shift more to the shadows. And I think here we want to go to the right so that we get this orange turned back on the face. So I think this is pretty good if we just look onto the before and that's our white light and this is our after hours, and I think we have already a nice stint on freebies Face. We can't go one step further. If we go onto this button here, then we will have the option where we can bring in this color via this kind off slider. So that's our Grady er to work. And let's say we want to already a justice for now into the school a tone, and we could also just bring the exposure a little bit down. Then we can also justice a little bit, and now we just drags us. He has a slider in all this crazy Grady into it. And then we can also shift this year even more into the blue tint and then all the way here from the other side as well. So here we can obviously decide if we want to. The actions is even further. Or we could also brightens us in case you wanted to see a little bit more off detail here. And Phoebe is here and on the background. So we get a little bit off this separation back. So maybe about 60 to 70 something like this. So this would work here as well. Then we can go even one step for us because now we can lost again this little bit off tint on Phoebe face. So this Grady in filter all this Grady into it, that's kind of quit. We can just rex us blue tint in, however kind of over overlaps your little bit phase. So for this we can go on to another to well down here And here we have a radio filter and that does the same thing as our Grady and filter. Then we just adjust Now this locally on the face. So for this once more we want to go into this more. Yeah, this orange warmish tend. Maybe this is Tinti. Also into this magenta. We have to just play you a little bit and we maybe want to brighten the face even a little bit for us also, that's all up to you. And then we can just wreck a circle around. But it's it's a moment. As you can see, it does the opposite. So we want to brighten the inside off the circuit, but it actually brightens the outside. So if that doesn't work here from the first time on, then you just have to scroll here a little bit down, and then you have to go on to invert, and now you have the opposite effect. And now it's obviously a little bit easier to judge. If you like this kind off warmish, tinned. If you think you may be overdone, it and you just dial it back and then you can also just see. Do you want a little bit more off the exposure, and then you can also Drax a circle around. So this is a really easy fix. If you don't have any gels, then you can also use the split. Toning the radio food are ends a Grady in filter for just bringing in more color into your image. 2. Creating A Preset With Your Favorite Look In Lightroom: If you like the setting and you want to apply it, maybe two more images in the future, then you can also saves us now as the preset. And for this you just click onto this plus sign. Now you can name it, maybe into Hollywood. Look, and then you can also decide if you want toe. Keep all of those changes that we just adjusted or you can even adjust some war, and then you can create the preset. Or, if you have already some presets, you can, of course, also play the souls. So I had another tutorial on you to mean, which explains a lot off light room, and therefore I created here some different presets. And then here I actually had one Hollywood look already, So we can also scrolls resist and see if maybe that would be something that relax. So here we have a more extreme log where we open up more shadows. Or we could go into the Hollywood Hitchcock, and then it changes us into a different color once more. Here it's just now a little bit dark hands. There's also a little bit more magenta in the tent, and then we can just go through the next one where we have even more Hollywood, magenta and so on. So that's definitely a really interesting way how you can quickly adjust your images and how you can then also save them. If you now really like this look, you can justice even further, and then you can just create another preset from this look. 3. How To Bring In Color To Your Image (Gradient Filter) In Lightroom: in the Pretoria was. The blinds were used them as a global effect. So we have so shadow here on the background here. We said that once more, if you don't use gels, you can still kind of change this color in light room or in a see our on four to shop and as you just plunge or maybe even uses already. But if we want to just apply the same trick, was the Grady in Fitter? Then we can just click onto this tour once more, and then we can also decide to re like it's this way. Or do we want to have a certain tins in this area? And here you can get as creative as you want, or you can just change the tiny. But so if we go back to the same concept with this kind of blade runner, look off the family movie where it's mostly made out off green and reddish tint. Then we can change this year into the same style, so once more we can kind of decide already what we want, or we can also clicking onto a custom effect already where we say, Let's maybe just change the 10th year for now and everything is we set and that's yeah, let's just stay here with 25. For now. We can also just want this up now a little bit. And then we could also go into the Callum and just change a little bit off a reddish tint. So something about here, maybe, And now we can just drag the slider and once more. And this just helps us so that we get a tiny bit often idea already off. What happens now in this image? So as you can see now, this is quite an extreme effect, so we can adjust us now so we can go into the color and just say, Maybe this is a tiny but to extreme. Let's just bring in this little bit off color. Then we can drags us and even for us us. We can bring it all across the face so that it doesn't look like it's up breath stopping here. And then we can do the same thing once more with a new layer where we go into this greenish direction. So once more we could change everything at the same time. Pretty much budgets clicking onto tins than everything is reset. Now we just brings the tins into the opposite greenish direction. You could decide if you also may be one now a cooler temperature. And then we can say that we want this greenish color, CASS, maybe something about you. And then we can just rexes in from the other side, something like this. And once more. Now you have this kind of base here, and then you can just IQ Yeah, adjusted accordingly. So once more, if you just think that's too extreme, we can just lures this down. Just bring in this teeny tiny amount often, or you could warms us now or cool it and you can just experiment from here. But that's just a quick and easy way how you can color your images. 4. How To Enhance Your Image With The Right Crop, Adjustments And Color: And of course, if you think that this is too extreme, you might not even want to bring in a new color to your image. If it wasn't made out off those tones whatsoever, then you could maybe just use it to enhance the color off the image that is already there. So if we just go into this in much from now, then we could say, First off, we probably want to change the crop. So for this as promised, you have here all those different overlays. So if I just click onto command and control and old, I can switch through all off those overlays and then I can see what would be here, the best anger for me. So I'm thinking, No, this one. Maybe because I have here a nice leading line. I think this would be probably a good crop or if I go on to command or control and oh, for overlay once more. I could also see if he's golden. Rules would apply Here was this one. But as things this is yeah, more like an autistic one. And I'm thinking most off the times this works really well. So I have sees Yes, it's kind off sort CIA. And then I can just say, OK, let's crops us in a little bit tighter. And let's just see that the composition here makes sense. Maybe that's a little bit to try it on. Phoebe. I obviously want to get rid off this, and he has. It's also hear my clamp that's holding the plexiglass. So I'm thinking years. That's probably quite nice. So we have a little bit negative space on the side for Phoebe is looking this way, so it's not too close on to her. And she's also not exactly Boyle I because normally want to avoid that. You have your subject right in the middle. You want to give them a little bit breathing space, especially when they're looking into one direction. So I'm thinking that works here pretty well. You could maybe also just tits us a little bit, so that's a reflection. Maybe look, see a little bit straighter. It's not perfect, because again, the reflection bounces here off my window into this plexiglass, so it's not perfectly straight reflection, but maybe something like this would be pretty nice. And then we can just pick on to enter and as I say it once more, we can bring here more color in. So first off, all we can also off course adjust our basics. So here I want to warm this image at the tiny bit because I think it could use a little bit more warms and you can see ahead. He already some basic adjustments from when I actually worked on those images in adobe camera raw and yeah, I also Lord, now a little bit highlights. And that brought the shadows a little bit out because, as I said before, when you have a model with darker here, you don't really want that she melts into the background and we have already is a separation on her due to this red gel. But you had just opened the shadows a little bit more and that also brought in a little bit off clarity. I could also bring in more vibrant. So as you can see, this is kind of my standard Yeah, development, which I used on most off my images. But here I could also just bring this vibrance, maybe even up to assert E or something like that. So that looks already pretty nice once more if I wanted to bring out her face now because, as I said, I under exposed a little bit in camera because I want to bring out the highlights in post production. I could do this once more on the radial filter that you know already I could go into custom and say, Let's just change the exposure for now and everything is pretty much resets Ex accept exposure, which I can dial in now, maybe about 20 or something like that or 30 and then I can just drags us in. So again, it's on the opposite side now. So the exposure went up around Phoebe, so we have to inverts this again. So I just click on here and now I have see effect on Phoebe Face, and it's a little bit more lit up, so things this looks pretty nice. But now again, with the color, we can go onto our Grady in freedom and say here, off course, we changed the colors that wasn't there in the first place. You might like it or you might not like it, but it's definitely good to know that you can intensify any color here, so again. I bring in mountains. Maybe it a little bit more exposure again. Toe separate Phoebe from this background. And then I can go into the color and say I want a tiny bit off the threat, maybe a little less saturated, and then I just start from here. So I once more just wreck into the great and filter. Just drag it over and see how this red really pops. So I think this looks pretty nice. If we look see before and the after, then we definitely lifted this area and we brought in more off the red color. And now I just do the same thing once more with the blue tint. So I just go into my custom once more. I've just say for now I want to change years. Attend. It's a little bit There are it could be a little bit on the greenest side, maybe a get into the school temperature. Also, because a cool temperature off speak ups and gives me a little bit more for bluish tint anyway. And then one more time I change my color in through something that I like and probably a little bit less saturation and then ever Just drag the slider and once more something like this. So let's look at sea before the after. Yeah, I think this works really well. So now we didn't actually fake any color. We just enhance the color that was already in the image. 5. Changing Color With The HSL Tool In Lightroom: so a little warning. Every time when you do hear anything and light room shifting color or working here with a radiant or radiant filter. Then you here. That's a fan with a laptop or especially here on my laptop. It's really loud because all of those tools very yeah, intensive on your process are. And sometimes it also takes a little bit until the laptop, your computer comes down again. So sorry for the noise at the moment. But I wanted to show you one more trick in regards to color. So here, as we said, we enhanced. Now the color and the things that looks really awesome. But how about if you don't really like the color off your jail, Maybe you looked onto your led and you saw Yeah, this is really cool. I've got my Yeah, my kind off Madonna effect was the Reds in the background. And here I've got this green coming in from the side, and that looks really great. But now, when you look at your image on your computer or your laptop using, maybe it don't like this green at all. So first of all, I assure you could just bring in another Grady in tour and just shift the colors. This way, all we can also go into our h s. L and see what's possible is this tour. So let me just open this up. And here you have this little yeah little round thing where you can adjust the you by dragging in the photo. So it explains already what you can do here. And this is pretty nice, because sometimes I mean, here it's obvious. It's kind of red and green, but sometimes you're not even that sures. If red is a magenta doesn't go into the purple area. And before you have to drag, you know all of those different sliders, you can just pick onto this guy and then you say, OK, let me just change everything here in green because often green, it's not just green, it also has yellow. And that and here you can just shift them like immediately at the same time. So here you can see if it directs us now down than the green, and actor actually moves, which means it's not only green on, it also has these act button. So I'm just going up and down and see if there's maybe a color that a saint blocks a bit nicer. But without that I get suspending now with the color mixes in with the red. So you have to be a little bit careful if I go here to extreme. You see, hopefully in the recording us well, that you get the spending when the house is callus slightly, yeah, start to have issues so you don't want to go to extreme. But you can change this year little bit into a different direction and even more if you go now into the saturation, you can also Drexel's up and down and say, Maybe you don't want this so saturated than you can nearly makes us new trip back to the way How it waas on this Yeah, Grey War where we shot this image on the great paper Or you could bring in more saturation and then it really pops. But again, up to a point where you don't start to see this kind off color banding or this. Yeah, but the color just doesn't look what anymore. So let me just reduces down a little bit, so we just bring in a bit more off the screens or pops more and then once more. We can also changes aluminum's and the luminess is not the color itself. It just indicates the lightness or the darkness off a color. So once more, if I go into the green and if I click on to it and the drag it down, you can see how it gets really dark. And if I bring it up, then it gets very bright. And here it's maybe not that helpful. However, this is really good to know if you want to back down the sky, for example, so that often looks nice when you go into the blue luminant CIA, and then you can really dark down the sky. So the same thing we can obviously do here with you off the red. So what happens if we go into here? And then we just click this area and we could maybe change it from read into this more yeah , nearly pinkish tinge or into the orange tint. That could be interesting as well. But, of course, the moment when you bring in a red on orange gel into the background, then if you change this year, you will also change the tone off the skin because in the skins as a lot off red and orange tones. So therefore, the moment you change anything, just be careful what happens to the face. So here that would be may be good if you just change it a tiny bit at first, just so that you go into this direction a little bit and then you can open it into Photoshopped into a new layer. You can then opens the sore field up again in adobe camera, raw through a filter, and then you can bring in this layer where you get rid off this color in the skin. So, yeah, let's do this from here. So it's a little bit easier to understand. And let's just bring this image now into photo shop. 6. Changing Color On Its Own Layer In Photoshop And ACR: all right now the images open and photo shop, and I can explain it a little bit better to you. So that was our first adjustment. So we just changed this year, tangy. But however, now let's say we want to do a very drastic a change in the color here was out that we affect fees face. So first of all, this command or control and J I can just duplicates this layer. And the cool thing is, now that I go on to filter and sends a few versions or photo shop, we can actually open camera raw as its own filter. So that wasn't really possible before. But now we just go into feta and this brings us into camera raw and it really depends on your own work floor. So I normally just work in adobe camera raw. I'm using light room in my tutorial because a lot of people used light room. But here I can also show you now that everything that you do in light room or let's say 95% that this also works in Photo Shops own program, which comes with adobe camera raw. So here you will also find the H S, L A. And that's under this button right here. And as you can see, it looks exactly the same. You've got your you, your saturation and your ruminants. And but the only difference is that you don't have this little take out right here. But you have this up here. So here, once more you can go into the column and then just drag it. So let's say we want to change now's ist Yeah, that's already slightly more pinkish tone that we want to justice even further. So once more if I go up or down or left or right or change this year and that's where we go really, extremely wants us like really pink. So now we say, Okay, this looks awesome on my background, but look what it has done. It was Phoebe face so that it's not nice anymore. But for now we just leave it like that and then we just say OK, and the nice thing is, because we work now on its own layer, we can just bring in a layer mask and for this we just click onto this little symbol down here, and then I just click beef or brush, and I just bring this in a little bit bigger. If I press, control, order, option and go to the right or to the left. And I can make this brush bigger or smaller. And if I go up or down than ever get a different hardness and my brush and I want to really soft brush so 0% and probably about the size. And now I just have to see that I have black. Here's my foreground color. So if I just press on two x s, which my foreground color and now I've got black as a foreground and then I can just paint this out again. So if I go over freebies face, then I can completely pains this effect away. And you can see this, you know, on the layer mask. And then we have only this color on the background, but not anymore, where we don't really wants us. So if we go on to the before and after, we completely changed the color. But we didn't change the color on the model 7. Quick Image Enhancement In Lightroom: So let's have a quick look onto this image and here once more we would have to bring this into photo shop because I want to adjust this area because I don't really want to see the stand. So the reason why we didn't have the flesh guns on a regular stand was already that was this and minds that I want to editors out in photo shop. And if I have a full on stand here, obviously my life is more complicated. So with the boom, I don't really have too much work. And, yeah, I'm half lucky in a way that this didn't even go off so I can crops is completely out, and then in photo shop, I can adjust this area. However, before I do this, I also want to go through my basic developments here. So, as you can see on the right side, I changed a little bit. See exposure. I definitely want to have more contrast because although I really like this flare, I don't want that image gets muddy and overall a little bit lackluster, so I definitely want to bring in more contrast young for maybe about 25 to 30 something like this on most off my images laws, the highlights a tiny but down. And I opened the shadows up, especially when I have a model was dark hair because I want to get a bit off detail back in this area. The next step is that I go onto my white and with oil door option, I click onto the slider and this shows me now how much off the image is burned out. So here you can see I've got this white dot and that's perfectly fine because of flash points towards the camera. So I expected that there will be some areas that's blown out, but that's totally fine. That's not anything where I worry about. However, if I would go now to the right side tm, you would see that now there's a big a spot that starts to bleach out, and it's also affecting. Now my moderates face in the moment when there are details in the face that are blown. Our this will not look out, especially if you want to print the image because, yeah, this just looks terrible on the printed image. But even now you can see it just doesn't look nice. So definitely you want to avoid that Any off These areas with your flash gun are too close to the model or that they're burning out on the skin because it just doesn't look nice. So let me just losses down again. Back toe Wasswa. It's just flesh gun that has burned out area, and now that's completely OK again. And we can also see with our black slider every press onto, although option. Then I can see. At the moment I have hardly any black in my image, and that's once more that's to be expected. When you shoot in tow any light, you will have this flare and that normally jackets you nearly this angelic look where you have this haze. And normally you also don't have a lot of contrast in the image. However, here once more I want that it's a little bit more. Yeah, that it pops a little more so I can get with my blacks tiny but down maybe, maybe about 10 just so that I get some contrast back into the image from here. I also want to adjust my clarity a little bit, so please don't go left with your clarity's lighter. A lot of people uses, or a lot of photographers they use is for skin softening. The clarity's lighter is not meant for skin softening. It's meant for contrast in your grey area. So in your medium grey. So if you go all the way to the left and it just gets really messy and muddy and you don't want this, you can go a tiny but down, and then the overall effect is that it's softer, so that's fine. Or if you want to bring an even more contrast into your medium grey or into your mid tones , then you can also go to the right. But again, if you go all the way to the right and it gets nearly tacky like a bed hdr look. So in the clarity start I stay somewhere between 10 or 20. In rare cases, I go a little bit more extreme, but I sing here because our model, she has good skin. I don't really have to worry about that. It looks, and they had to horrible on the skin when I bring in a little bit more contrast, so I think yes, this looks quite nice. Was Yeah, I was 12 and then I can go into vibrance and see if I also want to bring in a little bit more off the blue tinge. I think that's pretty nice. The vibrance is a little bit better than saturation in my point off you, because if you go here up with saturation that effects once more, the skin tone into this kind of orange look so normally as they are very, very small in the saturation number. Sometimes I even go up with vibrance and go down the saturation because I don't want it to . Skin gets so red and orange E. But year would probably just keep it at zero. And I would just play here with my vibrance, because then at least I know that the skin tone won't be too affected. Then, of course, I can crop here already is so as we did before I could play. Here was my different overlays. But as I said, I quite like normally this rule off, sir, to buy things that's fine. I could also turn this image a little bit, and play here was different anger, but for now, as things of slopes quite okay, and then I can press enter, and once more you can play here with more color. You can shift different colors in your tone cough where you can also go through different channels here. Sometimes it looks quite nice when you go into the Blue Channel and you lift this area here tiny but up until you just bring it a tiny but down. Then you have a little bit off this yellow tint and the highlights and the blue tint in the shadows. Or you can also play with different nearly like a split toning option, just different color options and that, yeah, you know the other things. Already with agents, Allen's is atoning all the things you can adjust here. But we want to see now how we can yeah, kind of get rid off this light stand and fold the shop. 8. Removing A Boom Stand In Photoshop: Patch Tool, Spot Healing, Clone Stamp Tool: And first of all, we want to have another layer. Also was command or control and J I just duplicates this layer and here we have no different options. So sometimes the MSM in first was that nausea can just zoom into the image. And sometimes, yeah, you have since Pech toe that works really well. So you also when you just press down, Do you have some spotting brush, the healing brush and the pech twirl. And here you have different. Yeah, different ways on how you can use this patchwork. So for me is the easiest this when I'm on source and then I can just wreck around this area . And now I go on to another clean area off the image and then I just let go and was commended, or control and deep can de select this area. And then I go in once more and that just changed this year again so that it's a little bit cleaner. And then I go into this area here, just circle around a drag it into this area where it's clean and then let go and was command or control. Indeed, I get rid off this once more So this is kind of how I yeah, I can adjust this area was my pitch to work or you could also try. If you go onto this area here again, just press onto it with the spot healing brushed well, you can sometimes also get good to results. So if I just click onto this, then you have here again different options. You have, content aware, create texture off the proximity match and content aware as once more my favorite. So if I go back to the patch tour the reason why I think here it works best and sauce is that I drag and then I go somewhere where the area is clean and I let go. If you go here onto destination, it's the other way around. So we basically have to already know which area you want and then you click, or then you brings us clean area onto here and again. Sometimes that works, but most off the time it doesn't. So here is the source is definitely my favorite. However, in the 1st 1 he is a spot healing brush to it. That really depends. So the content aware, as I said, it's normally the best option, and I can just go in here and just paint over. I don't have to click onto any area, and then I just let go and see if that does anything. Oh, I can go into proximity match and then Photoshopped tries toe. Calculate these pixels a little bit better, however, Sometimes you have to do it a few times until photo job really recognizes those picks. It's so, for example, if I just go over here and let go, nothing happens. But if I go over again, then sometimes it just takes photo shop a little. Why toe catch relates this area, and then it works even a little. And now it's gone. So once you've done this, normally it's a little bit faster as a moment when it really realized which picks it, it has to use. So if I go over this area now, it just might be betters and the healing brush itself or the content aware. So was the healing brush and not the spot healing brush. You have tow telephoto shop, which area it should use. But for this era here because you have this flare, this is really complicated. So As I said, my best results are doing the first rough job with the patch tour. And then I go into the spot healing tool easily with the content aware and see what that's like most off the time. It that's a really good job. As's you have seen. It takes a few more trial and Arabs my proximity match. But then, once photo shop on the stewards has this whole area has this flare in that, then it can work even better here, you see, Now it doesn't work. It somehow calculates Phoebe is here in this area here. So it was commend. And although option and that I can just go a little bit backwards. So let's see when it started to calculate his hair. So two steps back now I'm Yeah, it was before, and I can see if it does hear anything out. So as you can see these little spots, that's now what Photoshopped understands. And if I just stay in this area, here is and it was also a fairly good job, So I don't think that's too bad with a look at the before and after and the fact zoom out a little bit. Yeah, I think nobody would really notice that there was something before if you wanted to bring this in now a little bit straighter, because here might be obviously flares straight. And now, with our little yeah, editing and patching around the area go too. But, Messi, then we can also bring in the clone tour. So if I just press s for clone all you can also go down here. Then I could say, Let me copy this area back in where this straight. And for this I just have to go on toe. Although option toe collect a sample and area and that me go onto my capacity with 40% and then I could also bring this in. But was flats always a little bit difficult? Because you have lots and lots off different? Yeah. Luminosity in year was all these different, a lighter area. And then it goes into a dark area and then you have different callus. He also with Magenta and Zion and white. So sometimes with the clone tool, it's a little bit tricky. But if you work here on the low opacity off 40% than this looks now, a lot straighter and it's not too noticeable that you clones you anything. The same thing we could try down here. But once more be careful that you don't calculate in this hair. So if I go back onto here with all the option a sample, this area and still on 40% so that it's not too extreme, all it once and then I can also straighten this. And then I can also go into this area here and slightly paint this last part off this flesh gun. Our So then what? This boom. Whatever. Itwas here Now you can see this was already too extreme. So photo shop, Yeah, cannot, quite clones is in if you have so many different colors going on. So I go back onto J. And you know, I could just go onto this area back here. I want to actually go back into my patch tour, and now I could circle around year and then I can just go back onto this area. Then it's not quite so obvious anymore that there was something like this plop. And then I can also brings this year. So sometimes it's a little bit Yeah, trial and error which works best years. They're clones them to wear the patch tour all this bottling brush made me see the before and after you see now they're still a little bit office clone toe visible as we can Just see if we can minimize the see a little bit. So it looks a little bit less obvious. So maybe something like this, and maybe once more was our clones them tour and the 20% capacity and that just grabs this really light area. They can also just callus a c a little bit in, and then the flare gets a little bit more extreme. Nothing's that's completely OK because nobody would ever know how much flair that was in the first place. And then this looks already pretty good thing. So let me see if I get this one's more tiny but straight. But you see you immediately how difficult it is to match all off those colors. So rather than matching this a rather go here a little bit more crazy, but with my flair and that you zoom out, Was that all the option? I can just zoom out and see before and after your things This looks now Really nice. There is one more trick. If you wanted to start effect even more extreme and that I will explain in the next session . 9. How To Enhance The Star Effect: in case this whole editing made us down or to Messi, there's another quick option. How you can fix us, and this is with a star brush. So you can see at the moment I have this weird shape years. This is no my brush, and you were finds us in your brush settings. Or if you don't have your brush that things right here and you can go into your window. And then you can click here onto your brushes so you probably won't have the same options that I have here because you can actually download them. So if you also look for really interesting brushes here, like star effects, or even have lashes like fake eyelashes as a brush, so all sorts off different things you can find on the deviant at dot com. And they also have actions and all sorts of Photoshopped related things, and some of them are free and other things. Yeah, you have to pay for, or you can just not use them commercially. So it's just for your own fund. And as I said years and years ago, I downloaded those brushes, and the nice thing is that yeah, you can fake this year. Little bit, especially if you're centre became now to Messi, with all of those editing and patching around skits. And so if you want to just bring the center here again that it looks a little bit more like a flare. Let me just zoom in here a little bit. Then you can bring in this shape. So let me just bring this into a win new layer so that we can compare the before and after . So I just go on to command and J and just duplicates this once more. And then I can go onto 100% capacity and was a white foreground color. I click ones into the middle and let me see the before and after, and you can see now I adjust its a star. But it wasn't quiet in the middle, so sometimes, even with this brush, it's a little bit trial and error so you can see here again. That's it, creates these funky shapes. So let me go. One step back was commander control, and that's and then I just tries us again that just wanted to start effect. It's pretty much in the middle, and then click wants into it. It's probably a little bit better, so that's before that's after and you see that just added now more flair. So if you don't really like that, you can also just ditches this and see was Command or Control and J duplicates this layer once more. And maybe there's another star option that you have in here once you downloaded this package. Like I said, it's years ago that I did that and it came is all of those different star options down here and maybe this works better and then again was control all toe option. You can make this brush smaller or bigger, and then you just have to find the center and somehow align it with you. Yeah, this kind of existing flair, and then you click once in them. So let's before that. See after let's maybe a little bit better, but usually if you can work here in this clean area a little bit better, and obviously if you take your time and don't just do it, vote tutorial, then nothing with a patch tour and spot healing brush and so on, you get already really good result. However, just in case. If it's completely messed up, then head to deviant ads and maybe select a brush toe. That just helps you that you get the sense that back into the flare and then you have a really nice start effect. 10. Quick Edit Part 1: Basic Development In Photoshop: So was this image. I want to show you the full editing process and how quickly I do it. So that's a little bit like a real life at it now. So first off, all I would just lower the exposure even more because, as I said in camera, I want to under exposes a little bit already and then in photo shop, I want to bring out this highlights again. And the reason for this is that I want to achieve a little bit less contrast at first. And then I want to place the contrast as icing that it looks better or more like a fashion editorial. So for this, I can already bring in more contrast down. Yeah, but as I said, a lower the exposure a little bit Bring in more contrast, low on my highlights here because well lets the highlights in dodge and burn later. So I open my shadows because once more, somebody was dark out here. I always think it looks nice when you can look a little bit inside those shadow area. And then I look onto my wife was also option and see if there something bleached out. So here you can see that there are some highlights that are a little bit blown hours, so I can just blow my whites a little bit. I think that's not to bed. And then I just go onto my black slider and then I can see how my contrast is in the blacks and nothing that's fine. So I don't have to adjust this from here. I also want to add more clarity because I think that looks definitely like an image will want to have much more clarity, much more contrast and so on. So I would probably go here to plus 10. Then I go into vibrance and probably go upto 15. And as I said, sometimes I go a little bit down with my saturation, something like this. So the next problem that I have said I have cesspool own out area here, where you can see how the umbrella flares into the image and in yeah, in a CIA, you have, as I said, 95% the same options as you have a light room. But here it's more like real life edit, and most off my editing or adjusting. I do in a CR so as I said, yes, my radio tour and the one to darkness This area down and yeah, I don't really do this like a light room. We've got this button up there, and then I say, which area I want to adjust here, find it even a bit easier. I just want to adjust my exposure. So I go on through this minus right here in this little button, and now you can see that every single so reset and my exposure is now minus 50. And now it just drags a circle around in that broom. Yeah, probably have Toe brings us down even further. So that just gave me the first idea. But now I can see that actually have to go all the way down in the same ever to appear so that this area doesn't really distract me from the image. Now I want to do the opposite on the face. So instead of having us all the way down here, click onto the plus. I also want to add probably a tiny bit off. Um, yeah, more off warmish area. Not too much, because obviously the face was supposed to be in this blue tint. maybe just this tiny, but maybe a tiny bit into the screen tens and then a track around this area. So I just drags the circle into here, not too much at the moment of thing. It's to Bryants over just brings us a little bit down and justice a tiny but and probably also more contrast highlights down, shadows up and maybe even a tiny bit off clarity into the face. So for now, this is my first adjustment, and from here I opened the image into photo shop. 11. Quick Edit Part 2: Skin Softening In Photoshop: All right, So now the images opened in photo shop. And if you have seen any off my other tutorials and know that I have a fairly regular procedure in how I works through an image and the first thing I do is that I go into the nick collection and the apply skin softening, and I have my own recipe for that. So I would show you how you can create this. A swell so first step would be going into filter and going into my neck collection and into the color effects pro for All right. So the Net collection opened up in color effects profile. And you can see on the right side that this is my own recipe. Were brought all of these ingredients together that I have think as the best for the style off your editing that I do because most off my images that have a little bit off the skin so often and then also Yes, I look like they have some glow applied, and you can bring all of those things together. Or you can try out different things here on the left side, as societies are my favorite. So they didn't dynamic skin soft nautical Emma glow, darken and lighter centam and sunlight. And when you open these areas up, then you can also adjust them in more detail. And then you can even click you onto it more fitter than you can bring in anything else that you like. You have all sorts off different options here, from landscaped wedding toe portray, and then you can also save. Now all off those adjustments as your own recipe. But for now, this is all I want to do here. So just present, okay, and then the image opens back up into four to shop. All right, so as you can see, the great thing is that this opened itself onto a new layer. So here's my color effects pro for on its own layer. And here's my background layer so I can click onto the I two c Z before and this is the after and you can see that's fairly extreme, so I never leave it at 100% on. Normally bring it down toe something between 25 30%. So once more the before and after and nothing now it just looks a little bit more flattering on the skin. The next thing I want to do from here is the frequency separation. And if all of those things are now too fast for you, don't very Meghan Unit me. I have a lot more courses on the photo shop or light room or even adobe camera raw editing . So just have a look on those crosses where I explained everything in a lot more detail. But just because this causes a little bit more intermediate, so I'm just going through this a little bit more quickly. But if you are interested in this yeah, what I'm doing now, which is called the frequency separation, then you can definitely check out my, um, Photoshopped masterclass where I go through this step by step forever here. I want to make it now a little bit more easy for you, so I won't explain everything. Step by step, I will actually show you a really quick trick on how you can get an action for your frequency separation. And you will find this on the website off Floriane. So that's called. Flew in with ph and learn dot com's offline dot com. And when you type Pinto your browser, Amazing frequency separation. Then you will come onto this side here and then you just go down. And there you see the amazing power off frequency separation and you can download the whole action and you just click on to download. And there's even a great video where flu on explains everything about the frequency separation and why it's so powerful. And that's why I think it's pretty, yeah, great to toria to a run. But the frequency separation do and be. You can also just downloads this action, and that's exactly what I have done. I know how to build my own action, but I just want to tell you here's a quick and dirty way how I added my images and sometimes it's, Yeah, quite nice when somebody else doesn't work for you. And in the beginning, when I didn't really understand this frequency separation myself as audits. Awesome, because I could just press on here, and then it happens all magically by its own device. So here I just have to adjust. Know the radius and 8.5. That's a fairly good starting points, or I probably would not go to extreme in my regular portrays. But here I could also soften the skin over all a little bit more, so it looks more like a fashion editorial, and then I just click OK, and then everything else is now adjusted. So the frequency separation and why it's so great is that the idea is that you create two layers and one off the layers has this kind off softness applied to the skin, which means that there are no more details. It's only about the tonality, and the as a layer is all about the details and the texture. So that's kind off the idea you want to adjust, not the skin over oil, like in one messy layer. You want to separate the tonality from the details, and that's why you have this action, because to do this, it's a little bit more complicated and takes a long time now to explain. That's why he's a watch The tutorial on Flanders. Come or maybe check out, see as our retouching master classes on you to me. But here I just think it's easy now, toe soft on the skin, but at the same time it's not. Yeah, Messi reside. As I said, For example, the Clarity's lighter is not your friend if you want to soft on the skin a little bit and you could often often I also see that photographers use a blood to, ah, filter like that. But that usually company act just gets very messy, and that's why we use the frequency separation. So on this one here, where we have so tonality, I want to just circle around the area with my last what we're So was l. I have my last tour or you see it's also down there and I just want to get a rough area here. So very fast something nexus. And then I go back into my fear time and into blue and into Gorge in blue. And then I can still decide if I like this radios now off 19 or if I want to prefer and as I want. But I think he and 19 or 20 that works really well. I just press OK and then was command or control and D. I can't d select this area, and if we click before after you see this area gets often it and it's just a little less contrast, e and this ever do now with the whole areas were just circle around. I don't have to go every time into filter and do it manually. I can just press command or control and f than the same footers apply it. Then I can go down here. It was the same thing again. A circle around press Commander Control and f I can also do this multiple times if I want is even softer. So I could go appear again and just go on here twice. So commend control F command and control f And then this effect is duplicated. Then, of course, you don't just want this on the phase. You also wants us on the body. So I go down here as well and just softness Fairly rough. But of course, when you do this, you go in with more details. This is just to show you what's the frequency separation that's so about here and maybe about this area here. All right. Something like this. Fairly fast, Suzy. Before the after, let me zoom in again that you see it better before and after, and you see how nice this is without sets, the face gets to muddy or you know that it's just unnatural. So I think it's very soft, very natural, but at the same time was less contrast. So it looks a lot more flattering the same weekend, while not the same but the same kind off retouching job we can do here on the frequency separation is that not only we take care about the tonality and the softening, but on the detail layer, we can also yeah, just fix skin areas. And for this I go back onto my patch to work and I just go around these little blemishes here. And I can just drag them now anywhere I want because the singers now, because this is on its own layer, I only have details year and not so tonality I can Drexel anywhere one was out really affecting the tone off this area. So this is pretty nice again. It helps that the skin doesn't become too muddy. So even if I go all the way here, you see how it now starts to affect me a little bit because I probably could have chosen an even bigger radius. So it was command or control, and that I go step backwards or ever even appear. It doesn't really affect the tonality that much. It only effects my yama general details. So that's the idea here that you can just fix the detail off the skin and just get rid off any blemishes. But you don't have to worry too much that, yeah, you go into an area. Where's the color? Doesn't really match, especially don't years. This would be very difficult to do it otherwise, because he is a lot of different tonality and because this is now on its own layer, you can just track yourself a lot faster around without worrying too much about the color. But as I said, if you go too far often it might be noticeable. But here, for example, you didn't see it at all. So here, this is bluish and I can go all the way up here, and it doesn't affect my tonality at all again. Was this area If I go from this orange tone into the blue is yours, I n tint looks is areas not affected by this at oil, and it's just fixing these little blemishes. So again, this is the idea off the frequency separation and if we look at sea before and after Now, I think this looks already a lot better. So let me just bring my color effects Pro ends the frequency separation into one group. So I just press onto this guy. So so far we have done our Nick collection, which is free, by the way, at the moment. Because Nick Waas yeah, its own company before us and Google took it over and made it free for everybody. So now they are taking over again by another company. So if you want it for free, get it now before the other company might nest that to charge money in the future. But for now, I think this is the fastest way how you can add it. An image. Without that it looks toe unnatural, so that see before and that's the after. 12. Quick Edit Part 3: Dodge And Burn In Photoshop: so I really like the skin year once more Z before the after it looks soft and not to fake forever more, be soft on skin. We also start to lose a lot of contrast. So the last and we are financing I would do here is that I adjust the contrast a little bit more and as a set of deuces with starch and run, and you can do it on its own layer. What's once more If you want to look into this, who will portray retouching a little bit further than you can check out my other tutorials ? But for now, I just create one yard last layer, and that just applies a dodge and burn directly onto that. It's just the fastest way. There are better ways, especially if you are a beginner. Then you might want to have a whole new layer for your dodge and burn. But I just create and as a quick trickier So it was shift old or option command or control and E is the longest shortcut ever. I have my new layer up here and now I just go onto my dodge and burn tour, which you will find here and at the moment it's a C burnt were. However, if you press or it without that you even see this. It will be you are dodge toward. So now I just want to bring in a little bit contra down here. So I burns this area so it brings us a little bit darker in the atonality. So anywhere I think makeup artists could have made it even darker was controlling and so on and everywhere were supposed to be brighter. I pressed my oil button and then this area will become brighter. As I said, you will not see this year, that s which. Between all it or option. But that's what happened. So, yeah, just burns us now without pressing anything. Now a press. Although option and I can light in this area I like to work normally in this Mitterrand range dressing for most off the things that was the our works best because ah, lot off area and the faces in the mid tones. Sometimes I go into the highlights also toe just brighten the inside off the eyes. And sometimes maybe you also find that's a shadow areas. Work was maybe is the cheekbones or like darker areas. But as I said most off the time of work in my mid tones and the exposure, I have about 10 or 20%. So if you just that he was 10% and you get a quick idea how, yeah, how fast you're progresses. If you want to work faster, you can increases, but 10%. That's normally a good starting point. So, yeah, I just want to. Darkness is, as I said and normally darkened eyebrows, then a doctor in here, the ice a little bit with the luscious anywhere where I Yeah, I think, as I said, to make up artist could have put even more contra. And it's not that it's the fault of any makeup artist, but normally wanted the makeup. It's more natural, however, As I said, we apply a lot off the frequency separation or maybe some as a form off skin softening. And then we lose a lot off this contrast due to the work that we're doing. So it's not anybody's fault. It's just, yeah, kind of what I want to lift now a little bit more, because I want to have this contrast back that I lost through my softening so you can go down here. Press also option to lift this again to brightens us. And then I just wants us all doctor down to a Dodge this and now a press auto option and I lift the shadow. Appear I press auto option and brightens this year's Dodge this area and dark in this area here but at dockings, this area lift years, although option and then I can just work myself. It's true image anywhere, but I think it looks a little bit more yeah, or just better if it's more like a proper shape. So normally I don't use to much the liquefy tool. I don't really want to shape somebody too much, but I'd want to give also the body more contrast and more contra. And for this I just used the Dodge in bronze. So let's have a look once more into the face attacked in this area even more was also option. I just lighten this words already orange because of things. This looks quite nice and let's just brighten the inside officer I even more. And maybe up here a little bit brighter, the brighter a little bit darker. Same way how you would apply your makeup here as well to shape your face. And if we go out and be sees the before and after you see, we actually have done quite a lot. Although we just worked, he was 10% exposure once more before and after. And especially here's a nose. You can see how well this is now. Shape just was. Yeah, basically brighter and darker area. So things this looks pretty nice And here I went a little bit overboard so I could just bring in another mask. And was my beef or brush and the black foreground color and maybe 50%. I can just say OK, here went a bit too crazy. So I think now it's more natural this way. And if it's still too extreme, I can also lower the capacity. So maybe 65 yards just gives us really nice contrast and contour now in the face and let me zoom out here. And if I just brings us once more into a group, that we can see the before and after that, see before and this is the after and jobs is to find the image