Master Fashion Retouching in Photoshop | Marcin Mikus | Skillshare

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Master Fashion Retouching in Photoshop

teacher avatar Marcin Mikus, Retoucher and Photoshop Instructor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Course Trailer


    • 2.

      Introduction to The Course


    • 3.

      Camera Raw Basics


    • 4.

      Preparing Over Exposed Images


    • 5.

      Color Talk


    • 6.

      Camera Raw Final Steps in Processing


    • 7.

      Capture One - Lights


    • 8.

      Capture One - Colors


    • 9.

      Capture One - Final and Exporting


    • 10.

      Cleaning up Images


    • 11.

      Dodge & Burn


    • 12.

      Clean up - Full Body Process


    • 13.

      Basic Contrasts - Advanced Masking with Luminosity Masks


    • 14.

      Mastering Contrasts and Lights


    • 15.

      Toning Images


    • 16.

      Color Corrections


    • 17.

      More Color Corrections


    • 18.

      Final Touches 1


    • 19.

      Final Touches 2


    • 20.

      Final Touches 3


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About This Class

Fashion images are something more than just a picture. It takes much more effort to master it - fashion is an art, and that’s how you should be treating retouch of such and images.

This course gives you all you need to make a creative step up and learn non destructive retouching and color processing techniques in Photoshop.

My name in Marcin Mikus I am professional commercial, fashion and beauty retoucher as well as photoshop educator with over 5 years of experience. You can easily google my name and find acces to my retouching work and publication I have had as well as find more about my educational side - focused around retouching.

In this course I will walk you through whole process of retouching fashion images - working on few different image examples.

Of Course I will start with raw conversion in camera raw - base of every retouching. For those who are not using camera raw - just like me - I also prepared lesson teaching you raw conversion in Capture One - the software of my choice.

After showing you everything what you need to know about raw processing we will jump into photoshop and start from the skin retouching.

In this part I will show you how to clean skin professionaly using basic tools - only one right way to clean up your images. What is the difference between them and to what you need to pay attention. Of course I couldn’t miss Dodge & Burn Process - the superior technique when it comes to non-destructive skin retouching technique.

In the next section you will learn everything you need to know about contrasts - and It will give you huge boost of information and you wil fully master working with masks. I will show you how to create very precise masks to define perfect line between shadows and highlights. After this I will show you how to get control over every part of the image - even such a small details like shoes! And work with the lights on each and specyfic area.

Using knowledge from masks we will move into color tonning and color corrections. Using advanced masing we will be doing color corrections with understanding of color theories - so you know you won’t be just putting colors randomly - but the way to make the entire composition look amazing.

At the end of the course we will jump to my final steps where I polish the images - incuding hue, saturation and luminosity values of the Image.

Except all of the video lesson You will get my new actions prepared jsut for this course!



Meet Your Teacher

Teacher Profile Image

Marcin Mikus

Retoucher and Photoshop Instructor


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

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

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

See full profile

Level: Intermediate

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1. Course Trailer: Do you want to learn professional fashion retouching and create absolutely amazing images? You're in the right place. My name's marching. Nico's professional commercial fashion and beauty re torture as well as Photoshopped educator. And that's my role for today to teach you professional fashion retouching and take your images to the absolutely new level I have over five years of experience. And just to find a proof of my words Google my name. Find my retouching port for your ass Well, as my educational portfolio. So what I'm going to teach you today on a few different examples, I'm going to show you how to process your images in camera as well as in capture one. Just in case you working in the software and off course, the key for all of that east work non destructively starting from the road conversion itself. Then I'm going to show you how to retouch the skin. Once again known, distracted me how to know destroy the texture Onley using the best and really simple techniques clean your skin toe, make it flowers and off course to make it look fully natural. Nothing is more important than the right contrast and lights That's why I'm show you how to work really selectively with the mass. So you will be really professional in working with the masks, creating amazing contrast, creating amazing light work on the image selectively on each part you want, whether it's trousers, sweatshirt, whether it's face or just the bag, will have full control off the light as well as you will have full control off the each specific color on the image. Because I'm going to show you how to get this control. Whether you build the contrast, whether you color greater image or you work with specific element after all of this after conversion after cleaning up damage after working with contrast, after working with lights, colors after color grading your images, I'm going to show you how to do final touches, which means how toe polish your images on the very end to make them superior. If this is not enough for you, keep in mind that you will get future suffered from me. Actions as well as other resource is to speed up your world from See you in the first lesson 2. Introduction to The Course: welcome in this professional fashion retouching course miners margin because I'm commercial fashion and beauty retouch er as well as photo shop educator with seven years of experience , so you might be sure you're in the right place to learn professional retouching. In fact, this is the best possible fashion retouching course out there right now. And why is that? Let me start from the beginning telling who am I? And then what? You can learn in this course. As I said, I'm professional. Fashion and beauty recapture to get the proof. You can see my not fully updated portfolio on the website beings. But of course there might be much more work the pence on when you get in this course because obviously from time to time, I'm I'm dating and adding more work so you can see different publications in magazines except magazines also retouch for fashion designers to make they look books for her dressers, for TV, for websites. So I clearly know what I'm talking about. And if you ever have any doubt, you can feel free to google my name and find huge amount off work. I've done not only in retouching but also on the educational field, especially off course, mainly focused in retouching field. In this cars will start from very beginning. I'm going to show you how to do row conversion using a Camero in photo shop as well. For those who use capture one I'm going to do capture one row processing as well, which is also my preferred software will be working on a few different images. For example, on this one, you can see in front of you and you can see this was the image we're starting. And this is the image we finished after all of this process. And I'm working on a few different example, including this one seconds before after other examples. So there's quite a few examples very solid and off course dedicates soft and natural fashion retouching disorder. Example before and after and also he was the last one. So we are working on a few different images and you can see the result is really we could say the differences solved because I keep the retouch natural Why I keep the retouch natural. The reason is simple, because that's what industry ones you do your work. What industry wants. You don't really change and make fake look off everything, but you make everything as natural as possible and, of course, as beautiful as possible. The G East to make natural skin retouching off course, working non destructively, starting straight from the bottom from row conversion. Every step we do not distractive, including broken version, include in skin retouching and, for example, skin retouch. I'm showing you on this example because here we have more skin details on different examples. We don't do that much skin retouching because there is not so many details on the skin itself, but it fashion. We must be forecast on fixed. By contrast, lights specifically lines on each color off course on color itself, on tuning and every single details to make sure that every color and every piece off flight looks perfect on the image. That's what you get in in this car, so we start in row conversion skin retention contrast light, specify Clyde's on colors, working with colors, final steps, polishing the colors and in the noise and everything. What you need to get Toby Professional re toucher. You might think that's a lot of information, and you don't have that much time toe spend hours. Don't worry, because this course is not long as you'd expect. It's around 17 lesson and each less on last, on average. Five pen, sometimes 15 minutes. You don't have to watch everything at once, of course, but even you can spend one day watching whole course in your free afternoon to get all of the information and what's left after this off course. Just practicing on your own. What? You can get more in this course except this video essence. Well, you get the future support from me. You will have contact with me for the website. Where is the core? So you can send me a message with the dots. You can send me your portfolio and ask me what I'm think about this wants. My advice is for you to improve your retouching. Also, I'm giving you my brush. My actions especially prepared for this cause fashion tuning actions that going to make your images looking absolutely amazing in term off colors, which is huge. Help to speed up your work. So don't wait anymore. Lead Sham Pinto the next lesson and move on with this great course 3. Camera Raw Basics: I'm going to start our course from Camero section because this is default raw processing software that most of the people use. And in another section, I will show you how I work in capture one. Because I know some people work in Camero as a row process in a software at this row process in part. And some of the people asked me truth toe work in capture one. So this all will be also fully covered. No matter watch software you would use for your work. And this is really exciting subject and I cannot wait to Justo jump straight into it. I have very different images, So I'm going to show you on different images. How toe process your image in camera and later, of course, in captial one, whether you have to dark image whether you have overexposed image, how to set up the colors for the future, how to be sure of your colors, how to know what suits for the image and what's not. But of course we will be starting from the complete basics and by complete basics, of course. I mean this basic panel in which we will work pretty much in every conversion. So let's just jump straight into it. And let's start with the first image and for the first image I have chosen, this image is All of these images are done by the medical trees. Come amazing work. She did great effort by taking them. And now let's just jump in tow. Camero. So it's really great image. It's a great pose, but it's a little too dark for my taste. Of course, some off you could think it's all right. But what's re common about outdoor photography? The images are tend to be darker, and if you want to set ice is too high and make them rather over exposed. I would rather recommend you to keep the images darker than overexposed because it's easier to work with dark image. And once we open this in camera, we are ready toe start processing and feeds this darkness a little bit. Why we work in camera. So once you open camera straight away, you have this basic panel off exposure. Contrast highlights shadows, whites and blacks, and this is pretty much on Lee. One thing that interest you in this first part when you want to a solvent ethic, So I'm gonna keep export for as it is right now, I'm not going to change because I'm checking this and the entity exposure is under or too strong. But the first thing I do I want to bring up a little bit of shadows. This image was really dark. Eso the shadows are mainly responsible for it. And usually I would go down with highlights. But highlights are rather pretty good here, So I'm not going down a lot. And now I can see after I work with them and chandeliers and highlight that. Actually, I could actually add a little bit of the exposure, so I would be going slowly step by step till the moment I will see that something I'm actually satisfied about. So let's go to this level. I think it's pretty good. And now I would actually go with highlights and it'll be down. And this is something I would like to start working with as long cause your face is not over exposed. You can actually go higher and higher even till this level would be all right. I don't want to go that bright, but let's keep it at this level and this is the first time that actually should interest you. If you have a little under exposed images, you want to fix it for your retouching. This is the first step you doing without too many complications for your image. So right now let's from toe a little different example with different settings with different lights, and we'll see what else we can do. What different we CanDo with other images. 4. Preparing Over Exposed Images: the other common think with the strong client or even natural light. Then images, often them come very exposed, which makes it difficult later to retouch. An example is this image over here, the tryst would be only too exposed, and some of this other image is done in a strong son. Of course, it's not a problem, and it's kind of unavoidable, but I'm going to show you a few steps how to actually made it come. Make it comfortable for the future. Retouch after we do processing and we start in photo shop. So I'm going to get this image. Let me just heat done, for we're previous image, and once again I'm going to heat this. And I'm just in this image because here we're actually half a little bit of the skin work, which is not very common because fashion images are mainly about the clothes. So the amount off work you put into the skill Egemen smaller than, for example, in beauty retouch. So that's why it's not so common. But in this image as we can see, we have some of the skin details, so we have to make sure that this image will be comfortable for us to retouch and the major think I'm doing. At first it's actually taking down the highlights, and I'm taking them to their level till I can see the imperfections on the skin. I wouldn't go that far because it actually make this image looking. My kind of having this may be high, the dynamic wrench and later it will not look very nice. I want to keep the highlights looking natural, but so here is our national looks. I want to go down and keep this natural look. But I don't want to go over a certain level on to make it later really difficult to restore the highlights and also a little bit of the shadows. So very similar job I'm doing before and mainly focused, actually on their comfort off your retouching. So making sure the images really comfortable for you to see all of this pots later and the retouch you could also experimental. It'll beat with exporter, but I really feel the exporter was rather right for this image, and there is not much to do so. But I was really interested in this image was suddenly, shadows and highlights on the other option was over here. We have a lot of white, so we could go down with color white and not as much with highlights, which would give a natural look as the highlights on her chest hot, purely white color. So it's actually not given this destroyed effect, but actually on darkening on the white over here that allows us to not go us much as possible with the highlights. The other possible thing. This is the thing I always choose. So this, working with the basic panel once again But some other people, often instead of going of basic panel, would go actually with this model panel, where is tonic your? And we can also kind off change the highlights and using the content or cure of. Of course, we could go with down with highlights off course here, down with light and bring up some of the shadows. But to me doesn't really give wanted effects, and it actually made this image within wash out. We true, it cost later, um, work on this washed out part. That's why what I recommend and what I prefer to use is the basic panel for sorting out every kind off the light issues 5. Color Talk: Let's talk about the color, which is so important when it's about the fashion images. But one thing you need to keep in mind. It's not about how much with your fantasies you will go, but how much you will reach the point that the image has to represent. So I believe it was clear and what I mean by that. You see, let's say we have red clothes. The point isn't to not change the turns into more orangey or more man jen tick ones, but the point is to make this red on the dress looking as best as it possible is so It's not about the changing colors. Fashion images are not about the changing colors. It's about making them the best they are or if you have the customer. For example, I very often retouch the look book and the customer could say, Look, this dress, this clothes come up a little bit too orangey. Could you make them slightly more red than it's OK? But remember, the clothes are as they are. So if you do fashion retouching like look book or for some editorial, I want to make sure the clothes will be looking exactly as they are. This is the point off working with fashion images. So I always tried to stay soft with the clothes eventually. Sometimes as it's requested, I can go a little bit more. And also I let sometimes they close to be slightly changed by some shadow by sometimes, but never change on the color itself off the code. So, for example, have this red color very strong and lively red color, so there would be not much thinks we could do always prepare it in a camera, so I would rather take care of the things. As at first Bagram. We have some of the red, so I feel, of course I'm in the green, so I feel the greens are not enough compared to how much red We have some more thinking how to balance the color, that we already have to make this red really stand out. Eso I would go rather with them, making any more of the saturation onto the green color make maybe making also the yellows more greens because I believe the yellows itself will not look that great with them reds as the green looks. So this is the point some paying attention. I'm paying attention to the composition. How the clothes will look in the certain composition. So you can see I actually tried to bring a little bit more red, if possible. Uh, excuse me. A little bit more green. It is about the reds. I'm barely doing anything you see. Like this would be absolutely not acceptable. Same with Fred's. This would be not acceptable, right? Because this is not the clothes we are harming. So, you know, I don't want to really change this. You can slightly change just a few points of the hue. But as I said, it's like, so, so small the change would be and I find this actually on this close really good. So you're not going more than, like, slightly operating with you Eventually. What I would do here, maybe a little bit more and separation. Let's have a look that would it work? Not necessarily. Like that would be too much for this image. It looks interesting, but I could get a little beat points down because I think this red quite dominating the image. I want a little bit more balance over here. And also maybe I would add just a little bit more line because it still has to stand out. But I prefer it would stand out by nice light all over it. So after this, I would be ready to heat done. And of course, we have some other images where we would have to do similar work. For example, I have on this different color over here. And of course, first of all, I would need to work a little bit with highlights and shadows just to make it right. And I think the exporter over here, it's absolutely perfect. It's really good and maybe just a little bit down. But the exporter is really nice. I really huge fan of this image, even. It's very calm, and I would keep this with this donation but will have to work a little bit more. Maybe with the lines toe, add a little bit more expression and dynamic into this image. So what I would do with the colors over here probably add more saturation for the blues and yellows. Let's see that would be yellows would be rather difficult because the walls are you, Louise and for sure, just some ruminants. Let's see what the luminous could actually do for us over here, you see, it could add some of the nice light and this image straight of away. Especially the clothes look a little bit more dynamic off course about the colors. You just You just have to be careful with this, but slightly. I just tried to make this blue as vivid as possible. In this case, off course, that's my vision, and it would hold the pell on the customer. But this obviously look so much better and also the details on the dress that you have to pay attention, especially by bringing up more lights and to both of the colors that exist. You see, it's a little flat at the very beginning, But after all you can see, the details are just popping out after this small, um, correction. With the lines, it's still there natural. The colors are real and natural, but it's more vivid. It's more dramatic. It's the clothes and more represent themselves and maybe, ah, one more example over here with simple colors. So we have also this image looking already amazing what I would do here, Of course, the highlights down and some of the wise down us. I did in the previous example, some of them shadows. And of course, and adding something more to this for sure. I want to add some more luminous to this reds very dark over here. I somehow I seems I liked Anson Saturation and, um, Luminess, of course. And the saturation, I think I keep it rather saturated. Also about the hue Rather cupid as it is. I don't want them toe master up. Really? Just might have a look. If there is any better tones on that could be in that we have. And it would be all around this. So you can see I'm actually applying very simple changes and show you different example. And because this is all about the fashion ist minimal ease. You don't want to change the image itself. You don't want to change the clothes because you're not designer. You are not stylist. You are re tortured. That and Haas to make the image perfect the perfect flows. And later on, of course, we have to make sure that the tune in is perfect. It doesn't mean your work is not creative because you have to remember that you have a lot off other elements and other colors on the image that gives you a lot off great possibilities off working. 6. Camera Raw Final Steps in Processing: So I showed you how to work with some simple colors. But it's very important to get how toe work when we have few colors a little bit stronger. And we're sure that we will have to actually work with these colors later that I started out at the very beginning on I'm rather Vereker for at the beginning because I prefer to do my work at the end and sarees. I really stay careful at them and beginning because if I go too hard with the colors later idea and I have to restore if I go soft somewhere in the middle way with the colors and the end, I can just push it a little stronger and I will get the results are really want. So first of all, I do something to make it comfortable for retouch. Later I worked with the tones and on the very end, I tried to really polish each color separately toe make it perfect. So, for example, if I would have this sort off an image us over here off course, I will start first with their highlights. Why it's over here. Uh, it's good. The winds once again winds down and, of course, shadows. A little bit absolutely flattened in this image. On, it'll be because it will be comfortable for us to retouch After this. I'm going toe hue, saturation ruminants. And there's a few things maybe brightening some women's cause dark and in, as you can see, not so perfect or actually for this image. Um, it wasn't toe too dark, so I would even stay the same very similar because it's well, well, it has light over here. You've got enough light. It's not very dialed, but saturation. I put even got stronger a little bit, this red color and about Hugh. I keep it as it is, but we have a lot of this blue colors. So if I would like to finish this, which I would probably get something around this the reason why? Because this doesn't really work with the Reds. And I would go with this because I like science. Cholera at first, the other one to really goes perfect with the red. I would also go really dark over here, plus prominence, saturate, maybe a little bit or even government strong saturation suits here. But I would go really, really dark. What I do now? Instead, I would really go somewhere halfway with the hue. And also I would even handsome off the luminous over here So I would go rather soft. Small change, but not re drastic. Because I want to make sure the dizzy mean just looks the way it really supposed toe it. It looks the way that and works for this image. Right? So I would go something like this. I could even actually less white over here. It was very strong. And then I'm ready to open the image. But also how I opened the image Always open this as a smart object because I can't work non destructively later and correct my adjustments and in nondestructive way quickly and nondestructive way. So how to open this? Not as an image bus as an object you have tope received And look what happened. We have information open object first we perceived and then it's open object. So I hold shift and then open object And my image is open in food shops. So this is great thing coupled camera and forth shop. And then, for example, I open and I feel well, this is not correct. I want to open this again and change the settings. For example, right? I want to lets a bring a lot of contrast. So I just bring it heat OK, and I'm really done. So that's why open always opened. This is a smart object. It allows you to go back and work non destructively in camera. 7. Capture One - Lights: and we are now in my favorite software for processing raw images. It's, of course, capture one, and maybe on the very first you can already notice a difference in a color. This is not an illusion that's correct and capture one. The colors are displayed slightly different. Let's see if we could actually comparatives. Let's say this image toe the image we can see in the capture, and I'm going to make it slightly bigger. So I hope we could see this clearly. So I think it's quite obvious right now. As you can see, there's a huge difference in how adoptee software's display colors compared to how capture one displaced corals and we capture on this place colors exactly how you see them in your camera. So for many, this is, ah, choice. The right choice to do. I don't really say that end of this software is better. The capture one is software I prefer. I prefer how it display colors. What some people obviously prefer to work with adobe software because they like the outcome of colors that they are. And of course, both software give you possibilities toe achieve the same point. Maybe one software could help you easier to achieve certain point another, But it always a possible to achieve this choice. And of course, at first what I'm going to do, I'm going to show you how to work in capture one with lights, the same as I show you how to work with light in a camera. This time I'm going to show you how to work with flights in capture one. And we're going to start with the same image that I really like the woman in red. So when you start an import, your images by file and then import images, you need to find your images on your computer and then hit import and in the imports in your cat like you have date and you see all of the images you were importing. So when you move to them third panel, you will have white balance and the color balance, which is mainly about the colors also black and white. And then when we moved toe four funnel, you have actually exporter and high dynamic range the place where we want work. So we find an high dynamic range trying to the same thing as, um, camera and What I can not is for this image is the high dynamic range is much more poor, powerful for sultan images. I'm not 100% sure why, but the light I cannot. This for example, this image was much more difficult to work with. High dynamic range on. Then it was in a Camero. And as you can see here, the work is absolutely simple. So what I would do? I would knock down some of the highlights off course, bring up some shadows and go up with the exporter because I want this image to be rather bright. So this is the steps I'm doing here and you can see it looks likely. Different highlights Chandos. I like the fight that it's actually separate a Cine camera it all together. And also we can work on the exporter and brightness I really like. Actually, if you don't like to work with Exporter, I would like to work with the plan of brightness that gives you Sima Rafic. But off course it's not equal toe exporter, but for certain things. Also, the brightness can be can be better than just exporter. I'm actually thinking in this case, the brightness and do quite good job as we bright and whole image equally and we not actually making any contrast etcetera also have panel I contrast and in the same panel you have saturation over here. So I'm going to find quickie, other emit, um, something that was over. Let's find it. Of course. I assume this by accident too much. I'm going to jump into this image. That was a slightly different that had a lot of exposure. Of course, In this case, I would go a lot with highlights and what I like and capture one. Also, I feel the going down of highlights is actually helping over here. Much more highlights are come in much more natural us. I would go down with exposure, but as a result later are just going to bring up some shadows. And to be honest, I'm I kindof liked how we worked with a camera that we could actually have more control over delights because the explorer doesn't give you re great effect. But there is one more thing that we can actually try to do, and it's actually jumping in tow color. So I want to show you the matter how you can actually restore things from highlights working in ah with color so it could go back to them based characteristic on goto color editor. And it's very important to start with advanced, because advanced allow you to choose the right color. So, once again is the panel, which is called Color and you have Cholera editor. Where you have by basics and basics pretty much allows you to use the basic colors like reds, greens, blues, magenta as you can. Also work with the skin to color skin tone, which is super important and super powerful over here. And you can also work with advanced. So, of course, we could use both advanced or skin column. Ah, possible even skin color could be better for this, but we can try first. Doing this with Advanced and what's better than the camera. You can actually find this. Pekar died dropper or whatever we could call it, And just he despite that, you want to bright the Nordbanken over here so it would be over here. I believe it's the brightest area, and then when I would do, I would just go with that lines down. So pretty simple and it's helped me toe restore some of the some of them areas. It also affect the face that is not the greatest, but it's really powerful, helping you to restore some areas. And we could try also of skin tone, and that could be a little bit more preventive. So we could also go with the skin tone and trying to dark and the skin tone, as you can see. And it's also very powerful, help you to restore some of the details, etcetera. But once again, I would prefer to be really careful with this. Don't try to overdo your image. My have to look just good. So trying to restore as much as you can, using basic tools and make sure that all of the parts of the image look equally good, you may need to make sure that the face looks good and the other parts of the image looks also good, so I would jump back into the colors. Let me let me have a look how it was over here. I'm really happy that it didn't affected the face so much, just slightly. Serve the lights. I would probably go a little bit more toe to restore the shadows because it was that it will be dark. And also, I could, ah, go down a little bit with the exporter so I can see the details, and it will be much easier for me to your later retract your images. But remember to meet their friend things and see what actually always for you and then trying to restore the lines, the way to make the images really comfortable for you to retouch later in photo shop. 8. Capture One - Colors: So right now let's jump into color work. And to be honest, most of the world come off course doing using the color editor. And usually I also jump in tow the local adjustment just to keep the right habits. If I need to make just certain color very different, and it's very similar to other color, it's really good to use local adjustments because you can create in layers. So let's have a look. How does it work? I'm open local adjustment and you have to hit this small pass while she hit this. You mask your object, right? So, um, you heat this brush andro mask and you can mask your object. Let's say I'm going to do this very roughly. I would say not very perfect. And once you mask it, you just call our editor and you want to work with it. Huge is in this once again. I dropped her and you can actually do anything you want with the area. You select it over. So it's not getting affected her face because we created this mask over this area. I very work with masks so that I want to mention just very quickly, because I barely really work with masks and same I recommend to you because it's huge waste of time in for the shop. You can actually a do much faster work with masks. And also it doesn't really happen that often when you have just a certain element to do so Well, actually, do I work with cholera? Ditto in, ah, local adjustments and more likely, I want to sort out the other area. So I'm choosing by this color picker the colors I want to work with s So what I would do with the yellows? Of course, I would try to go a little bit more inter grins, but we can actually notice the first problems. We are having a vision. So first of all, I would go with the greens. I would actually make the my little bit more saturated. But for the yellows I would do what I did before so I would create this layer look adjustment layer, so I would create a yellows. I'm just going to call this layer yellows and using the brush will pay in the euro area's why I'm painting this because you see the yellows also exist on the model's face with I don't really want to effect. I want to work just of the yellows that are on the background. So then I'm going back to collide detail. I'm just yellows. I would like to change the hue inter degrees. So, as I said before, it actually works better for the red costume were having also Red costume is very strong and vivid, so I would probably not work more with it. I won't be adding more saturation because on I want to show you if want saturation, this actually becomes, um, a little ah, too strong. But don't remember to go back to your background fire if you work. I just did this mistake. Get advised. I'm going to show you. You can see I'm not going toe ad saturation or enter like this things keeping the clothes on this moment natural for now. Like I feel they look amazing. The natural color. It has its good enough, so we don't really have to work with anything. We could see how that colors would be, how the lines is going to be displayed here. So eventually we could slightly Brighton if he thinks that's necessary. But I think on this was actually bright enough and looking really good have this other image here on that. I was working before and Cameron, and this is absolutely amazing, and I feel it would give me amazing opportunities to to work. First of all, I'm going to just sort out the highlights, of course, on the slightly darker, not so much off the shadows, just messing around with the highlights. And then, of course, I'm going to my color editor on what I do. I need to choose the blue color that I have, so I just is. Blue column. I'm going toe may disliking, more saturated, slightly brighter. And let's see the here and slightly stronger and blues, and also the other step will be creating Look, our adjustments. Let's paint over the dress off course. So I'm going to zoom days and be masking the dress. Why I'm doing this, You see, the background is also yellow, so I want to be sure that I will only affect this yellow parts over the dress. And first thing he can't not is the working with the mask. It's not really that comfortable in here. Us. It would be in Photoshopped photo shop Give us a little bit more possibilities. Um, to make it easier, I would choose this small I can hear and I would go with the auto mask. Why? I'm going without a mask. You see, it actually help you to define some manages over your work, so and see if I choose in this This is choosen Cassity strong and I'm just going to paint over the dress. I hoped out the mosque is going to work. Well, um, it's not perfect. It's not really perfect that but I'm I want to work quickly. We'll see if this will be enough if this sort of selection will be good for, uh, our effect. But I would do I graduates mask once again because I want to erase few things over here from the background. So you can not is this mask wasn't perfect. Off course we can make it perfect, but if I would have too much travels with creating mask out really goto Photoshopped to sort this out. So then color edit all and I'm going to choose this likely it's not so yellowish, but more kind of greenish. And I'm actually going to Brighton this a little, eventually slightly more saturated than their fact looks and natural. It's not a bright handing anything around. So for some images, I think capture one in this case would be working well for this image. For example, probably camera would be slightly better, and also I was working with this image. So let's do this just at the end. Quickly. I'm going to take down the highlights and just one point off exposure. And also let's go and toe work with this red. Over here we are having just slightly bright and this, and I think this image would be good enough. It doesn't need that much work. So let's move to another step where we can work a little bit more on the color and talk a little bit more about few things, and then finally, we will be able to move into father shop 9. Capture One - Final and Exporting: and the last part about them. The colors want to show you quickly how to work with a little bit more colors. This time you capture one and then just jumps trade interred. So I'm doing the same process. Of course. Shadows. I meant to start with highlights my bad highlights. So I'm gonna make sure everything is all right. You know, I want to see the details and just a little bit of the shadows. You be careful with the shadows. If you go too far, this seeming Just look weird once again, this weird, high dynamic crunch. So, like the shadows are just slightly you will increase the contrast later. It will even out the shadows. He just may make yourself look just made. This image looks comfortable for your eyes. So then, of course, color Eddie Top. And, um, make sure you don't want to change the darks over the image. You don't want to change everything. And I would mainly work just with this, um, sky over, which is absolutely amazing. Like I love this color. It has, um and I will go similar as I was doing before, probably at the end, I would go around this. But for now, I just want to make this guy, you know, comfortable just comfortable looking for this images. Colorful, nice, drunk. I'm not really saturated. It's doesn't suit that much for the image. Also, the rats look pretty good to me, so I would be ready. Really careful. Careful with these that look slightly less saturated than the other you meet so you could actually get the just a little touch of the saturation for for better result than I wouldn't do more over this image, Of course, not working with color balances or anything but what that's really important for me. I love this image that you can see over here on, but it's I just like this from very beginning. Even we have very simple colors. I want to use it right now, but because I just allying that mus fear A. It would be great. Doesn't black and wind image a swell? So who knows? Maybe I would work with this version as well, but it's more about fashion and colors. So here, like I love the colors. And what do you have to always remember? Just be careful with the blacks you don't want toe work over with the blacks and to the point you will lose the baccala. So I'm trying to tell these along the time because some people could, for example, choose the black and trying to changed a hue off the black, which which would absolutely devastate the image. This is really pure black. So So this is all right. But there is some images that could some effect that could actually destroy her back. So, for example, the same if you would go with the color balance and at something to the shadows, you know it it looks nice. I understand it look nice, and we could go with just a little touch. But it's important to dizzy at the end because if now we will add, we have to take down this color later if someone will not like so about the turning. This is what Why you always do this in fourth shop and in the first place, you want to make sure that are you keep this really re right black color for yourself, that you keep the blacks as they are. So just live the bringing up the shadows and, um, trying to actually know down this high contrast over here because it's great image on, uh, it's pretty much done. There won't be much retouched, but I just want to bring up some of the shadows for better visibility. And the This could really be amazing image for later toe work. Even it's on. That's impossible. Be careful. Blacks don't work with this color balance because this is close once again, the stay us and they are. You keep the clothes natural and play with the other colors. You know, for this image, someone could say, Maybe I am the two yellow off course. We will have toe mask it probably a little bit because we'll take some of the skin colors. And actually, this warm tones is pretty pretty suitable over here on this image. So that would be it for now. And what I do here, what's important to do, Of course, exporting in a capture one. How to export images in capture one. You see, I'm going to hit this arrows and output and we'll be working in Photoshopped. This is not that comfortable. The problem is off course in camera, you just heat open object and it straightaway and for the shop capture One doesn't give you this possibility but you want to work with the highest possible quality later in photo shop . So making sure you work with t fire 16 beat Also, you kind of work with PSD, which is 40 show file. But I'm preferred to save my image as a thief. Huge four month on DNO d pays lost destination. I'm choosing the destination. So I need to find my father Where? Where I'm working with. So I'm just desktop. I have this course somewhere. So I'm finding the fire usually with the images are working where and I do fashion choosen and here out probably creates a new folder with the name processed and I actually starting adding images there. So what I would do So let's let's see if I can actually, you fall there. I'm going to name this process. Look, we have new full then and then I'm going to find this folder so again for here that stop courses fashion choosen and we'll have this process to fire. So I'm setting us an output and I'm saving everything as an image, an image name because it's really easy to find this later. After everything is said, I'm just hidden process and my image will be ready are fully ready to work with for the shop. 10. Cleaning up Images: This is the subject that in fashion maybe it's not most desire and learning experience. But if it's about the general retouch about the essentials off retouching, this is absolutely crucial. So I need to show you how to clean the image, interest this image. Of course, we have few other images, but this image has the most details on the skin available. Zaun this image. I want to show you how to quickly clean their skin. This is super important. I had other courses on a retouching on Bt, retouching etcetera. And though we have to do and they step every time we do even in fashion retouching we keep their skin and most of them parts as natural as possible. But off course, or of the pimples and unwanted, maybe scars cannot exist on the image. So how I clean they meet step by step. First of all, you can use the mouse, but the best part to clean up your fashion images and especially any other kind of images, is get toe is to get Wacom tablet. So if you don't have just Google Wacom tablet, this is something that helps you a lot with your retouching and how I retouch itself. I create empty layer and I'm going to clean this. I'm calling going to call this clean, not going to kill. Clean this clean but going toe. Call this clean. So why I created the empty layer and the answer is very simple. I don't want to work on this background player because once I'm going to work and clean this and I want to remove this layer or duster back, it will be difficult dull if I'm going toe clean on this empty layer, I can remove this layer later and my image is untouched. That's why it's so important to work on empty layer because you want to work non destructively. Another step tools we going to use is Hill in Brush Tool and other is crumb stamp, too. What's the difference between them to you see, I'm going to explain your healing brush. Basically, you take in our sample from the areas and apply the texture to the area you want to clean, and it'll just the colors around. So that's about the healing brush. But first, before we start working after you choose your tool, make sure with healing brush you work with hard edged brush and go to sample and make sure the samples as a current and below not as a current layer, because you cannot clean anything. If you have current layer, you have to current below because when you work, everything below will be also cleaned. So once everything has is like this, I can show you how toe work with these tools. So first of all, I clean the meat using him. Brussel, what is happening? You can see, um, taking a sample and I'm covering there areas and it just the colors around what you will see on your computer possible you can see on it is around and cross all the time. It's because off my recording software, but what you meant to see just around which is your brush you pressing other option and you see this cross and you then take a sample. You release that and you see round again and then you cover. That's how it works. So if you see something different on her skin, don't worry. If you see figs, as I just explained, it's correct. So that's first part. What I do with killing brush tool. I also work with Konstam with crown stamp is the difference. I usually keep soft edged brush and everything is the same, including current below. So once closed, Um, does when you take a sample, simply clone you not only cloning the texture as before battles of color. So when you apply here, you apply texture from here us, whereas color from here so it doesn't work on such a sensitive areas like, um, Hillenbrand's works much better with sensitive. So when I use closed up, you see, I use cross them even out the rough skin texture and her, for example. Here I press very softly, so I take sample and painted really, really softly toe fix this area, as you can see, so it's absolutely nicely you don't need to use N a were techniques, but by soft painting, you can even out your skin texture really nicely. So I needs basically these two tools. I'm going to clean this fast now. All of the temples there is not so much work, really. Just make sure nothing will be on that visible, especially pimples, because if you have some of them blacked out of the face and it's the thought that she was born with our something like this. This is not something you want to remove. Not necessarily you better consultants with your customer. Or if you are your own customer, you can decide. But you really such a, um such a special attributes on the models are on Lee. Good thing in most of the cases, maybe not probably. But in most of the cases, this is really, really good thing. I'm going to even out this a little bit more over here. Let's work on Ed. And, of course, don't forget the neck and the hands. Many people forget about this and clean on the face. But this is something we have to do so quickly. There's some of this wind sparkles us well and off course, when it's about the tattoo, it depends on what you're doing. Because if your customer would ask you, we need to remove talkto than you doing this in other cases, I don't see. The reason behind that is to do this so quickly. All of the other spots and, of course, the last thing. Don't forget about the clothes. So after I think the skin, I'm checking all of the areas possible. It's quite much I'm trying to do this as fast, but I really want to make sure that skin is fully clean. This is so important, no matter that I'm doing just course. But I want to make sure the images done well so you can see it off course. Close clothes are the major player in fashion images. This most important thing here. Don't forget to clean it, and it has to be clean. It has to be fully representative because it's the main subject. You want to sell on the photography. That's something. And this is if you are even photographer. This is very promising job for you. As, ah, photographer of fashion images, there is so many fashion designers right now, they always need photographers, and the industry is only growing Right now. I can see increase on a flock of fashion designers that needs look books all the time. There was so much work in this area, you just need toe, use your chance properly, learn the right things and work really hard toe reach the success. Nothing works better than hard work. Once it's cleaned, were ready toe, move on to another lesson. Probably. I'm going toe just soften this rough areas a little bit more over here. I really want this soft. I don't want toe see too many hair over that area and we'll be ready to move on to the next lesson. 11. Dodge & Burn: after cleanup. This is, uh, probably most popular and also most important skin retouching technique. I'm talking about that chamber in and I'm going to show you quickly sons, how toe is quickly and first of all, some of the good information. So, on the fashion images, you don't really need to do that much of vaginal burning. In fact, on many meters that we going toe work. You don't have to do this at all. This is like, keep in mind, you don't have to do this. I choose this image because there is some cleaning up to do. So this is right image to show you the techniques. But in many fashion images, you don't do this step. But I find this important enough to show you so how to do that and burn. What is this? Simply retouching with light. So face not for structure. We have some shadows, right? You have some scars, they leave some dark shadows, or this car is more likely. Keep the bright dots on the face. So how Toe feeds them carefully and nicely east of figs by retouching with right. So when the parties to bright, you paint this with the dark with the shadow, so it's getting even out in tow. The darker spots and if they spot some sponsors, is too dark. You paint with light and it's getting even out. Our with around them brighter parts. How I do this. You simply create to dash in bear layers, right? One will be for dance. I'm going toe. Call it the and the other will be for bad. So the Dutch is brightening, right? They burn is darkening. So right now it's everything is visible. But I need to explain. In front of shop, we have something like layer mask, and this letter must appear here. You see, we work with adjustment layers and they have these masks. So I implying that this curve right now and this curve bright and in everything, why everything is visible because I worked on this layer and also my layer mask. It's white, which means everything is visible. Let's call it simple. White color means visibility. Black color means invisibility. So if this layer could be old black, this effect will be not visible. I believe this is simple enough right now. In photo shop, you can invert your layers or layer masks by pressing command or control. If you working on windows and I like the world invert So I'm going to do this book command on pressing command And then I like invert two inverters and my effect. My layer mask is black, so my effect is invisible. I'm going to the same to do the same to burn and two off the effects are invisible. So want is cleaning with this. You see, I'm just in the brush and I have my custom brush made by me, which I'm going to share with you. So it's great opportunity I'm going to share with you my custom brush, which is the best brush for doctrine burn compared to any other brushes. I'm working with white color. So to switch the color, you press d on your keyboard. So you have black and white, and then you can press X to just switch in between. So if we add some white color, make sure that this layers checked here. So you see, I have these wide stuff around my layer mask. If it's here, doesn't work. Make sure you work on this layer much so checked the layer mask and when I paid with color white. As you can see, I'm bringing once visible in this layer. If I've been with colored black, I'm bringing one visible on this layer. That's how it looks. You can see by pressing out corruption and hitting on this layer mask. You see, that's where I pain. And this is the shapes I created. This is not something we want, what we want except the fund that we work with the brush we want the flow, Toby soft or opacity. This is not important. I like flow because flow allows you to keep the pressure on so more. I'm painting one area. Let's say like here, the stronger effect is visible. It gives me really nice and natural control. And the other thing is, I want to create black and white layer on the top about this layer because this helps me to see things better. So I use Hue saturation. I'm going to call this be damned you. I'm going to desecrate this and then I'm going to change blending mode in the color and because if it's in the color, it purely shows just alliance. It prevents and how the colors are if I keep it in blending more normal, it's not exactly. It doesn't represent the same luminosity and color values us the color, blending what so blended, not make on the colors, black and white but prevent the luminosity values. And then I increased the curves, and I just tryingto make a darker for some certain spots and increase the contrast to make it easier for me to retouch one thing. Good news. I'm giving you the actions, the Dodge and burn action. So instead off creating them from very beginning. Just going to hit Dutch play burn, play black and white help player play It looks slightly different. As you can see, it doesn't make a lot of difference what I did. I just put this layer masks into the groups. So how you put to the group, you just press command or control and G and everything is in the group when you select. And then I created Layer Mask on the group, which you do by pressing this small icon and then, of course, inverters in the same way. So that's how I did this. And here is the same doctor lawyer, and here is Hue, saturation layer on the saturating the days and but it's not something you should be interested now. But you check if the saturation is so right at the end, right? You can make it even invisible. But at the end you put on saturation and you see if the areas where you were dodging may be appealed. More saturated something you just the saturate this layer and this might appear less saturated. So you just slightly saturated. But everything tells is the same then how I work with this? I'm just leads a Met. People beat how I see well and now, with this black and white layer is visible. How are we supposed to retouch this image? Right? So I will start with Burn. I will choose a brush and flow five and slightly. You see, here is everything quite it's it's it's not correct. I need to paint on it to fix it. Let's see if it works. So I will be painting and trying to even this out here. See, it's very simple. It's not that difficult. I mean, at the very beginning, it might be a little bit confusing. I trust me. I had a lot of difficulties with Dutch and Bernard very beginning. But after a while, being re toucher and practicing a lot, which I hope you going to do because it's great job, it gives you really flexibility in world. You can decide your own hours, or you can work for studio if you build your portfolio, of course, which takes a while. But you can later work for some retouching studio and more likely, make a reasonable money and then enjoying your your work, which is a creative work and area I always wanted to do. I'm a freelancer, so I retouched for some fashion designers for magazines, for for TV, for websites, celebrities and I just simply work in my own time, mostly enjoying fashion images. Because I was studying your fashion images. You can retouch them the fastest faster than beauty images and more likely pays better simply because there is more work in this, because the result. As I said, a lot of fashion designers, fashion brands much more than cosmetic because companies, for example, so on. That's why the fashion job. It's more promising. Have a look at this small area. What I did see, this looks much better off course. I always remember about the clean layer because when we need to do some more, even out, just just feel free to do this. You can do this any time. And this black and white layer helps you toe to see things even a little better. So I just this image, this is really example where we have actually ah, lot off that and burned to do. As for fashion, emit But usually it will be much less which I'm going to show you begin to, of course, practice and some other image Full, full body shot. Where are we going to do cleaning up in the next lesson? So just a little bit more over here and we're trying to sort this out a little bit more in the more shadows area like here, which I would do just turn off one off this layers and I will try to even out this this area over here, right on a weekly painting over here, and we'll be looking much better. The other mistake that I said during cleaning up is most of the people forget about the other part as hands and chest, and this happens actually mostly reduction, burn less with clean maps and how. But when someone start to learning some Dutch and burn absolutely overdo this on the face, which is bad, it's better to do less job. Trust me with this and under the image because everyone looking for natural outcomes, you need to remember this natural outcomes is everything that that you want and everyone wants. I had many times the job I did, and after I finished my job, I was told, Can you do less retouching? Can you remove some retouching and was really angry because I knew how much effort I put, But then they were asking me to do less, so I knew I could actually save much more time. Which would I automatically bring more value to my earnings because I would spend less time and make the same amount of money. So keep this in mind. This is very important. Always better, do less than do more. People don't want that much retouch us. You could think differences with beauty, which is also natural, but you have to spend a little bit more, but you never want over, do they? You absolutely, never want to overdo the image go back to neck and about this lines on the on the neck. I don't want to remove them. Just this strong clients over here, um, that look a little too rough. So this one, I'm bright and enough. But the major ones know you want toe neck that that's how the neck looks like. That's how every person neck looks like. So you want to eventually make them a little smaller, but you don't want to remove the lines on the leg. Another mistake many people do and they remember this. You don't want to remove this lines on the neck just slightly, just slightly made them smaller. Make them look very soft. Natural because the model model is was chosen for a reason the way she is and also the fashion is for humans. So a little bit more work over here, and after this, I will be done. Of course, the doctrine Ben will not be done on the clothes. This is not something we don't the club. So this is some just something that you're doing on the skin to properly and non destructively to clean this and after that, your skin job will be will be finished. So a little bit more over here, I need to even out this chest. Well, I will have some more dots over here. It's common in the chest. The nature off this transitions is much different than on the face. They are more difficult to spot, probably for me. And sometimes we can overdo this area, which is also not good. But it looks probably better than in chest case when he under do this, because later we increase the contrast and everything. And if you don't do changed at all, that we look very, very rough on the texture of it will be very ugly and rough. So this was longer lesson. But I wanted to make sure that I give you all the information about doctrine. Burn in one lesson because I don't want to make too many lessons on this because this is fashion and in fashion, you want to really pay attention to natural two colors to close and not spend ages on on just skin retouching. So I hope this lesson was short enough on toe not make you bored, but also very informative to make sure that your future work will be just just perfect. I'll do a little bit more work over here, and we will be able to move on to the next to the next lesson. So it still looks natural, A little bit more touches over here. It's still very contrasted, but when we turn off this black and white layer, it actually looks really good, a little bit more over face. She has the nature that she has rather big pores, but pores are not something you want to destroy. You can actually reduce them a little, as I mentioned to you before by working with Crown Stamp, But you don't want to remove pours. It's really simple toe read as them and make them a little smaller. Um, with clone stamp, it's okay, let's move into the next lesson. 12. Clean up - Full Body Process: so quickly. Let's do two more images this time without such a detailed retouch. Because I told you in fashion you don't have to do that much work to do so more. My mission for this lessons is quickly do retouch talking. You may be a few important things, but I just want to quickly do this. So just as a reminder Great. Empty layer clean zooming in. And you see, I was telling you about this sports that they're not necessary. But if they're not really that beacon characteristic our right to remove like don't remove the characteristic ones that are very special maybe for models, if they're small and not specific doesn't bring anything. There is no reason to keep it. So make sure the walls are right behind you. There are not always perfect, but they don't have to be clean, but they probably don't have to be super dirty as well. So this is like one thing we have to remember. You don't have to have everything perfect, but you don't have to have everything. Absolutely opposites to perfection. Right? So this is, um, kind of lesson that we could learn. Nothing is perfect, but don't make everything look in absolutely horrible because there is no reason for it. So let's just make this slightly better slightly, I said. This is not that important on barely anyone wants to have everything perfect. Eso first cleaning than the other cleaning I would be over here. As I said, I can't be really fast with doing images I usually do. When I have set even my 30 images to do for some look book or anything, I can really get myself to work and doing step by step image by image very fast. So, um, that's really important that you could develop this sort of handed off like fast working, uh, being able to just get the work done very quickly. A quick judgment of the situation, what took clean. And you just keep going right. And also what's important to say Tablet is really going to help you. If it to be honest with the mouse, you will be. You will not be able to work on that fast, no matter what you do. And if you are mouse user only. I'm curious. Like if if you can prove on that you fast like I would be very happy There is someone that could do this because that gives hopes for people that hate, um, tablets. But of course, I don't think it would ever happen. So we done this screening. And of course, um, I don't really like this hair, but so I think also, when you see something that doesn't really bring much damage like this hurt, um, that natural. But they don't really bring anything out. Time is short of them. A legal just, uh that way I could even probably even, like, clean all of this, but there is no need. So I just gonna remove what? Uh, not really. Please. And for for for the ice, if we would decide to remove them all, maybe effect would be even better. So I'm going to show you how I am doing this and such a thing I'm doing using clone stamp. So we will be careful. We will change our legal on this area, but as long cause it will be like, um, acceptable looking natural Asriel. That's OK. That's OK. If you change something Khalifa for, for just, um better results. Better outcome later. So look, this this just look pretty good this just looked like a building behind. Let's have a look from the distance and it just finally can see no one really pay attention that there was maybe some window or something on. Um I know you will. Fuck you possible or other thing to mention, Um, there might be a lot of people. Ah, really, um, on some forums, maybe even on some Facebook page, having very streak opinion about retouch. But over the time I experienced that, other things are important. Important is the General, um, visual side. And if it's look book, that's most important, this quotes and the perfection itself. It's important for Amanda's ins and beauty. Um, but sometimes it just waste of the time. And I really want to teach you how to not waste your time, because And this is this reflects how much money you can make. Simply speaking, after I finished days off course on the quickstep of dajun, bearing which is not so much on this image, is so like we will be very fast with it. You can see you can clearly see where to do stuff. So, like Quique actually can see very quick fixes over here we can see also where we should, um, softened the poorest out, leave the last well or clean a little bit more. So this and the layers this black and white layer is very helpful not only for adoption bird, but for seen all of the imperfections and after all, distorted. I'm trying to quickly sort out everything with the lights. I can increase the contrast to see everything better over here and very quick. Ah, job done. So I have a lot of this white spots, so I'm working a little bit more with dodging with burning off course. Then imagine just a little bit more here. And also, um, it's easy to overdo when we put such a strong contrast. But remember the contrast make most of the effect. So if you still seem that it could be better, make sure to check this layer without black and white help player, because that might be already enough and this is other. Think also to not waste off your time for doing that much, because at some point you will not see the difference. So there is no reason to spend too much time on it when, after five minutes, the image look absolutely perfect. There was no reason to stay 10 minutes more just to later see that it looks actually the same or the difference is pretty much invisible. It will be more over here, and of course, I will have a little bit more work on the neck. I will keep their lines in most of the images that the small Wrinkles Assn. Natural. This is how we are and a little beat over the neck, and that would be pretty much eat. And then we have the other image and after that, will be ready to move, actually toe my favorite part, something that define is the fashion images, but that in a few minutes, because skin retouching is for sure, not something that on define fashion images. It took me also a while to understand this. This major mistake off many people, um, that they think that the skin is most important in fashion. It's not. It's not true. So OK, so I looked down over here. Let's just make it slightly better. And Syria she can see. I don't I don't really do this. Dutch immigrant process too long Construction images, another image that jump into it and activate the layers here will be even less to do. So it's even better for us. As you can see here, she looks perfect. So what I will do, I'm gonna probably us make this line a little smaller stunt. There is. Ah, not so much. And over here, the make really smooth, um, transition for the cheekbone. Saying it is on this eventually actually comes out very naturally, beautifully, and the skin comes extremely. Ah, well, so thanks to it, we don't really have that much work. And as I said, we don't remove the lines. We make them smaller because this is, um if you remove the lines, actually might get under question to bring it back. Or you might get criticized for it because there the neck will not look like a human neck. And you don't want to make a giraffe out. If your image it's, um, go down here, make sure to check the hands before we move on. There's some areas that could be a little better, and that will be OK. So, uh, that's pretty much it. She looks natural. She looks and beauty and the dajun burn process wasn't. And don't exhausting for both of these images. I could actually smooth out this line a little bit more over here and have a look on this image. Uh, looks really good. I might spend three minutes more just cleaning up her chest over here a little bit more. I want his checks toe, chest toe come out nicely and solved. And this image is actually this outer images this set off with this close. Ah, comes out with a slightly more rough skin. I wonder why. But then it's not so bad off course, but it makes us just spend a few minutes more. So OK, and we're ready to move in tow. Really fantastic lessons right now. 13. Basic Contrasts - Advanced Masking with Luminosity Masks: we are back to this image. It just to show you how to make basic contrast by basic contracts. That doesn't mean it's just plain with curve. I mean, to set up perfect, well defined contrast on the image, having the highest possible control you could ever have on the image. So let's just jump right into it. And of course, with next lesson, I show you how to keep controlling change color separately. But now how to make this perfect contrast on image? Get this amazing cross through the highlights to the shadows. So we create toe curve adjustment players one curve and I'm going to call this high right highlights and the copy days and order will be called Chandos. Now, I'm gonna start with highlights and my favorite way off Setting up The contrast is through select color range. And look at this one we have here. We can choose the color so we can you see select sample colors. We can choose sampled colors. We have off course. We could probably define the highlights by this. Look, Have a look easily. We would absolutely define amazing highlights from, but this is not the point except the sampled colors. We can choose each color separately and belong that once the best we can just highlights meet tones and shadows. And this is the key to the old success we have. So let's move the wrench upto 255 and go with fuzziness. Uh, we get higher to see, at which point the highlights have the greatest definition. Look at this. I believe it would be around this point. Hit OK on this level, moving to my highlights and just go out with your curve just slightly till the point you see your highlights are perfect. It's changing some saturation of Are you so best is change Planet month from normal to luminosity. Let's have a look. This is just pure amazing. I'm also grabbing the curve over here to go down a little bit, and this is how we create this amazing highlights. Next step Shadows. I'm going to shadows. I'm going to once again select color wrench, and this time I could invert the highlights. Or I can go to shadows and this time arranged down to zero and go up with fuzziness. And let's see, at which point the highlights will have the best definition and we are around this. I believe somewhere here he's okay and now slightly define the shadows just like this. Change plan Dickman to luminosity once again to not change the color values. And now I'm going to put these two layers into the group control command G. I'm going to call this contrasts, and this is how you create amazing contrast on the fashion images that something I truly like. So let's jump into other images. I'm going to show you how to get even more control and get really flexible with the lights on the image. 14. Mastering Contrasts and Lights: we're moving toe the full body images with the great and fashion. Something very common. So how I work with contrast over here. Off course, I start the same basic about by creating to curve adjustment layers, one will be highlights. I'm going toe just type age and s like shadows. So I'm going to go quickly, once again because I showed you previously s and how mostly I work. And now different examples more precise selecting. And I'm going to show you something a new in time when we, um, repeat certain actions. So I'm going to select color rent, and first of all, I'm up. At first, I'm applying the same thing. So from the shadows, right and highlight. So fusion is go high. As you can see, there is not so much. So I'm doing this at first, for sure. So highlights okay? And go up with this because we want to define nice highlights on her face. Right. So we get up here, we're gonna define shadows a swell. So I'm going to select color range. And this time with shadows. Similar workers before where where we get the right shadows. As you see, there are very strong in this example. So be careful and then going down, we get the shadows. But there's one thing that doesn't stand out except the fight. We need to change management to luminosity. And our red color is not this Like, you know, we want this. We want this red color Stand out on a visual one disclose to speak for themselves. This is our mission and this is missions off. Everyone. That should be the clothes need to stand out how to make them amazing. And if you've seen my work, the clothes always have this amazing lights. If you seen my portfolio, you know, I always pay attention to this nice, strong contrast because that's what speak in the current fashion and retouching industry. So what I'm going to do again curves and I'm going to call this reds and again we going to select and Coral Ridge. Let's true threats. Leches reds. It's nicely defined, but it's also flat. This is not something come looking for. I want this clubs to have nice contrast as they are. I don't want to just bring up the red color. I want this to have the nice contrast, so Let's try with sampled colors. Okay, I'm going Try here. Well, well, well. Why? It comes out so good. Do you want me to tell you? Look, when I'm pointing here into the shadow reds, it gets different results. But I want to take care of the highlights, right? We want the red highlights pop out some taking these. This this eyedropper I'm looking. Where are the highlights? Nicely defined on this threat. That here, for example, other place that will be really nice to define somewhere here. Perfect. This is just just truly perfect other place. Where would be maybe somewhere here, some choosing one off. This place is where the highlights are absolute that that's how it should be defined. And then just just heating. Okay, I have perfect Perfect. Ah, musk. And then just going up. That's it. That's what I'm doing. Just going up with this curves and look how just it stands out. Let's change planet front luminosity and see if it's this is just insane how we just made. So I want to see how normal burning mother, because it actually it's It's pretty good. So and that will off course. Um, be after you if you want to go with luminosity are normal. The peasantry. But that's was the mission. That was how we get these colors out. That's how we make the clothes look amazing. That's how I make my portfolio on the way it is. Okay, I'm gonna try something more. This will be a little bit more difficult. Let zombies in here. I think this is nice Truce and I really love shoes. So I'm going to try with another killed layer. Let's go shoes. And once again, select color wrench and I will try out of it. Let's see if we can We can get this and we can. We definitely can get up fuzziness just a little bit. Definitely. Do nice job here. But I need to find really a good spot forgetting this oranges out. And I think I want here. So I took not only the shoes. So what I'm doing, I'm pressing option around heat on this layer. I'm going to mask everything right. A mask in everything. What's not shoes? I'm asking her face. And this is the what I do feel this point. And then let's go up with this. And now the shoes are standing out. The seed is how I'm amazing. Lives real off. I would come. Okay. I will go with normal over here. Uh, because I want them to be rather saturated. So this is how I work. This is how I work really selectively with contrasts, and you have to see it. So I know this is not many people going that selective as I do. But it's very important for me to get the full control over the image and that secret off my world. Let's just jump into other example. Um, also very simple example. Over here, we have clothes. I see everything. What I need already here. So I'm just going to create few curve adjustment layer highlights shadows and then, uh, off course will close. So I just number this to one and let's let's strike. Let's start with highlights. Set a color wrench. I'm going to go highlights and same us. We go before we just find the right spot for highlights. This is it. The fragments were not strongly to find here. Okay? I just didn't have the right. I was okay. Probably didn't have the right selection. So we do. Highlights we go to the shadows color wrench and as you remember, apposite shadows. And let's just define it somewhere here so her coat might get a little darker. This is not a problem for us because we work with it. That's how we how we do color range. And now we go with sampled colors. I just wear the colors are just Let's go here. Did I get is right? I believe so. So I got this and I'm Brighton in this up a little bit and then I want to go with this amazing, um, Yellows insight. How we will do this. Number two Select color range. Let's hit the flower Perfect. And that's what I'm calling standing out, uh, standing out color standing out contrast. Look at this. This is this image got absolutely toe different level right now. You see how high contrast how detailed this images. And also, um, we can work with this image as 1/3 example. Once again, that will be more likely the same. What will have hear anything more? Half red trousers, which which are pretty good color. So I'm not strongly convinced that we'll lead toe work with it, but we'll see. So I need to make sure I did off course. I want to go with luminosity here. So highlight for color range. I start with highlights and are pretty good to find here. This image like so good I relied is this Does this so good? There the work on it really amazing. And then shadows. Let's to find them nicely. So bring up highlights. Just go down with the shadows Illegal. Look how good that this look. Hope and then the last one, Um, read And let's try to get the nice light into the trousers. Some nights, contrasting colors. I'm just going to heat this strong highlights here. Going to go up just in here? Not a lot can see just just one particle area over here, which is good. So I need to see it's or have to change the luminosity. I will keep normal just a color, but it becomes to arrange it so I would go luminosity and I could go on a little beat. Maybe rest too. And what I will do color range and sampled colors that see if I can go shadows with some nice shadow here. So I will go down with it, of course, was too much. That's That's something I'm looking for. Put this to the group. I'm going to call this contrasts. This image transformed, fully transformed. Preserving the colors on this is something I really love. Strong contrast. That is something I always look for the image and get in the full control over the light. So I truly believe you know now how to be ready, Master with the lights. 15. Toning Images: when it's about the color toning when I work. Usually, simply speaking, I work usually with color bones. So I have very simple steps. What is about my color toning and I have few rules that I keep for myself, and this is when I work on the set. I tried to make the terms suitable for each image and try toe unjust them to the whole set . So I'm not going to at some cold stones toe an image and then two other image. One tons. I think it looks horrible, so usually work off the on the theme on the images. And of course, over the time you always developed your style. So it's always like you have your own style and I believe everyone who seem my work can say it was done by me because we develop certain steps and our own style. So I'm going to show you how I work and I encourage you to use maybe the same stabs bus to develop your own style, and I think over time this style is on developing anyway, no matter what, you're going to watch you at first my copy people. But over the time you will be developing yourself better. So I'm going to start with this image. And I also work selectively even if I work with color bands. So apparently I can work with them Shadows, meetings and highlights. But I preferred work selectively. So I'm going Toe press s a shadows and I'm going to copy this and age as highlights. In this case, I change blending months in the color to not affect their luminosity values just the color . So I'm not changing a contrast anymore, but just work purely on colors because that's why I worked before, in contrast to make sure it looks just right and the way I want some going how I work selectively to make sure there was perfect transition between shadows and highlights was image and I go through apply image so the layers are merged and blending multiply and you will get the perfect shadows over your image as I work with them. The shadows. I can already press, invert or just invert this later. So I'm going to hit okay and let's have a look into this so outer option and I'm going to hit this. That's how it looks on. That's how Look the exact highlights. So something from the meat tons to the highest Brightpoint. I'm going to press command or control if you work on windows and I like invert and that will be my shadows. So what I'm going to also do. I'm going to press command and heat on this layer to make selection and applied inversion into the highlights I have now perfect a mop off my image. Here is the shadows, and here's the highlights, and that's how I start working with the color balance, some going into shadows, and I usually check what works over here. And usually I start with the bottom slider to see if the yellows so some think warmer or colder, works on the image. And usually I prefer to go with the cold colors and what I can see for this image. It's clearly on the cold stones. What will be suitable over here? I'm trying to work carefully because you don't want to really change the blacks into the blues so later. I always sort out the blacks and take down eventually some of the color saturation from the blacks to keep them natural because you don't want to change that. The color of the clothes also over here I can check with Red and some of the science. I'm going to slightly lover lower days. In this case, let me have a look before, after and for the highlights. I go with the opposite way. So as I had some of the cold tones for shadows, I will add some warm tones for highlights. So I would go with the reds and yellows, and I truly believe it's absolutely suitable. And my step would be later to sort out on this darks and the blue collar out off the darks . There will be few methods. And to do this, probably the simplest one would be just a hue saturation. We could see how that were given. Now I'll go through select and color wrench. I was just simply tried to make selection over the color blacks. This is actually a simple example, and I would try to get down with separation. The blue color saturation you can see. It's really easy t to sort this out and Siam. So this is very simple step to sort out such a such a transition to make sure you not having the Blue Blacks and that you're not changing the color of the clothes. In this case, I could actually go a little harder. Maybe with them with the Tunney over here on the other image problem would apply something very similar. And I I'm going to do this. But I brought up a little different example a little bit more difficult, something unusual. We don't have much color. So I want to work on these to go with something class colorful and see how we can actually work on this really difficult example. So I'm going to start once again with color, balance and shadows a swell as Children, many more color and then highlights. And in the same way for apply image, Of course. So I'm going to invert this straight away and go in tow into this. Inverted this into highlights. But me takedown selection and now cold stones and what you can see. I'm applying similar values, but I have a lot of shadows on this image. So you also have to pay attention on the amount of shadows and that you half and inch let's have a look. This is the shadows on this image on the previous even discuss our shadows. We can clearly say the one image has much more shadows than other. What I would do here, I wouldn't reapply that much off the effect, because I know the effect will be more visible on the this image. So they're gonna goto highlights. Let me see how I really date over here and with highlights. Of course, Worm and I have less highlights over here. This is always if I had more shadows on this will be the place I had, Um, more highlights. I want to be really careful. I don't want to add too much of the yellows. I don't think they suit so much over here. So something current this, I think it's it was just just on point. Also, this image was warm. So we need to pay attention that we had some off the warm colors already over the highlights. So this will not be that strong. So there's different really factors that, um, affect your world and what I would try to do right now, I would try to actually do something with these blacks, which will vary. It'll beat more on difficult, so I'm going to move it into the next lesson toe work to do some color, corrections and other things 16. Color Corrections: so after I'm goingto do some toning for shadows and highlights. There is always some corrections after whether you want to make sure the colors roots perfect or whether you affected some areas that not necessarily you wanted toe effect. And this case was with my blacks. Over here, I always open one layer selective color if I need more. I go later with some more selective color layers and I see what I need to do here. I don't have that much of the choice. But I was talking about my darks could be affected by the blues. So what I would do? I would choose the blue color in the selective colors, the blues and then simply I'm just playing with it. You see, I'm going to show you something. I can see this camp is kind of blue, maybe a sanick. So I want to go a little bit different way off this color. So I'm just pretty much playing with it, trying checking the side. As you can see, I don't want to go read this side with magenta because it's going with these greens that are very similar to them yellows. I already have also yellows. I wouldn't go with blues, but under a little bit of the yellow color for this black. And thanks to this simple tricks, I simply sorted a little beat off and the color issue I hot here. So very simple. Step Ah, a little bit experimental. And also with the black. If you if you wish in tow actually work a little bit more with and contrast. Basically, you could feel free to do this. And, of course, changing blending mode to color. I'm going to do on the other image with different example with the tones are some going toe open selective color, just one and changing the color off course. I like the layer mosque and going to select and color wrench, and I will work with that red trousers I have over here. So I'm going to hit the plus because I want to get all of them a red color I have over here . Of course, I could work a little bit on the mass, so play press option out and just remove Darius that you not necessarily want toe really affect. We could paint a little bit more with trousers, but I think this selection is really good. And then Retz any plane and seen I want, um, where to go that trousers there are a little bit orangey. At first, they didn't have this this strong column I wanted them to have. So I want to go away with this orangey color. Thus you can see the blacks. I don't really like me to do this and to compare toe these. And instead of going with blow, I try to add a little bit off the magenta. That's let's see Now I feel it's getting a little better, maybe a little too strong and, ah, relying the effect this black color gives me, which is really strong contrast. But it's, um, wouldn't be such an amazing idea by the fact of their light, it's it's getting, so we would have to actually slightly dis saturate this over here. It's really lovely color, but remember to not you see this is too much because this is not the color of the trousers . So want toe, make it really slightly improvement toe to the whole and keep the color this trousers actually have. That's how I look. Need to judge. It's different color for sure. but I just want to not unjust my eyes just to this. Read some check in the other image. Um, a swell. It's actually very helpful, to be honest, So go this. And I think I found a way that it's just right for me. So let's finish this lesson. We done really great job with dawning, and now let's jump in tow some final amazing adjustments. 17. More Color Corrections: on this example. I also want to show you re powerful way off sorting out that saturation off certain color. I still couldn't sort out the blue coat over the model, so I want to try something different. And I think it's amazing technique for you toe work if you need to sort out the saturation and color and with very specific part on very specific color. So for this amusing hue saturation on going toe, call it blue saturation. So what I'm doing, I'm not just going to move into the blues. First of all, I'm trying to find the color that I don't have on this image. So I will not be sad if I'm actually going to get rid of this. So I will go off Magenta as I don't really see magenta on this image. So I will choose this eyedropper and what I'm going to do. I'm going to choose the color whether it's over the heart over the code and it automatically applies that color. It peaks at the color and apply it into this huge saturation. So it recognized this as a color blues. So it will be really easy for me just to go down with saturation, and it already helped a lot. So this is the first step. But still it doesn't and give me, as you can see when I see full before and after, it still has this sort of bluish colors. So I would like to work a little bit with the huge and you can simply experiment, drank it. In the one side, you can see it becomes much more yellow is drag it to the other side, also become pretty much the same. But I'll go a little beat with this and I was stopped. Maybe somewhere around this scene. As you can see, the color is much more, much better at the moment that the color gives me re subsection. I would change this into the color, and this is how you can truly fikse the color you have on the image, how you can really fix the saturation or very specific color 18. Final Touches 1: and finally we are finishing days and something that is absolutely crucial for my work is the final steps in Camero. To be honest, even going back half year, I wasn't doing this step and it doesn't mean you have to do. But I love the way how you can get a control in camera raw on the end to do your final touches, and it's really amazing how it works. So let's just jump straight into it and I'm going to create a stamp on the top. So I'm going toe press command, other option shift and eat to create a stamp. So I'm going to call this stamp and very important before we start working with Camero is to convert toe smart object just the same us at the beginning. You want to work with the smart objects toe, be able to come back any time after your editing, just in case you notice something was done, not right, jump straight into it and work non destructively over and over. So after this is created, I'm going to filter and camera raw fielder. So what I do in this final steps? I barely work with the contrast because contest also tend to change their saturation values in here. So I'm really giving up on this. Rather, I like to work with the blacks. I often make the blacks and it'll be darker and we can even go with shadows and highlights just a little bit to increase the contrasts. Just if you want this, I'm a huge fan of huge contrast. So, uh, I said a huge fan of huge contrast doesn't have necessary says. But, um, yes, I'm thin off huge contrast. So let's make them that way because I think it truly looks amazing if it's done that way. So this is the first step on the wind. And after that, as I mentioned to you before, I love to work with Hugh saturation and luminous. Let leave the clothes first. I don't really want work with the clothes, but as I told you before, the sky needs toe worked on, and I love to work at the end with this. So I work with the here. Let's make this a little darker. Not till this level off course, but just a little darker. I'm going to see also, how's the saturation works over here just to unjust, um, that all into the perfect way. So maybe some around here I like to sign working with the red. Just amazing. Agree. So let's have justice still, that way, I think it looks really amazing. Also, the other things. If you find your clothes having not right here, this is your chance to injustice. So, for example, even the trousers have the wrong here. Just by the few points you can easily, really unjust on this issue over here. So this is your chance, your occasion? The same about the separation. If you think something is over or under saturated on, this is your chance to do this. I was happy with my work. So not really having a job here to do so now, after I'm happy with the result, I'm just going toe hit, Okay? And let's have a look. I'm just making sure the sky is correct. I'm not truly happy, not fully happy. So I would go slightly lower and also with that with the Illumina's Let's have a look. I think this is something I really like. So let's jumping from the next ice on with some other example 19. Final Touches 2: and, of course, other part off the final correction singers. Before, I'm just going to create a stamp on the top, once again calling this stump. Of course, I was pressing command or control options. Shift and eat, then hit control right and convert to smart object once again and dance taking our legal beat because that's already a little be big file. So let's go filter camera filter. And what I really like to work is, of course, the blacks. I have very solid blacks over here and I want to be really contrasting. Also, I'm going to increase their highlights and shadows, so let's have a look. I want to be really careful with it. Want to increase the highlights, but make them still looking a very natural. And I need to be very careful with shadows and blacks because the difference between highlights and shadows is quite drastic. So I don't want to make the clothes fully disappear, as you can see. So the blacks rather careful and more with the shot of let's have a look. The contrast is really solid right now. I need to be careful with this shadows. I really want to go dark with then everyone toe make this very contrasting, but needs to be also pretty careful. We don't have much colors, but of course, remember that every changes, for example, are available over here if you need to work with the hue off the yellows, for example, that it gives you great possibilities. Of course, I wouldn't go that far, but if you consider this image as a little bit too yellowish, which I feel to me, I could go a little bit more in tow oranges and also a later work with oranges. But I don't think it would be very necessary, so I wouldn't go with it. Let's hollowed before and after just small final touches salutary a little bit less off them off the yellows because I don't really like when the skin has this strong yellow tones , and I was so feel free to work with the saturation Have ah, look how if we could saturate and not lose on the amazing warm atmosphere. This is also very important to me because I think it's really looking well the way it is, slightly the saturated. But I really also like this amazing warm atmosphere that we have around this image. So that's why I'm looking for some something in between, Not fully to saturate that, but something in between this cold at most fear or rather cold tons. And also this warm at most fear that we have over here. So have a look. I think something around. This will be really amazing. I don't need to go that much with yellows, maybe over here, but more with oranges. It's a really amazing I want to make it perfect. I know it's taking a while, but I'm a perfectionist and I need to check a lot of time before I'm sure this image is the way I truly wanted this. So just like the more work and this will be around something I'm looking for, I'm not going toe work with Luminess anymore. You can see I could probably dark and bright and the yellows if I would like to get a little bit more of the contrast, which is actually how once I tried this, it's not such a bad option, and I truly like this. So maybe a little bit more light. It gives me some nice extra contrast over her body, which is truly amazing, and I love on the way it looks. So let's hit, okay? And this is the changes applied, so really more contrast E and also a little bit less off this Redstone's. You can, of course, decide on your own whether you like it or not. But I need to jump once and get into the hue and what I want to do. I want to just at one on a different point, to change the times for oranges. Just do not make her body toe orangey, and this would be the final steps I'm doing on this image in Camero. 20. Final Touches 3: and at the very end, probably the easiest step off them all but very important to me, especially not everyone is fun off the noise. But there is some benefits off using just tiny touch off noise for your image, which nicely breaks down all of the tones and make it smooth and really amazing for printing. So it's really worth sometimes to have a look how it looks After adding a little touch off noise. I was, um, this image a little bit because I want to see how the noise goes over the skin. So how I have some nice I'm creating the empty layer on the top, and I'm going to call this noise off course. After this, I'm going to add it and feel the image with perfect 50% gray color, which is exactly the point between black and white color. Then change blending mountain toe soft light so soft life makes this great layer invisible . After that, we're ready to go filter bluer and garden blower and make sure that you will use the same amount off them. Off course not Garden blower. I talk saving filter noise at noise off course Garden, Lurie's next again me squeak. So feel their noise, a noise and what you need to make sure that the amount of noise you are dinner will be suitable. For all of your said. Don't try to add a different amount of noise for different images. That doesn't look that great. I will go with noise on the level 12 which seems to work pretty good over here. And also, you can sometimes change the opacity. This is not very strong noise. I need to see them size of this image. Okay. And also, you can change the opacity sometimes. But what I do know, I also blew this out a little literally. Just tiny, um, touch off the guy Gendler over this noise toe break down in this tiny dots. And of course, the same amount off noise amounting to other images and the same I would do over here. Let's create a noise layer quickly soft lined, and it feel also what is good. It breaks down and the poorest, if you have to be, um it's slightly softened the map, so that's very nice. Benefits off are the noise filter blur go Gendler on the end. So this is my very final step. I'm usually doing to my fashion images, and I high recommend I feel to this images. I could actually add a little bit higher noise, maybe 15 pixels. But it's really good to be careful of this. Thank you for watching. I hope you enjoy it. All of this process. This is everything. For now, we can have a look for what we've done over the course in the final, less on and just I truly hope you enjoyed the same the same way I enjoyed because I love working on fashion images, and I hope you will love these the same way I do because it's fantastic job.