Transcripts
1. Intro: Henry Marsh walked into this photography masterclass, teaching you how to get your portrait looking so much, so much better. Just last, you're gonna learn some tools and methods that top industry photographers use on a daily basis on. I guarantee that this loss actually changed the way I'll be showing you step by step with best quickest ways to get flawless skin and have those full, inspiring eyes for class projects. Just grab your most recent quarter photograph and follow along with these lessons. If you're keen to up your portrait, edits and retouching skills and want your photographs to rival those off top international photographers in this class is made definitely for you, so let's get started.
2. Lightroom: Hey, Welcome Henry Marsh him Welcome to your very first skill shake loss with me. I'm gonna be walking you through how I ended my photographs in light room and then from light room, we're gonna be going into photo shop. So one of the very first things I like to do when I bring my photograph into light room is I like to play around with the exposure and the white balance. Now, your white balances are quite Jozy. If you shot outside, used a light if it was cloudy, used cloudy. Um, generally, your camera also does a pretty good job off getting the white exposure. Right? But if you're not happy with that, you're more than welcome to play around and just Wiegel these up and down to taste. Currently, I think I'm quite happy with how this photograph looks. I know that I'm gonna be introducing a little bit of orange along the way. Explosion looks good. I'm not gonna play around with that too much. Then one of the first things I do after exposure and white balance is I have a preset that I have developed for myself. Now, this is a preset that I use on all of my photographs. It basically just brings through a consistency in my editing, and it just allows all my photographs to look roughly the same as such a contrary give you this preset, but I will be running through it with you so that you are more or less aware off what it is that I have done. So clicking that immediately you can see that just pops the image alert all bit, and immediately I can see that there's just too much contrast Clarity and this photographs . I'm gonna bring that down immediately, and that looks a little bit better. I like to work from the bottom up, so let's do that right away, a little bit less green, a little bit more blue in the camera calibrations. What's nice is generally with your profile. Your camera comes with a whole bunch of profiles and depending on what it is that you're shooting with, and if you're shooting and raw, you will be able to play around with those. But for me, I leave that on Adobe Stand enough just changed those two in effects. You will be able to up and down your grain and you can immediately see what that does, as well as your Hayes de hazing tool. Your D hazing tool is really nice if you're dealing with some smug in your photograph for a bit of ah, light leak or a lens flare or that kind of thing in the transform, these a really grates. If you've got some kind of architecture in this case, we've got the the container that is in this photograph that is a little bit skew, so we're going to click order and see what that does. And as you can see, that's done a really, really nice job. I'm quite happy with that. How that is. But if you're not happy where you can generally go and play around with those in the transform times, or even see what the level in the vertical or the full do from there we go into lens correction. Now. Generally, each lens has its own lens correction profile. I know that with this 72 200 meter millimeter lens that thieve unyielding is quite bad. But for this photograph, I would say that the the vignette ing works quite well. As you can see, that's with the vin eating Unveil getting off. I don't know. This container just seems too bright on the side. Yes, I'm gonna leave the lens correction off. So with the lens vignette on into the detail. I like to have a little bit off a sharpening coming through. You can see it there off on. It's not a massive difference, but it is a little bit of a difference. Noise reduction works quite well. If you are shooting at high I iso's, as you can see in this photograph were shooting at about 160 isa, which isn't all that high. So I'm gonna leave the noise reduction as it is split turning. We're not gonna worry about too much that we're gonna deal with in photo shop hs L. This is really were my own style comes through my own editing style comes through and each time is a little bit different. But this is gonna vary according to you in your own personal preference and tastes. I'm not gonna run through that. Same with your turn curve. A little bit of the shadow coming up there, but in each channel, we've got the Reds a little bit more contrast, greens more contrast and blues more contrast now in the Basics tab. This is part of the Ted that everyone is the most comfortable dealing with, and that's because it's a really self explanatory. You can bring your highlights up and down. I just really bring the highlights down in the shadows up to compensate for the amount off contrast that we introduced in the tone curve. So, yeah, these sittings might change. Photograph two photograph. But generally I keep them same, just to keep the overall style the same from here. If I'm happy with the photograph, which I am right now, I'm going to go straight into Photoshopped and how you do that. It's simply by right clicking over here it it in w photo shop and I'll see you guys there.
3. Healing: Hey, welcome back in the last episode that you saw, you would have seen me in light room and how I would have edited this photograph in light room were nine photo shop. So thank you for joining me over here. So one of the first things that you're going to do when you're in photo shop is you're gonna be using the healing two or more specifically, the patch tool. She's a really, really, really nifty little tool that helps to get rid of all those little unwanted things. So the first thing you want to do is you want to start analyzing the entire photograph to see where there are unwanted spots and things that you do not like in photograph and we're gonna be getting rid of. So the first thing that I notice is there's this little blemish here on her arms. What you do is you just go around in a little circle around it, and you dragged that circle to another part of the arm that looks roughly similar. And you see it is removed immediately. And over here, we got we got some blemishes on the side of here. Same thing. And you could see the patch tool. There's a really, really, really, really great job of getting rid off these marks and making it look Fritzi natural. So already, if you were to have a look at the before and the after, you can see it's a really made a massive difference over there. That was one of the first things that was bugging me if we go back over here and we remember that blemish, a little bit of eyeliner that we saw in light room. So I'm just gonna drag and get rid of that, Um, one or two spots of a year, we could get rid off on the face, and that's looking pretty good. There's another one over there you can get rid off. Didn't work out so well, so straight. That gain mm. For these tasks, I really suggest that you use a welcome tablet off sorts. Not necessarily welcome, but it just makes life so much easier. Having a pen off sorts to actually get rid off these things makes life so much easier than using your mouse on the side of the wall here. I'm not gonna get rid of those as the pretty cool this overhears about distracting. Get rid of that. Like That's so I see you guys can go quite into a lot of detail with this one. Wasn't so great. Get rid of a whole bunch of different things that you don't once in your photographs. Sometimes you go to just redo a few things like that. That looks pretty good. I'm gonna see if I can get rid of this one over here as well. That looks good on. And yeah, I'm pretty pretty happy with that. I don't see anything else. There's a little bit of a spot that it could just be a little mole, which we want to keep you going to keep it as natural as possible. Um oh, here's another one. That's a little bit of distracting. It's in the hair. So it's gonna be a quite a vehicle to get rid of. Let's see what we can do. I didn't do too bad. Get right stuff now from here. We're gonna move on to frequency separation.
4. Frequency Separation: Hey, welcome back. In the previous episode, you have seen how we heal this photograph in the arm and a little bit in the container. Looked like that Not looks a little bit something like this. In this episode, we're gonna be dealing with a massive step that is frequency separation, not frequency. Separation is quite technical, and it is quite a lengthy process. So try not to get lost. I will be going through it quite slowly. It is, however, one of those things that can be massively misused. So let's try to make this photograph a little better. And let's not misuse the technique. So the first thing that you want to do is drag the Soviet hand, duplicate the background layer twice like that. And then we're going to rename this bottom layer the low layer and this top one we're going to call high. Now, if you want to clarify it for yourself, you can actually call this low, which is the turns and the top one way is the text, uh, from the very false type. Okay, then you're going to make the top layer invisible and just use this bottom low layer and you will go into falter noise, dust and scratches. Now, there are a few different techniques to this. Some people use Gordon blow. I like to use Dustin scratches because, as you can see, there is a little bit of a separation between the tones, and the times aren't being blurred into each other completely. So Dustin scratches works quite nicely. Now, what you want to do here is you really want to make sure that the tones are blending into each other. You don't want to getting beginning any textures. So I like to look at the pupil and see what the people looks like. This number can really very anything between five and 25 ish. That looks too much for me. And I believe five probably be too little. You can still see the texture there, so I'm going to leave it about 10 or 11. And that looks good to me. Click. OK, there. We're gonna take this top layer, make it visible again, and we are going to say image, apply image. Now, this is ready where the frequency separation part comes in. So this is the technical mathematical side of it. All these values that I will be giving to You are really just what you have to use. And don't really ask me why is the mathematical process behind it? So we're going to click on layer, you're gonna kick that low tones layer that you created, We're gonna flick inverts and then your scale is gonna be to an offset is zero. Please make sure that these numbers are exactly like that. That is what they should be. And there will be the same for every single photograph. Click. OK, then you're gonna take this high texture layer and you're gonna change the blending mode to Lenny Light. Yes, that looks right. And then we will combine these two layers into one layer and call this one group rather and call this frequency separation Goodness I can't spell. Don't go now. What's quite nice about seek frequency? Separation is obviously it, which it separates the turns from the texture. So you really get to work on one set at a time. So what we're gonna use is going to use the less suit or make your feather referee about 10 if it is a mid body head shot like it is if it is a full frontal, just full portrait image. Then you can take this up and vice a versa. You weaken. Really? Just have a look at what this is going to. If we make our selection and you can see the feathering that's going on over there, then what you want to do is go to full toe. Say blur, Gordon Blur. And you really want to make this number what you are, what? The number was just not. I think we had 11 and then we can stop blending tones together. Now what's nice is you don't have to go back every single time. It's a filter blur. Gordon blown. Select the right value. Photoshopped does this thing where it remembers what it is that you did the last time and all you have to do is say control, Call all command. If that's case, that's what we're gonna do. Say, come on, F Everywhere we go where we want toe, bring the tones together and get rid of the blemishes in the skin. We're just gonna say, command, if here the bags were gonna blend those in quite nicely command, if a few times, same thing on this side, and we're just gonna go run around on the skin like this and blend these tones in a little bit. Now, you really don't want to make your selections too big. You really just want to catch in the blemishes that you want to get rid off. So, yeah, underneath actions, shadows learn a bit harsh. I'm gonna blend that in a little bit more than turn over here as well. Over here, you can see it's quite bad. We're gonna blend those in quite nicely over there. Same thing over here. And you just really go around away, making your different selections and blending them in wherever you think it is necessary. It's a pretty simple process. You can overdo it, but we will get rid of it if we have overdone it. But I think I'm quite happy with their. You also don't just want to do the face. You want to go around, do the rest off the body as well. Catch that shadow over there. Bring that in quite nice of their. Some people just tend to do the face, and I tend to miss all the rest off the body, which I think is a little bit city, but we're all going to be like that. We're gonna catch everything nice in one. Go and you're going to see this is going to make a massive difference. You're going to not believe your eyes when we are done, and I show you the before and after. That's looking pretty good. Generally, you want to stay away from the edges with us using dust and scratches. It's not gonna be as bad as we were using Gorge in Blur. But you don't want to do something like that. You see, there's a massive difference. You want to be doing something like that. Okay, I think I'm quite happy with how it's skins looking. What's also really nice about frequency separation is you can use it to blend in other parts, but I think I'm quite happy with that. So the before and after, I mean, if we just zoom into the face of here, you're going to really see such a massive, massive difference. If that's the after Andi before, look at those bags. Such a massive difference. I think of Asian was just gonna learn whatever here, a little bit of a dance, maybe a little bit on the nose. Enough. This is ready. Just comes through with some experience. Um, every single photograph that you do will be better than the last. You'll get to know what looks good and what doesn't. That looks good to me. Now we're gonna move on to the texture layer. What you're gonna be using here is the clone stamp on the shortcut. For that is simply yes. You want to use a clone stamp that is as small as possible, and you're gonna have your A pass ity at 100 and your hardness between 80 and 100 also, just generally keep that at 90 to keep the texture the same. And here we're just gonna go and pick up all little other blemishes that we didn't get with the healing brush and try to get those done as well. This is also really great for picking up those hair strands without not really affecting the color off the image that looks pretty good here in the eye rolls we're gonna be doing inquired a little bit of work, and every time you want to be just selecting something that a an area that is quite close by. That's looking good. Assuming a little bit closer. Yeah. Don't worry too much about that little compass there in the lift. It's my photo shop being a little bit funny. That's looking good. Oops. I think that looks good. Sometimes you just generally moose a little bit of a stick. That's good. And, yeah, we're gonna go through this. I'm gonna try and go through this as quick as possible so we don't get stuck on it too long . As I said, frequency separation generally takes the most amount of time. Especially if you want to be doing it right. Every time we just selecting an area that is quite close to where we want to go. Going to bring my brush a little smaller, Just catchall the stray little hairs. That's good. There we go. That's looking right like that. Too much. And you can easily just go back by saying, Come on, Z or command old Z. If you want to go back even further than just one step. Thank you. Catch these hairs on the side. Here. She's really got some crazy eyebrows. Good thing for photo shop. Catch these loose strands of their it's looking right. I may actually bring some strands back into the is a patch over here that doesn't look two great grains, actually, qualities in here. You might do that little bit later, reading color back. And that doesn't look so wonderful. Okay, also, with the bags, we managed to fix the color where you just gonna catch the texture of here likes, uh, just making everything look as natural as possible, you know? Yeah, it's looking match better. You also want to get rid of all the imperfections. I like to keep a little bit of them going on just to make the skin not look to perfect. But I think I'm quite happy with that. And that is a basic before and after the zoom into the skin over there, give you a better idea. That's before and after quite a massive difference. And this is really such a powerful tool. But you do need to use it correctly. I see we haven't caught thes hairs of here, so I'm gonna catch these and I will see you in the next episode.
5. Dodge and Burn: Hey, welcome back. In the last episode, we went through some frequency separation, and as you saw such a powerful, powerful, powerful tool, I finished it off with me just going over that last left eyebrow, as you can see, that being cleaned up quite nicely. So just to go through a little bit of a before and after again there, that was your before frequency of separation. And then after frequency separation, right now we're gonna go into what I think is quite possibly the hardest bit off retouching , and that is dodging and burning. So for dodging and burning or we're gonna do is create a new lamp that's just going over there. Click over there and you're going to go to edit bowl and then 50% gray and click. OK, that's just gonna give you a nice big gray slate over. Then you're gonna make your blending mode soft lines, which is gonna make your photograph look exactly as it was. What you gonna do for the step is actually just go and change this Teoh Dutch and burn just to make sure you know what you're looking at. So what you gonna do is we're gonna go to your brush, which is just shortcut B and then just push the letter D to make sure that your black and white are back to default. You want to get a nice soft brush for this one? So we're gonna get our brush to be nice and soft to hardness off zero. You can do that here as well. Honest. Off zero. And you want an capacity off 5%. We just fought since there we go and keep up short. Careful is that 05? That's how I got my five years ago. And obviously you want to using black for everywhere that you want to burn and white for what you want to Dutch. Now, there are some great makeup tutorials on the incident, and that's really what you want to be going with its called contouring. And you really don't want a full outside off those shadowing areas. You could go look that up on the incident as well. Just go look a contouring makeup and you'll be able to find great ways of action of how girls actually do their makeup. You're gonna be doing something very, very summer on what you want to be doing is you really just want to be defining the jaw line and some highlights in the cheeks and those good things. So we're gonna go with that. And you really also want to be sticking with the shadows as well if you're gonna be burning . So what you want to do is also you want to be varying your size off. You'll brush as well. So between each stroke, you gonna see I'm gonna change the size of the Russia. Let's start off here in the bottom of chin. She gets a nice going of then and the nerves changing the brush size. It's time. Make it a little bit bigger on the side of the head of the whole time you were going to be going in with the shadows as well. This is where the country is going to come in when they bring the cheek contour in a little bit over there, some around the eye and some around the top off the head, as I said, gets a little bit technical and there are makeup tutorials on the Internet which will give you a much better idea what it is that you should be doing and then I could possibly ever give you. But what I want to say is just you want to be filling in your shadows, making your shadows a little bit darker and your highlights a little bit higher light. So So every way you can see, I'm just making the shadows, little bit soccer and the whole time changing the size off my brush. And the idea is really just as as I said just now to contour, and you can even be placing it in the hairs everywhere where there's nice shadows. Is it gonna look Greats, You know, when I over do it, If you do ever do it, we can always bring it back a little bit. Nothing is permanence, but you're gonna see it's gonna make such a massive, massive difference That's looking good to see what's also nice about dodging and burning is that if you find something in the background that needs a little bit of touching, you can do that as a leading this thing of this little Patrick. He is a little bit right. Sound's gonna burn that in a little bit. Yeah, so it's about before and after as you can see we focused quite a bit on the face of it. This little book before and after then moving over to white. Just push X on the keyboard, or you could just change it over there. Gonna get you to whiten. We start dodging, and you want to focus on the highlights a little bit on the nose. As it said, Keep changing size off your press trick on the top of the cheek on a little bit on the forehead over there, on on the chin and a little bit. Come in a little bit of the hands of the lips. Catch these highlights on the lips as well. Over there, a lot of theirs well, here on the shoulders. Get special of a bigger and, of course, on the arm of the day. That's looking good. Let's go into the hair. I just want to catch these highlights a little bit better. I was looking right, so there you really just creating mawr. Contrast but clever contrast. Contrast that you once not just overall contrast in the image. It's contrast where you are placing it. That's looking great. I think I quite like that. I want to maybe brighten up this area over here. That's too much, right? And as you can see such a mess of difference in the face, it's really just outlining and contouring that face white nicely. I want to do a little bit of the eyes he has. And again, that looks good little on the nose. I'm liking that. What a bits.
6. Eyes: Hey, welcome back. In the last episode, we didn't some dodging and burning and managed to see what a massive difference that had on our overall picture. Just adding some clever contrast to our photograph up. Next, we're going to start working on the eyes. So what you want to do is you want to create what is called a stamp visible layer. Now, how you do that, it's simply too. Use your keyboard, you said, Command old shift and E full windows. That's just control Old shift and E. And over here you can see you have a brand new layer that just has all of our adjustments. If you go on click all of these, you still have everything that looks the same. On top of that, we're going to bring in a new curves layout. So Kerslake over there and we are going to a mask that out. So you just click on the mask over there and say, Command, I invert that black mask, go over here to your curves adjustment and just going to bring the curves up a tiny little bits of again since, uh, my just it's such like that, then on the side of here as well. Oops, There goes roughly of there. That looks good like that. And we're gonna make one more adjustments. And that is the hue and saturation there. Same thing. Click on your layer mask. Command I to invert that black mask and bring your saturation down to about minus 20. Annual life's too about plus two or three. That's good. Select all three of these layers that you just created, say command G to group them all together. And it's labeled us eyes. Okay, so the eyes also again something that people managed to really, really, really overdo. Somehow we're going to start this off on the stem physical layer that you made earlier. You're gonna click on that And this we're gonna delicately can call sharp and scary are shopping off the eyes. What you gonna do is kick on. That's go to falter other and high pass very, very popular technique for sharpening. Also, it can be overused. We're not gonna be over using it. We have a radius of about 18 that should work for most portrait photographs pic K and go over here to soft light. We are going to put a mask on that. As you can see, that's just gone shopping in the entire photograph. We don't want to do that. We just want to shop in the eyes. So we're gonna put a nice layer mask on that command I to invert that and we get grab your brush and go over here to the eyes on the Slayer as well. We want to change the capacity down because we've made that quite potent about between 75 80%. And we're gonna have your brush at about in 80% percent opacity and just nicely go over the eyes, like so get those guys nice and shop. They were gonna move up here to the curves layer. This is going to be the Brighton layer. There you go. This gets a little bit interesting. This is a technique I learned from Danny Diamond. What you're gonna do is you're gonna have your brush on zero 5% capacity yet again. No, I'm sorry. 10% capacity. And what you want to do is you want to get a brush that's roughly the size off each eye, and then you're going to press down once and then you gotta make you rush slightly smaller and press one Stan again smaller Press down smaller First on smaller press down smaller Preston until you get to just inside the iris of and we're gonna do the same on this side. So just big enough for the entire I and breaks down once smaller, downwards on and keep going until you it's just inside the iris over there. You can see how big a difference that makes, and it makes a nice, gradual difference. It's not overdone. You're gonna see with these three simple adjustments how big a difference we have. This is our whitening layer whitening. You know, if y sitting here inside the eyeballs and the teeth whenever you do see them still assuming nice and closer here, here, we can have Ah, 100% of capacity. We might bring down the passage over here, depending on how it looks. Obviously you don't want to be touching your skin. I just want to be taking everything that is supposed to be what's Yeah, it's looking good going to the other eyeball. And you really, as I said, just want to be staying nicely inside the white areas. Don't be going out. This is gonna make your skin look funky. If you start whitening skin and same thing for the teeth over there gonna stay away from the tongue and the lips on this one. Make your Russian ice and swords get into those hard to reach places. Yeah, I find it works quite nice to color in in circles. As I said I mentioned earlier, you're gonna need a bit of a Wacom tablet or a pen off sorts to do all of these wonderful things that's looking good. So with our group selected, we can go and see the before and after your what a mess of difference if we zoom out Massive, massive difference there on the eyes, but not too much that it looks fake or unreal, just enough to make it look really good.
7. Toning: Hey, welcome back to what will probably potentially be the last video in this skill. Fear. Siri's. In the last episode, we saw how he edited the eyes with just three small adjustments and the massive, massive difference that it made. There's that before and the after assuming a little bit. Plus there for you the before and after three small changes. Massive, massive difference. In this episode, however, we're going to go into something that was a complete, complete deal breaker for me. It was just something that was so big when I found out I could never understand how top photographers and editors and re touches managed to get their photographs to look this way . And when I found out it was just mind blowing. So I'm hoping that it's gonna do the same thing for you. So we're going to go down here to make a new adjustment layer called Radiant Map. Now don't get a fright when it looks like this. It's not going to stay like this. We are going to change it, go down every year. It's the Grady, a map and double click to get a bunch off different radiant editor presets. We're gonna look for the one that looks like this has got the blue and the orange. It's called blue violet, yellow, orange and then click. OK, if you can find it, you should be going into here. I believe it is in color harmonies and you should be able to find it. Blue violet, yellow orange click. OK, then, obviously we're not gonna leave a photograph like that. That doesn't look great either. So we're gonna change. Are blaming mode to screen There it is, which already looks much, much, much better. I always think that the orange looks little too harsh. I go right into the middle off the orange. That looks better. Click OK, and then we're gonna take our capacity down to about 20%. And look at this crazy change. Look, there's the before on the after. This is what we call complimenting colors. It's the blue with the orange yellow. And that is why this managers to make this photograph look so crazy crazy. Good. Now, if we combine all of these good on you select all of our adjustments that we've made of our grouping together. Be ready to have your mind blown because this is gonna be crazy. So this is the before and the after before and the after
8. Final Before and After Outro: welcome back to what is really the last episode in the skill share. Siri's the last time we spoke, you saw the toning adjustment that we made on this photograph. Now we're gonna have a look at the a bit of a before and after in light room. So we're just gonna close this up. Safe saving should take it right back to light room. Thank you. And in back in life room. There it is. That is ah, really innocent photograph. And if we go to, ah, light room, it's a photograph and we say, re sit. We can now see the proper before versus our edited after for golf before, after, before and after. Thank you so much for traveling along with me in this skill share. Siri's. I hope you've had the most amount of fun and learned something along the way. If you have any questions, please feel free to ask any suggestions. Send those along as well. For now, it's Henry Marsh from Henry Marsh. Photography Keep shooting
Henry Marsh, Photographer | Writer | Traveller
