Photoshop Retouching Techniques for Every Problem

1. Introduction to the course: thank you for getting this course and giving me the opportunity to teach you art off retouching. My name is match in and on the day basis. I work in the photography industry as image postproduction artist. I have worked with top brands and photographers, which gives me advantage comparing toe other for the shop teachers because in my courses I teach knowledge based on real life experience. I worked for top fashion brands and my work appeared in such magazines like Vogue Numero Low Official Nylon and many others except the retouching I have been teaching for the shop since 2012. I started from YouTube where I have been uploading Photoshopped keeps and tutorials. My free videos were watched eight million times just on YouTube. As my popularity grew, I decided it's time to start making premium content for people who want to learn more about photo shop and retouching. And to this day, I was trusted by tens of thousands of students on skills shirt alone who decided to learn from my courses. And now I'm coming to you with the course that will teach you retouching techniques for all of your photo shop struggles. Let me tell you the subjects I'm going to teach you in this amazing course. First of all, don't worry if you just starting with photo shop because in this course I will start simple by introducing retouching tools available in for the shop. You will know the differences between them, how they work and when is the best to you specify Toe. I was introduced to you different retouching techniques for speeding up your workflow, including their one very famous frequency separation. But in this course with totally different approach that will allow you to work non destructively. And of course, for those who seek more advanced knowledge, we will also work with Dutch and burn retouching. The think you will learn how to retouch even extreme cases off skin imperfection such as deep acne, scars and discoloration. What's best about it? All of it will be non destructive retouching. You will learn how to recover or build skin texture from scratch. You will learn different techniques for retouching such a things like dark eye shadows and other common issues. You will learn how to retouch her, including techniques on how to make the her soft and shiny. You will learn how to retouch body her in some more detailed work. I will show you many techniques on retouching leaps. You'll know how to clean them up. The finally plane made them smooth and on lead close. You will know how to retouch eyes, eyebrows, eyelashes, makeup and nails. This course will teach you how to deal with stretch marks under arm folds and how to retouch clothes and glass reflections. You will know how to mask even most difficult cases off Messi her and change background, how to define natural curves off the models. And what is the best about this course? It doesn't leave you with just theory like the other courses. I'm sharing with you some images and I'm giving you some special tasks to do so you can practice the certain element on provided images, which you can show later with me to get my feet back. You will not be left alone in your photo shop adventure. And don't forget that in this course I'm Sharon refused him off my retouching actions that will be perfecto for speeding up your workflow. So if learning for the shop retouching for absolutely every task from expert in the field is your fink, I feel we should jump to the next video 2. Healing brush tool: we are going to start from introduction off retouching tools in photo shop, and the reason for that is because we'll be using them all the time for many different tasks, often connecting with other techniques. And all of the tools in for the shop are located here on the left hand side, and the retouching tool that you'll use the most will be Hey Lena brush tool or optional spot healing brush tool. Some other will be patched. Oh, and accept that. Also, we will have clone stamp tool so we could distinguish this into a tree categories here and rational Pashto and Constanta in this ice on arm going. Start from the introduction off here in brush, toe and spot healing brush tool. So I'm choosing days at first and healing brush role is best to use on an empty layer because we always want to work non destructively in front shop. So you don't want to start working on this layer that we have here and change it, because if we do mistake and we miss it instead of doing step back straightaway, then it will be much more difficult. So you always want to have some safety landing. That's why when you work with this tool, you should always create a new layer. And when you work on this new layer, you can rename this inter clean. For example, if you double heat, you can change the names and then you work a both your image. Once you do it, you have to send few things. First of all, as the sample you want to work as current and below, it means you work on the current layer, which is this empty layer and below, also affecting background later, if you will work on the background player, of course you will want to have checked current layer or current below, and then you still will be affecting daughter lays. In some other cases, you might want to work on the on current layer, and if you work with all layers and you have some layers a both with different color effect , you will be affecting all of these layers. So you start with current below, and when I clean the skin was important for me is to keep hardness off the brush at 100 because I don't want to Messam the texture. So I keep it 100 to be very precise. And then he countries the J on your keyboard to switch to heal and brash. If it's not that, and it's perfect tool for removing such a small spots as you can see right now. So what I'm doing once I locate this spot I want to remove, for example, let's say I want to remove this spot here and days here. So what I'm doing, I'm trying to place it next to the spot place in my curse or next to the spot. Then I'm going to press out eruption on the keyboard and it changed this cross. I'm going to hit next to it and then cover this boat and place it. Once again. I'm going next to this spot. I'm going to press outer option next to it, then release and covered the spot paint on it and its cover. Also, when we have her like this, you want to remove you, just heat next to it and go all the way down covering it so you don't have to press straightaway. You can paint with it, but of course it's good to be careful. And also, once you get used to it. As you can see, you can work. There were fast covering all of the different spots, so going down, we have some more of them. Have some lines here, and as you can see, this is the perfect way to clean up the image. And this is also the way how I clean most of my images and it's going rather fast, I would say 5 to 10 minutes on if you get usedto fast working. And now let's switch toe another tool, which is very similar. And it's part human brush tool. So what was happening with the previous talk? Because it needs to be explained ones. We work with it. And when we locating the area next to this bold and pressing our corruption, what is happening? We take the sample off the texture, which is that, and then covering it, and once recovered the texture that we copied. The sample we took is replaced, and the color around the spot is adjusted to color that is surrounding the spot. So I'm copying the texture, covering the texture, and the color is adjusted from the color surrounding the spot. In the case, off spot healing brush tool. It's very similar, though we just need to cover the spot. We don't need to press anything. So you have more spots and works perfect for small sports if you want to clean it fast. So as you can see, I'm not pressing anything here. I'm just covering the spots and the small spots are disappearing. So what is happening in this case, the texture and the color is unjust. ID from the color surrounding the spots and adobe tried to locate the best color and texture to cover the spot. So we have spot here. We just cover it without, of course, sir, and the color and texture in here is adjusted from some other location. This is how spot healing brush works, and it's much faster in use. It can be better in some cases when we have many very small spots and we don't have time to press interruption all the time, though in most of the cases I use just feeling brush till I get used to, I do it fast, so it's not big difference for me and also when it comes to spot human brush so it offers you a little bit more precise results. So in this case, when you have many small spots, it's rather okay. But sometimes you might need to be a little bit more precise. So this is how human brushed one spot healing brush work. 3. Clone stamp tool: next All we're going to talk about this clown stamp, Tal and many things. How does it work is very similar. We also going to work on the empty layer. We can rename it toe whatever we want. Also as the sample in this case, we will be working with current below and we also can set the hardness off the brush depending on the task. We are going to doing this case. So with healing brush toe, I pretty much always work with hard edged brash in the case off clone stamp tool, I really work with hard digit brush. So this is the first difference. The other differences. How does it work? In the case off given brush, we actually copy the texture and the color is adjusted to the area started to the surrounding area. In the case off from stump, we copy the texture and we copy the color. And you can see this simply by doing the same thing as before. You choose s once again if you want to switch toe cross stamp shows as once again J with before here and brush. I'm going to press out corruption in some location, toe take the sample toe copy. In this case, texture and the color and I'm going toe Place it somewhere else. And as you can see from this area, I copied everything, including the texture, including the color exactly to this area. So it gives us some more possibilities for precise work. But it also creates some difficulties because in the case off here and brush, it works perfect for small spots. Though if you would like to work with clone stamp on the small spots, our work would be much slower. Why? Simply because we would have toe Mannelly do every single part off the job. So this case, I would have to cloney and cover it strongly clan it and covered and not always be sure, down to the color feet. So as you can see, healing brush offers much faster work. For though there are some places that human breast doesn't work so well and I see one small hair over here and I'm going to show you example if I would work with here and brush, I just switched pressing J on the keyboard and I want to sorted out somewhere on the edge. Sometimes you can see what I'm getting here. Is this not very precise transition? So as you can see, I got some black color from the eyelashes over here because the healing brush does not work so well on the edges because it's trying toe unjust, the color from surrounding areas. So in this case, what I want to do, I want to do a few steps bags by pressing command or control and set on the keyboard. I'm going to choose clone Stamp and might soften the harness for easier working this case. I'm going to copy the area from here precisely unjust. It here. I got a little too far. So step back and then precisely cover it here. Go up. And as you can see, I'm not getting and we've transition between the eyelashes and the Bagram's. Also down here I can easily work inside the areas and close to the edge is to fix this sort of things. Those have another hair here. I could try with healing brash, and I see it's working. Not bad, but I'm getting small transition off color here. If I would work with class stamp. As you can see, I'm not getting and a transition. So depending on the task, I'm choosing healing brush or I'm choosing clones. Stan off course if they her stand out quite far or we have spots that are quite far from the edge is the healing brush might be a better choice. But if we get close to the edges or we have quite difficult areas, sometimes working with Clone Stamp might give you better results and save some time. 4. Patch tool: another basic retouching tool that we are going to talk about his patch toe. And it works different than clone stamp and healing brush, because in this case we need to work on the actual layer. So it worked non destructively what I'm doing. I'm duplicating my background player to do this press command or control and J. And now this duplicated layer I'm going to rename as the clean. So it comes toe patch toe. I don't use it too often, but it's great when it comes to covering some big spots. It could be some big marks on the skin. It could be under arms. It could be some big acne. So let's zoom in and let's see, How does it work? Patch Tal is in the same group where healing brush so you can just choose it from here. And then you drew this circle and then drying it out. And as you can see, the spot is replaced with no area. In this case, with the skin from the area, we drank the circle out after worries. It's blended nicely, so it works pretty well. It might be a little bit slow. It want to give you such a fast results as healing brush, for example. But if you will be experienced in fast retouching, it should not take to match off course. When it comes to the patch tow, it does not offer all of the possibilities. That's why when we use Pashto later on, we will want to use some other tools as well, simply because the patch tool is not so precise as some other tools that can be used on a micro level. Also patched on the top will have a few different selection options. For example, multiple selections. You can choose this parts a few different ones, and then you can drive them all together. It want to give you very precise results. That's why I am not huge. Fan off another selections so we can see and compare another selection, which, simply as you can see, you can cover one selection with other selection and the last one when you will be covering selections, the area inside will be visible. It's easy to assume that the first option is the best when it comes to really precise retouching. So this is what I'm going to use. And, of course, when we come close to the edge is it's not so simple toe solve this kind of issues. That's why, in this case I would do it later with a proper toe, which will be clown stamp. We can try it, but it will not be as precise as clown Stop could offer. And it's much stroller process. We have to be very precise. So what I do with Patch Toe and what I recommend is off course. Removing all of the major big spots that will be difficult to remove with other tools are when the other tools would have to be too big and would not be so precise. So for now, I'm going to stop. This is how Patch Tool works and over time will be mix in different retouching tools and solving different problems even when it comes to extreme acne like here, I will show you how to turn skin into healthy and natural looking 5. Using basic retouch tools for skin clean up: using three different retouching tools were going toe finish cleaning up off this image. At first, I'm going to continue with patched. Oh, because I already started to have Pashto. So I just want to show you how to clean up images in three different tools at once using the knowledge that we learned. So I'm going to quickly sort out the other part off the image. And after that, after I will solve the major issues that I see here, then we are going to switch toe some other tools. They're clone stamp and healing brush, which will help us to solve all of the small spots that exists on the image. This area that we just entered is the major issue. We had this big spot, so this is a little bit difficult here, and also I can see we're losing some texture here. It's not the major problem, the lost of the texture here, and also you need to know after clean up process, this will not be finished. But then we will need to learn some other techniques that will help us to get better. And so the troubling problem. So we'll be talking about things like Dajun and Burn. How to recover the skin texture, how to smooth skin have to work with some other retouching techniques as well. So I need a little bit more here. And then I will switch to other tool because the smaller spots can easily be solved with some other tools. So a little bit more here and once it's sorted, sorted with patch to off course because the skin nod I'm going to create another layer. This time would be empty layer. And I'm going to name this clean number two, starting with hearing brush this time and with healing brush, I'm going toe sort out the smaller issues and here already started with this small beard. I cannot get fully to the bottom, but it's not a problem because with help will come Flintstone. But I'm trying to solve the others pods, and the reason that we are cleaning up this image with the basic retouching tools is it's because it's often claimed that certain things are impossible to do with basic retouching tools. But what's important for me is to show you that using the basic tools in for the shop, you can achieve everything so you don't have to use any fancy techniques, but you just need to master what for? The shop already offers. See, even though you don't want to experiment everything and you getting confused by the work off basic tools, I want to show you how to do it. Simple on by just using what you have here without googling too much and getting confused with some layers on the side. So then underside when it comes to the top under the eyes. As you can see, it's not really troubling skin, but its poor. So this area, I keep as it is, and then I go down here because here in this highlight, we had quite a lot of spots. So this area needs to be cleaned, and I will be more here. I'm keeping for the Senate rather big size off the feeling brush, which also causes small looses of texture. Just not ideal. But it's the best way to work with this image. Summer look have a lot of discolorations here and at the end, switching toe clung stamp, and I'm trying to solve the edges so we have a lot of spots around the edges. Regularities so with Cranston. As you can see how great it works. I'm just trying to paint very close to the edge, but not directly or need toe make the edge straight. So when the acne comes out, I'm trying to do something like this two straight in this, and then I'm going to make it a little bit bigger and paint softly so I can soften the texture and the transitions from this harsh red spots. Here we will have some trouble, but as you can see, I can easily cover it. If Chronos stamp and then we have the same problem on the other side. First, I'm going to do as much as I can hear with healing. Brush the her inside. They're not too difficult to remove. And after this, I'm going to switch to close stump and solve the issues directly on the edge just like this . So he solved major issues, and now we basically have some discolorations insight, so that will be for some other part. I'm just going to take her off rest of the spots, and that's all we can do. Having the knowledge from three previous lessons on how the retouching tools works because for now you can see we can keep doing it. But the change we are goingto apply will not be so drastic. Us at the beginning when we were removing their big actually. So now if we will be doing it the change. It's not as big because the problem now is not acne itself. But is this scars this red spots that we have after cleaning up all of the acting? So I will have a few more sports over here around the neck. And this is how you work with this tree? Different tools. Now let's move toe next parts to some other techniques, and once we gain some more knowledge, we can come back to the image and solve this kind off issues. 6. Introduction to frequency separation: in this lesson, I'm going to show you how to use the technique called frequency separation, and in this technique we split image in tow to separate layers. One layer will contain many color information, and the other layer will contain many texture information. And this is why we call it split frequency. One friend Quincy Color. Other texture. What's worth do not is that we do not fully split this to information into color and texture. But, as I said, one layer mainly color, the other layer, mainly texture. So how to start. First of all, when we start with no layers here, we need to create and empty layer both so we can just duplicate this layer by pressing command or control and J and this layer I'm going to rename in tow that lo and I can say mainly color, so we will have a little bit more information. What's going on here? Then I'm going to duplicate this lower layer, so I'm going to press command or control J once again, and this one I'm going to rename Inter High, so we will know it's high layer, and that will be mainly texture that you have two layers now and now we can start converting this into the proper frequency separation layers. So we're going to start with the low layer and this layer needs to be blurt out. So I'm going to feel her glory and the cowichan floor. The amount of garbage in blue depends on the size off your image, so you shouldn't actually follow exactly what I'm doing now. But you should pay attention to your own image and find the level of blur when you can see that details. But you still can see that major shape off the image. So 10 a little and 15 is just one point. I think maybe somewhere even between 12 15 will be right amount. And I don't want to get too strong with a blower. So I'm going off 12 and I'm going to hit OK, so this is for my lower layer. Then I activate the high layer and I go to image apply image, and sure, I need to set up all of the things correctly. So as the source, we have the image and the layer is as the match. So we need to change it and get the information from low layer. Then we go below to the target and the target is high layer and blending. In this case, how want to blend it for 16 bit image? It will be odd scale to offset zero, and this box invert will be checked. So when you know that you did this correctly is when you see this kind off effect. So how to know that your images 16 bit You will have information here if you have number eight year instead, off blending as the ad you will have subtract scale toe off, sent 1 to 8 and this box will not be checked as you can see the same effort. So pay attention to the beats and pay attention to the final effort. As I mentioned at the beginning, mainly texture and mainly color. And you can see it now on this layer, we can see we still have some off the informations from the color. I can see the red on the lips. I can see the colors off the eyes. I can see some color of the skin and hair, so that means it's not fully just extra, but we still half some off the color informations here. After all, I'm going to hit. Okay, so now I'm going to change planet month from normal toe leaner line. This is something we have to do. And after days you should go back to the results you saw on the bhangra player, so you will see your image. But it's this layer with Blanding motel in your light and the layer below giving you the final product here, which is the image. And now we are pretty much ready to start retouching. So for retouch, you want toe work on these high layer. You don't want to work too much on the low, we will work, but I will show you how to work correctly with these. So on the high layer, you can Onley work on the actual layer. So what's important when you will be using healing brush or clone stamp which is a little bit better in this case because it copy two of the things. Then you switch blending more toe current and the hardness off the brush at close to 100 or 100%. Once it's done, you can start retouching your spots on the skin and then you do everything the same way as you would clean it. As you can see, we slowly removing this part and this is how you can work with frequency separation. I'm going to do a little beat off work, and then I'm going to show you other options That frequency separation offers why it's a good way off working Well, it can be good if you use it correctly, but when you work on empty layers, sometimes you might get too far and maybe change too much off the color of the image by because of the fact that here we only have they're mainly picture information. It's hard to affect the color. So if color is correct, why to change it and you can work it. And you don't have to be careful so much on this top layer because majority of color information is below. So we're not affecting this and you can go fast. You don't have to be so careful. So this is great option if you need to go faster and you need to finish your retouching fast. Or maybe you want to just the few things to soften the skin. So this is how you retouch on the high layer is in frequency separation. Now let's move toe another lesson, and we check some other options that frequency separations offer. 7. Frequency separation - uneven lights: in this lesson, we are going to continue with frequency separation, but this time we're going to work on the low layer. I'm going to show you how you can work on the lower layer steel non destructively. We're not going to start from very beginning because I have some actions that I'm going to share with you and this actions include frequency separation, action for 16 bit image frequency separation action for a beat image as well. So I'm going toe. Activate the action information pops out saying in Gaza and Blue Earth I lactose radios that blurs out skin texture. Remember that radios will be different for each image, So I talked about this before. I'm going to heat. Continue radios a little bit more. 13 pixels should be perfect. I'm going to hit OK, and now our layers are ready. It looks slightly different from what I showed to you, but it's the same. Just different name. We have low layer. Where are the colors of the highlighter? Wears many the texture and this layer and don't pay attention to it. For now, it's just empty layer, so it doesn't change anything. We have top low and it's in the group, so if we re touch this parts, what we talked about before we do this on the top layer. But this lesson is about that bottom layer. So how to work with the bottom layer? What's the value off this bottom layer? And you can actually work with this? I would not recommend work too much with the bottom layer, but let's see. First of all, you don't want to work on this layer directly because it's too risky. So for security, you better duplicated by pressing command or control and the J. Once you duplicated days, you can start working in different ways. You can start using clone stamp on this air. You can start using patch toe, or you can blurt out some small areas. We're going to start working with clan stamp first, and I'm going to change the harness to zero, because on this layer you want to be soft. We still have it as the current layer, so the value is if you have some different color that you want to sort out, you can use it, take the simple next to it and paint on it. And what is happening you don't change the texture, really, but you on affect the color, so it's really important is that you still have to take care of the texture later, but you can nicely. Fikse the color very precisely, were found losing the texture that is above so you can start with clown stomp if you like. But, of course, don't overuse it. Don't go too far because it will be to race can. You might overdo it the other way off. Working here is using Pashto. As you remember, Pashto can deep Onley used on the actual late. So when we have some color, this proportions that you want to solve, you can use patch toe and try to blend it a little bit better. And it will be here throwing down. Yeah, and as you can see, it's slow blend. A dozen solve problem completely, but it does help to blend it, and then the image still looks very natural. But we found this major color shifts. Here. We can fix it a little bit more, and we will compare after this small changes. Let's have a look before after, As you can see, we blended this a little bit here. And as you can see, the changes that we are applying are very soft and non distractive for the image. That's why I like to work this way off course. Later on, we will be using these techniques for complete makeover off the images and for now is just presentation how the tools work. So let's move on to the next life zone, and I'm going to show you another usage off frequency separation. 8. Frequency separation - fix lights and colors: in this less on. I'm going to show you one of the most powerful features off frequency separation. So we cleaned Abdi's image as much as we could. We use some patch. It'll used healing. Brush glanced on bad. Still, we have a lot of scars, a lot of discoloration, so there's a few different ways how we can solve it. One of the easiest way is using frequency separation. So let's play the action. And this time I'm going to play the action for eight Beat because this image is eight. Beat image. So I'm going to play and action all the same as before, said on the radio. Use hit okay, and let's see what we have here. I'm going to open the group. We have Lola here we have the highlighter all the same as before, and we have this empty layer in between that I told you to not be worried about this before . This is the optional layer. Even if you don't have it, you can just simply create as many layers here as you want and the great feature off. This is the fact that it's below this layer on the top that contains may need the texture. So if you're going toe paint on this layer, it can go through as the color and the texture will stay this same. So on the image, like this one, where we have so many scars and so many different discolorations, we can use it for our advantage. And there is a few different ways how you want to work on this layer because you can just paint on it using brush tool. Or you can use, for example, cologne stamp toe or healing brush. So I'm going to start to show you how to work with the brushed Sanchez in the brush off course soft edged brush. And then I have some discoloration is here. So what I can do? I can press out corruption and with their I drop her, pick the color that it's next to the red spot and then paint on it. And then I'm going to another location, pick the color paint to cover and keep doing it. So this is the one ways off working. You can also use Klum stuff. I'm going to press s on the keyboard soft edged brush sample as the Karen below, because we work now on empty layer, and we want toe affect this empty layer and all the layers below. So now al Interruption to pick up the color and cover it with Cron stamp. And, as you can see, recovering all of this red lights and it's huge help. It still will not solve the all of the issues but its tremendous help, and it can make your work easy. You don't have to think too much. You just go all the way off course. You can also use Hyland Brush in this case, a swell, but probably here and brush will be at least useful. I would say the clone stamp is much better for this here, and Brush could also the a little bit off work when it comes with the color. But the change will not be so strong, and in this case you actually want something stronger. So that would be Kahlo or clones time. That's why this is something I prefer to use and I go through the sports that are red, and the great thing is the texture stay untouched because it's on the top. So we on Lee change the color that is such a big trouble for us here. Of course, you need to be careful because you don't want to get the color from here and painted here. So that's why you have to take ah, lot off clones next to the areas that you want to fix. So that's what I'm going to use everywhere I have these red spots on this image and face to this, it will be looking better and better. As you can see, we just did a few steps and already this image looks so much better off course, there will be many different uses on going to this image. We can also do the same. We can try toe work, manipulate with the lights and discolorations on every image, wherever we need to do it. So this is how I really like to work between the layers in frequency separation to solve many issues related toe color or lights 9. Dodge & Burn retouching technique: in this lesson, I am going to show you the must advance retouching techniques at the same time, being the most difficult retouching technique to master. I'm talking our doctrine burn retouching that this used mainly for retouching pretty images you can seat in beauty magazines or in advertisement. So first of all, we need toe understand what is doctrine Ben, and that Ben was used for a very long time before. For the shop, it's simply working with that light. Use exposure toe bright and certain areas of the image, or darken certain areas off the image. And it's very powerful when it comes to the skin retouching, because the skin is not the flat texture, some areas of the skin and it will be darker, some as a little bit darker, and this micro transitions make this skin on. Even the best way to work with it is using curve adjustment layers. So I'm going to open to curve unjust men players. One curve I'm going to rename to Dutch so on this layer will be brightening things, and another layer will be darkening. That's why I'm naming this burn. So burn layer, the light down and the notch. Layer the light up. Remember toe. Move the curve exactly in the middle so you will not get some weird light effects. So for best consistency, just brighten or darken in the middle. Once it's done, we need to invert the layer mask, so this is first difficult. Part is understanding the layer mask. When the layer mask is having white color, it means the effect is visible. And in this case, when we brightened up the image and the layer mask has color white, it means the images brighter when we invert this layer mask by person, command or control, and I were kind of the effect. So effect this invisible. I'm going to do the same thing on this both layers. I hide the ethic. If I want to bring back the effect, I can simply choose the brush and paint with the brush and white color on this black layer must. So I'm having white color of the brush if I want to. Brighter paint on this layer mask if I want to dark and I paint on the order layer mask. This is very basic understanding off the effort. Let's not step my by prison command or control and that how we want to work, want to work on the micro level. So we are going to make the breast smaller. We're going to lower the flow to be much more precise. And then we gonna paint with white color off the brush softly in the areas that are too dark and the areas that are too bright and will be switching between these two layers. So how we can know which area is too bright in which area is too dark? What I recommend to do is tow Activate the hell player to do it, create hue, saturation layer descent rate the image to make it black and white. Switch the blending mode to color. The reason why I'm doing this because I only want toe affect the color off the image right now and don't want toe affect the light because later on the effect could be wrong. Remember, this is on the help layer. It's not the purpose to switch the image to black and white. This is some, both as the help for our Dutch and burn retouching. I'm going to rename this Be damp you. Then I can create the kerf adjustment layers to increase the contrast here. If it's not enough, I can create more off them to see more contrast. And when it's done, as you can see, if you get proper contrast, you will see this proportions between the light. So then I can go back to Dutch and burn layer and softly painted. You see, here we have some dark lines, some softly painting with white color brush on the Dutch layer and a little bit here and here. This image is rather clean. Many times you probably face much more difficult images, and we're also going toe work on something like this. What it comes to the burn. These areas, the areas that are too bright usually are located close to the ones that are too dark, and you paint the areas that are very bright and step by step. You go over all off the image, usually usually in the corners, off the leaps. We have some dark shadows, and this is great way to correct. So that's what I'm doing now, a little bit under eyes over here and off course forehead. In this case, the forehead looks rather ok on the neck I had some big transitions. So what I want to do, I'm going to paint on it just to brighten. And soon enough we are going to see the result how it looked before and after. Even though we did not do too much work, the effect will be visible and you will see how great this technique is. And the reason for that is that we Onley manipulate with the light. We absolutely do not change the texture off the skin and all. And we only bright in the areas or dark and the areas it will be more here lets them out and we can see this is before and after can see here also changing. We could do a little bit more over here and it'll be here, got toe bright and just keep doing more and more Still, the level is satisfying. We can turn it off and you can see here We didn't see very well, but you can also see the difference. Even you turn off the black and white help player so you don't have to activate this, But it will be much easier working with activated black and white help player. So Now I'm going to move to some other image where the differences are a little bit more obvious and what I'm going to do here for this difficult image. I'm going to give a little twist, toe my Dutch and burn layers. So once again, I would create to curve adjustment layers. One duplicate. This will be D on stands and then be us burn for the Dutch. I'm going to go up with this and for burn go down what I want to do as well because we have a lot of this red spot and there are little darker, so we will be brightening them at the end. We might want to correct some light. So what I would do, I would create a both days hue saturation adjustment layer, and also above burn the same. Then these two layers I'm going to put to the group, select both of them command or control, and G. This will be Dutch and the other one will be burn. Then create layer masks on these groups. One and two. I'm doing this because we need toe actually work on the layer months. So we need them that I'm going to invert them. And if I'm going to use the white color off the brush on this Dutch lawyer, for example, somewhere here, as you can see this just example, I might need to correct some light after all. So if I want to do it, I can go to Hue, saturation the saturate or saturate the certain areas, so that gives me some extra flexibility. It's not necessary, but it might be useful, especially in cases with difficult skin like this one. You might want toe secure yourself a little bit with this option. So I keep Reppert also the actions, and I'm going to play the actions Dutch burn, and it looks exactly the same. Then I also have black and white help player, and once it's done, I can adjust the contrast over here and then start retouching, so I encourage toe down. Oh, that the actions, if you don't want toe ways the time on creating the layers, so I'm sure it will save you a lot of time. After it's done, you're ready to start retouching this troublesome skin and make it an even so step by step . We are not going to do everything off course readers to flow in this case aren't 5% should be enough. And I'm not pressing very strong off course. I'm working with the tablet, which is pretty much only one option. If you think off professional retention on this level, the tablet is something you must have, because with mouse, it will be very difficult to retouch manually. So if you work on a big number of images buying the tablet, even the basic one, I always work with the basic tablet size small, and I've been doing this for since I started. I never switched the pro tablet, and it's absolutely enough for me so slowly retouching, and I'm going to do smoke part off the face just to show the result. So you can see how powerful this technique is, especially in such a trouble in cases like this one. So a little bit you're but one thing you need to remember when retention do not flatten the face off course. What I mean by that you don't want their face to be flat surface, so we need to remember the shape of the face. So the cheekbones are always a little be darker, so you don't want to. Just bright in this area you want to softly on even just the micro transitions. But the natural shadows, natural face features you want to keep as they are and on the removed. What's wrong In retouching, the point is toe remove all of the bad things, but anything else do not remove. So sometimes, if you have some dark spots that are natural feature for the model, do not remove off course. Acne. Pimples are anything like this are not not necessarily natural feature, So these things always be the ones to remove. But if the model has some moles, you don't want to remove them unless the customer ask you to do it. So here we will spend probably some more time retouching. But we are getting this image to look a little bit better, and we can have a look how it looks just in few moments because this side off the face is already looking better will half probably a few minutes more on this side. Then I will switch to another side, and of course, after that I will have to go down. Don't make the mistake to retouch just the face and leaving the neck and the chest hands. If this is something you need to return, so don't leave the other parts on retouched. Make sure that all images retouched and even because it looks weird if you don't do it. So let's have a look. We did some work, and you can actually see the massive difference. Even with it, a little bit off work can see on this left hand side. How nice. It's getting to look a little bit more work, and this image is for sure, going to look perfect. So now let's move on all of the techniques, the basic retouching tools, you know, you know the frequency separation technique, and now you also know dance and burn retouching technique. You're ready to start working and solving different problems in for the shop. So let's move to the next lesson way 10. Correcting skin color after retouching acnes and scars: Once you finish skin retouching and dodge and burn process, you might not. This few things sometimes when the face has a lot of scars, when has a lot of pimples? After we're finished retouching, there is still a lot of discolorations. As you can see on this face, you have the yellowish color over here. Here we have more of the pink colors, so we end up with the face having few different colors. And we must actually correct this on the very end. So the first step off correcting the color is these layers inside the Dutch and burn that I could so we can saturate or the satire it. And as you can see the areas that I was actually dodging and burning, sometimes my appear a little bit more saturated, so I can easily correct this areas over here off course, not too far, because it's not going to look natural, so we might collect wrecked people beat. But to be honest, I find that that this is very rare, that we get so major discolorations and it always depends on the Hugh off the color. So if the skin will be very orangey then and this kind off things might appear and the pale color. It's not really beak of a case. So what's the other technique? I like to create an empty layer on devour end. If I have some discoloration, is, of course, then I'm going to name this color, and on this layer, I'm trying to paint over the areas that I feel the color doesn't much. But first I need to change the blend mode from normal to color. So now I can be sure that whenever I'm going to paint on Lee going to affect the color off the image, then I'm working with the brush soft agit brush. We can go with 100% for the good visibility. Now and then, I'm going to find the areas that I'm not necessarily happy with the color. So over here I have some pink color. So I'm trying to get the color that will be more natural somewhere here by pressing outer option. And with this eyedropper, I can pick the color from different spots. Then I'm discovering these red spots and let's have a look before and after, so I'm going to do the same with your the areas I have some red color over here, so I'm going to get some more natural color and softly paint over here, and we get in a little bit better color. So remember to work smoothly on transitions, he will have some of the yellowish color. And this way we're able toe correct this unpleasant major differences off course. I don't claim that the skin needs to be perfect or does not have any major differences. This is why this techniques I'm actually on the using with some critical situation. So if I have a write off red color in some area, then I might correct this. If these discolorations are looking rather natural, there is no reason to be worried. So here, a little bit. I could try to correct this a little bit here, mainly with this paler color. We actually decide rate in this and it'll beat, which is a good thing because the red color has a lot of saturation. Here is actually with the bride creamy color. When the saturate it actually create more natural outcome for a look. As you can see on this cheek that a lot of this red color and now it got a little bit more saturated with this creamy color. It's a little bit under knows. Here we have some red spots that could be retouched even more, some orangey here knows, can stay a little red and on the other side of cheekbone. It looks quite natural here, but we can and maybe some soft layer on the other color. So let's have a look before and after. So this is two different ways. If you need to correct color now, you know how to do this very easily, using an empty layer and the brush. 11. Recover skin texture: loses Skin texture is quite common. Issue one really touching and use your core when we have to retouch the skin that is troublesome. That will have some deports a lot of people's and were forced to use techniques that, unfortunately, my destroyed the skin texture. And then we have some problem because wants to make it look natural when the skin texture to be visible. So how to do it? I have this image that was stock image and under start I'm not, is that this image is lacking the texture over here, just below the nose. As you can see, we have this flat spot over here. It's like in the texture, maybe a little bit here. Another major part that I see is like in the texture is over here just about die. So my favorite way off doing days that allows me to save a lot of thymus. Well, it's working with high pass, so if you already recounts the image this image waas slightly retouched on the top, we need to create a stamp to create a stamp. You need to make sure Dan did the top layer. You are on the top layer so the top layer is selected, Then I'm going to press command or control out corruption shift and e. So in my book, that's command option shift and e on windows That will be control out shift, Andy, that I'm going to name this texture number one because we might need a few off this layers and then I'm going to filter all there and I'm going to use high pass. So high pies gives you something like this. And now we cannot a switch areas actually have the skin texture. So here we have quite a lot skin texture on the forehead. We have quite a lot skin texture. We don't have much above the I, as I said, and we are missing it here. So first think we need to trust radius that will allow us to define the size of the skin texture that we want off course. This Raiders aren't hurt its way to match. So I think I would be going with some around 10 pixels. I feel the texture here s well defined. Also over here, maybe even 12 for a little bit stronger effect to show that I'm going to heat. Okay, once it's done. We need to change the blending mode and depending on how strong the effect you want, you might want to go with soft light, which gives you rather soft effect. Overlay gives you more contrast. And then we have thinks, like hard, light, vivid light that gives quite extreme contrast. So I'm going with overlay. At first I need to see Dwell and what I'm going to do. I'm just going to drag this texture down to the area when it was missing the texture. So maybe this part, of course. We need to check which part actually suit here. Which part looks well so we can go to different ways. Of course, you don't want to play sleeps here, but I feel this part will be matching the best. So once he's done, I'm going to create a layer mask on this and invert this layer mask by pressing command or control. And I because white layer represent things that are visible here, black layer invisible. Then I'm pressing B on the keyboard to choose a brush flow 100 more normal, soft edged brush and everything is correct here, of course, white color. And then I'm painting over the area that was lacking the skin texture. And as you can see, I'm bringing a the skin texture that this fake for this region because I took it from some other part but nicely imitate the skin texture in some other area. So before and after, more likely you will want to end up with the image like this, then with what we had before and then off course, you can manipulate with the blending month and see what kind off result you want to have you so hard. Light was giving me nice result. But I'm going toe lower the opacity to match it. And I feel with something like this, I'm satisfied. So let's duplicate this and I'm going to do one more. Think yet. So I'm going to create a stamp once again. Command option shift and e takes Trump number two. And then was he get heip us. Okay, And now quickly, Good to start with overlay again and I'm going to drag it down. We'll see if actually the forehead or something like this will match this area. I don't want something harsh, so I'd like to keep it soft, then create a mask inverted this and paint over to bring back some natural looking skin texture. And that would be, of course, there's many different ways of doing it. If you work on this image and it doesn't have much skin texture you could use, maybe some off your other images have very visible skin texture, and then you can open another image and use the texture from some other image by moving days as the layer to this project, then converting into high pass and changing the blending mode and adjusting to the specific area in the next Tyson. I'm also going to show you one more technique. How you can create the natural looking skin texture. 12. Create skin texture from scratch: in this lesson, I will show you how to build on the skin texture from scratch. First of all, we need to create some layer on the top bad. This time it won't be the image, but we need to create the feel layer. That's what we can do. We can create an empty layer. I'm going to name this texture and I'm going to feel this layer with 50% gray because feeling the layer with the great color allows us to manipulate later with blending modes to imitate texture and making the color invisible. So now I'm going to feel this layer. I'm going to end it feel. And I'm feeling this with 50% grade, okay? And now we can convert days to the smart object if we want to work, not destructively, or if we feel confident there is no need, because this is actually very simple task. But just to create good habits, I'm going toe convert days, too. Smart object. Then I'm going toe filter and chosen camera filter, which is available in photo shop CC. Now I'm going toe one of the last panels which is effect and drugging their grain. Until that decent level. So this images like rather big size. So I want to have maximum amount of grain, maximum size as well and maximum roughness, which is still not necessarily enough for this image. So more likely for most of the images, you'll want to have maximum amount, size and roughness that I'm going to hit okay and snow. If you want to see what we have, we can change blending amount too soft light or overlay in this case. But from what I see, it still does not imitate the skin texture over. Well, more likely it exactly look like a nice. So I'm going to filter and use camera future once again, and I'm going to apply one more layer off noise. So grain, beak size, roughness. And maybe I go with amount quite decent amount of swell. And now, as you can see, it's breaking the first layer off noise, so it kind of looks more natural. If want to polish this a little bit more, we can go to filter order and use high pass filter to break it down, even fender, in this case, maybe radius on 2025 pixels. I think we're quite well that I'm going to heat, okay and then create a layer mask. Invert this layer musk, and on this layer mask, I'm going toe paint over with the white color to bring some freshly made skin texture. So once again, this is one off many techniques, and I would encourage everyone to try to find different techniques. As I said, you can always use some other image. You can try to create the texture from the noise. You can try to create the texture from there filter gallery that you have in the filters. Or you can find some simple texture on the Internet on the Web, apply as the layer and then manipulate with blending modes with filters like High Pass to create natural looking texture. So now let's move to the next lesson. 13. Remove dark eye circles - method I: dark eye circles are very common problem in portrait photography. I'm going to show you a few different methods How to deal with this? We're going to start from very simple technique in this lesson. So as you can see, I have some dark. I'm banks here I am going to create an empty layer and I'm going to name it. I box. I'm going to press as to choose the crown stamp Soft agit brush the blending mode. We can keep normal here and sample current below. Then I'm just going to go below the eye. But take the sample, copy that and then painted here just like this, very softly. Then what I'm going to do, I'm going to change blending mode from normal to lighten. Even though you can't really see beak off a difference. The light and bending moment. Make sure that you cannot get brighter, then the level from which you took a clone. So it's actually brightening everything darker than this area, which make it very precise. So we can polish it a little bit better depending on how strong you on the effect go to the other I and the similar think painting softly. So just like this, we can zoom out and have a look before after very simple method and take on the one minute . 14. Remove dark eye circles - method II: in this lesson, I'm going to show you how to remove the dark eye circles from the portrait image, and this time we're going to use frequency separation. So I'm going to my actions that I provide in this course, and I'm going to quickly play the frequency separation action the same as before. So you remember it all after that. What I want to do to show you the first way, because I'm going to show you two different ways. The first way is duplicating the low layer, then lets him in, and I'm going to use the patch tool, so I'm going to choose Patch Tal. Then I'm going to draw a circle around the eye bond and drive it down. Maybe Teoh this level and that's it. Let's have a look. So not ideal, because we have some other shadow over here. But it could easily be corrected by the same thing. But now let's have a look before and after. Let's blend some more areas over here and now I see one more part here, some shadows and you can see before and after, simple as that. So now let's move to the another. I and this time, I'm going to show you another way that could be even better. So I'm switching to this empty layer, this named tones, and this time we can work weather with brash toe or clone stamp. The choice is yours, and when you work with that rational, you need to press interruption to choose the color below the dark circle and painted. Just like this, you can choose brighter color if you need that little bit more, and that's it. So how does it work? It works because on the top we have the texture, So the texture keeps the natural pores and skin texture on top and below that we just correct the color. So the other way would be very similar. Let's go back. We can choose Clone stamp sample Karen Below and just corrected with the clown stamp. No need to worry about anything, girls, because once again, the texture is on the top and dismantled works even better. Then the first method, because off this high layer here, So now we can see this is before, and this is after two different methods using frequency separation 15. Remove dark eye circles - method III: The last technique that is great for correcting I circles is correction with the light. So it's our doctrine. Burn retouching technique, and I used most often, so I'm going to curves. I'm just going to name it. We can name it, I circle, pull up the curve and then invert the layer mask, command or control, and I Then I'm just going to press key like rash on the keyboard. Can't the flow maybe toe 5%? And then, with small, soft edged brush on, she's going to paint on it. So it allows you to be very precise in correcting even the small transitions like this one here and what's the best. It's completely non distracted because we only work with the light. If it's not enough, we can move the care of just a little bit more, or you can create another curve adjustment, tell you so I will do a little bit more here, Brighton this part over here, then go to another I and I'm going to do the same. If you don't see correctly, you can always create black and white layer or use my action, which is black and white help player so Now we have a little bit better view, and we can use it for our advantage than other side, a little bit here to correct so just few moves. It's all Manuel. It might be slightly more difficult than the previous techniques bobbed. You can do it at the same time when you do that and burn retouching, so you will save time. Here. You don't have to create an additional layers, and also it's completely non distractive. So once it's done, let's turn off their help player. Zoom out and let's have a look. That's how it looks like. If you feel it's not enough, you can always come back and do a little bit more work. That's why I always encourage to zoom out and check from the distance. If it all looks good, because when we zoom in will not always can see the bigger picture 16. Retouch background hair: in this part of the course, we are going to talk about hair retouching. We solve such problems as straight background her as well as cross her. And for all of the issues, I'm going to show you a few different techniques. We're going to start from this image and we have some background her over here that not necessary are improving the image. Maybe we not necessarily like this her over here, and I'm going to show you very simple technique. How to do it first, create an empty layer on top. I'm going to name this by brown hair so we know what we are doing. And then I'm going to use pen tal to make the selection off the hair. If your experience you don't have to use mental, but you can resume in use clone stamp toe karent layer and below because we work on the empty layer and then simply just cover it with soft edged brush being careful on the edges . But if you are not very experienced, using Penta will help you tow avoid some problems. So I'm going to use mental now, and I'm going to select the area that I want to correct. So, um, making the selection close to the edge, circling the hair so she can see um, with this slowly step by step. Then once I go further away from the edge, I can do just not very nice selection like this heat right or press control. And he on your tablet makes election, and we have to choose their feather radius. And it also depends on the size of the image. If you work with very small size of the image, the feather rages will be smaller. If the image is bigger, the federation's can be a little bit bigger, usually between 1 to 5. Because you want quite smooth transition. So I think three pixels for the same. It should be enough. I would be aiming for 23 peak cells. That's it. Ok, and now I have selection. Once the selection is done, I can use clone stamp or brush to paint over this area. So I'm going with clone stamp Press s on keyboard. Take the clone from here and cover the head. Remember, you have to be more careful if your background will not be solid on this one. So I'm going to remove selection. As you can see, the hair are removed quite precisely. So here it's just my mistake because I wasn't painting strong enough. Then we can go lower, and maybe we can also remove this part over here. Then I'm going to create another selection with pen tool. So going all the way down through the hand, close to the edge. Once it's done, I can do the white selection like this. Once again, the same control hit on my tablet makes election or hit right then. Okay. And now maybe we can use the brush and paint over. We'll see what results is going to give us. I'm gonna press B, choose the brush tool, and then I need to choose the color next to the head by the eyedropper. Some person out corruption he can day saw the color gets taken and paint over softly because there is still some small difference of color. So the best way is to take the sample close to the hair. You could be here and now we can remove selection and see. You can see the hair got removed. So this is very simple method. Using the pen, Tal gives you precise results. But if you get some experience, I would recommend just going with Crown Stamp and doing it fast. Mannerly. Who? 17. Retouch background hair II: in this lesson, I'm going to show you another method off dealing with straight background hand. This time we are going to work with the mask and you are also not going toe work on an empty layer off course. There is the way off working on empty layer and mask. When you create an empty layer, you paint everything around with the clone stamp and then just mask it. But there is better way off doing it. Or maybe even faster. Duplicate the background failure. I could name it number one, and let's look at this image, this side over here, then we have some hair on the left side and maybe on the top. If we want to do it, I'm going to start from here. I'm going to switch panic mode too soft line, so I can see. So I move the image. I'm moving the hair away few steps to make sure that I will co over this area. If then I'm changing it back to normal. Off course. You don't have to switch on blending months, but to see how far you move, the images quite helpful, that I'm going to create the layer mask and as we talked before, white layer mask represent that this layer will be visible. So I'm going to invert this. I'm going to press command or control and I to invert and make it invisible. Once it's done, I'm going toe paint over this area here, close to the edge to bring back the head. So I'm zooming in brush and white color off the brush. Then I'm just going to paint over and what's important to say. This method will Onley work when we have solid background as this one if we have some different color or even different lines off the background, this technique will not be very helpful to use because then we will see the difference in this area compared to the area next to it. But if you have just different colors and different lines, you stay with the technique off, using close stump and softy. Paint her by her, some going close to the edge. Let's say just like this, zoom out, it's sorted. Then I could go to the other side. This time I would create a stump so I can press command or control outer option shift and E . And then move this from the other side, create a mask, invert days and do exactly the same stuff just like this. And now let's move to the next lesson. 18. Retouch cross hair with clone stamp tool: in this lesson, I'm going to show you the technique I use for retouching. Cross her legs mean I'm quite experienced retouching, so I always work on empty layer. And if you get some more experience, I believe working on empty layer comes as the easy one, and few thinks I have already empty layer. I was retouching some of the background her on this. I'm working with Clone Stamp, and what's important in this case is soft edged brush with hardness and zero mode. We might switch them. Actually, the flow I keep it 100 and the sample current below when it comes to soft edged brush. I'm also going to provide you the soft edged brush within this course. So let's zoom in. And, as you can see, this hair, the rather tiny But they have quite many small cross hair, so I'm making the brush size smaller, nearly to the size of the hair, taking the clown next to it and then painting in the same direction. So what we actually do we kind off smudged hair down, just taking clone and painting over as you can see and think to notice. I'm doing this in the direction of the head, So I'm going to retouch the same way a few more hair and other things do not. This off course. For doing this, you will need that one come tablet or maybe some other tablet. But welcome is the major on brand that produced the graphic tablets for retouching and graphic design with mouse eight Runner would be impossible or close to impossible to retouch cross her in this way. So I would recommend this technique for people who our professional in photography and want to improve retouching skills or for anyone who think about retouching career. So, as you can see a few simple moves and we can see before and after, and also we barely lows any extra off the head. So this technique, using simple tool I would consider as the technique for professionals 19. Hide cross hair: There's one method not necessarily for removing cross here, but if you have some of this soft bride, cross her, you might just want to hide them a little bit. And photo shop offers you few ways of doing it. They're very easy. One is using dust and scratches, and I'm going to show you how does it work? So when we have the background layer, of course we need to copy it. So Prison Command or Control and J to duplicate this, and I'm going to name this hide cross hair. After that, I'm going to zoom in the area that I have some of this small, bright head. And because of the fact we are going to work with the filter, we might want to convert this layer into a smart object. I'm going to press control and hit on my tablet or heat right convert to smart object. It might take a while, but once it's converted, we can go to filter. I'm going to filter noise, and I'm going to choose dust and scratches. So let's put this down to zero, whether it's our radius and fresh hold. So I'm going up with radios toe at this kind off blurry effect. So it's the strength off our effect itself, as you can see what I'm increasing radios, all of the target in kind of blurry, but it's not necessarily blue effect, but first of all, it's removing the smallest part. So now it's kind off blurring everything around 15 pixels. So it's too much. Let's go lower. Maybe I want eight. As you can see on the preview, we kind off removed the hair. Then we can work with fresh hold toe, bring back the contrast. So as you can see when we go up with the fresh hold, it only preserve the effect between the areas with a big difference. If I go up with this, it restore all of the effect applied that at this stage there is basically no different. So I need to go back and slowly go up to the point where I restored the texture off the head. But the small find higher I want to remove are still not visible, and I think I'm that quite good point. Maybe a little lower fresh hold 18. As you can see all of the small cross disappearance, I could probably go a little bit more. I want this effort to be asked natural as possible. I'm going to hit okay in The good thing about smart object is if we feel it's not enough. For example, comparing before and after we can hit this smart fielder. And then whether we want to change fresh hold or change the radius, we can do it in nondestructive way for me. It's okay now, So I'm going to hit OK and I'm going to create a mosque on this layer. Before we move on. You can have a look. How did it affect the image and ask NC We lost. A lot of details are on the leaps around the eyes and hair off course. We will want to invert the mask because we only want toe affect the certain area. So I'm inverting the mask by pressing command or control, and I remember to keep the mask selected. The zoom in to the hair, choose the be like brush on my keyboard, white color off the brush, and then I'm just going to paint over with this white color off the brush around the head. And, as you can see, um, slowly hiding the hair. I don't like. I'm hiding their frost hair that I feel are a little bit too strong off course. We can go further with the effect and completely hide all of this cross here. But I think that would be not really suitable for this, Amy. So my mission is just a little bit Improvement can go even with bigger brush. We don't. We have to be so careful. If the fresh hold is set in the right point, the effect will be very natural. So depending on how strong the effort you want, this might be the great way off hiding. Cross her on your image and let's have a look. After these few simple steps before and after, even though very simple stab her looks much smoother. And we can work a little bit here. As you can see itself, these issues perfectly 20. Retouch cross hair with frequency separation: now I'm going to show you how to retouch her. Is in frequency separation with ease. First of all, we need to start with frequency separation, and I'm going to use the action for these. The action you so before this is 16 bit image. So I'm going to start with frequency separation 16 beep. I'm going to play and said the radius as it feeds for this image. I'm going with 12. Probably somewhere up to 15 would be suitable for this image. Then I'm going to zoom in close so I can have a good look on the hair. At first I'm going to start with the major cross hair that I see here. And also some of the background half for background hair. I'm going to create the layer on top off this high frequency layer. Why? Because the empty layer works a little beat better for the single her on the background. When we will work on the highlighter, we might leave some color behind. So I'm going to name this background head and first I'm going to start with this highlighter. So I'm going to choose the clown stamps, so I'm pressing s on keyboard small size and truce current layer. This technique will be very similar toe working on the empty layer, but this time we will have a little bit better control because all the color is located below. So what we do we only fix in the texture or majority off the texture. And if you don't feel confident with working on empty layer, for sure, this is technique I would clearly recommend, as it's quite difficult to do a mistake, some simply painting over the bright cross her that I can see and good think with frequency . Separation technique is off course. It's good to go with the direction of the head. But even though if the hair do not go well with the direction as you can see, we can retouch this quite easily and the difference will be barely noticeable. So we have, ah, lot off, so it might take a few minutes to sort it out. We probably not going to do everything, but let's retouch the major cross hair that we can not kiss, and after that we can move to some other step that will also improve the hair. So here we have one very long I'm not reaching the bank ground yet. When it comes to the background, I will take care of this a little bit later. So just been here. I can zoom out a little bit, so I don't have to be bordered by the smallest error. But I just want to retouch the major. Think and soon we can compare how it looked before and after. So this lesson will be a little bit longer, because I want to do Nellie our food work so you can see the complete way off work, including cross here a few of the band around her and also maybe smoothing out the lights on the hair so they will seem suffer overall if you already it's ah, big improvement, as you can see before and after. It's a big change, but sometimes when we re touch, it's hard to notice how much we've done some more here. Also, I'm rather a thin off keeping things natural, so in professional work you will never be asked to make thinks completely smooth. That's why I try to keep it's natural as it is, if it would make the things completely smooth. Unfortunately, it doesn't look real and people always know this is not how it waas, so you want to make it look like it wasn't really retouched. Let's go out. So here we have a few more thinks, and once again for this technique, you will more like the neither tablet. So as you can see, we use a lot off painting, and if you would be using mouse, it would take a long time. So the best way for fast retouch I will be repeating this Friddle of discourse. If you think about getting photography and retouching more than just a hobby, I think it's worth to get the graphic tablet. Let's see if you can sort it here, and this is what I was talking about. As you can see, the color go fruit. So that's why it's best to leave the background hair on the very end. Some of the fair on the other side. Let's go below, just like this. Here we have quite December s. So let's hide it. And I'm already thinking that even using the previous technique just to hide some of this, her would be quite helpful. You're the truth. ISS. When it comes to the black hair or dark colored hair. It's a little bit easier than the blunt color off the her. Simply speaking, it's easier to hide darker her. So if you'll be retouching her off that brown color to black, you might have a little bit easier job. Then, when you will be retouching the blond hair. But once you get some experience, there will not be much off a difference. So I believe for now it's enough Now. I would take care off some of the hair here and take off the background head. I'm going to the top player, and I'm going to use healing brush for the single head. It will work perfect. She can see when there is not many off them. Healing brush will work perfect. When it's something closer to edge like this. I need to switch to current below and cover it just like this and bigger size. If we want to remove the bigger group off the head, just us, it was shown before. I need to be careful when the bhangra has different color, like this one. So here I'm just going to blend it softly into the background, some single hand. So here we'll be healing. Brush will work perfect for it. As I said, I don't really want to go too far. And we keep in natural look So I'm showing you how I usually work also in my professional work. So here we have this unfortunate Baghran head that was very bright. Let's build the hair here If you step back. Wasn't ideal. Some single straight her here and on the other side We have some of the hair on the bottom here. So what I would do? I would try toe, make some selection or everything. Remove manually. This is the place where we can did it. Us. I showed you before just Crown stamp or Kyllo and covered this area. This is the best way for retouching this kind off problems. So here we don't want this coming out off the models back. So that's it. And for the last step, let's move to the next lesson and I'm going to show you how to give the smooth look to the her 21. Make hair smooth with frequency separation: now, as promised, I'm going to show you how to make the hair smooth and soft using frequency separation. And this time I will be working on this lower layer. So I need to duplicate this pressing command or control and J to duplicate days because us always I want to work non distractive e. And now we will be working with a few different tools. We can use Crown Stump. We can use our brush or we can use this much toe toe achieved a certain effect, and I'm going to show you a few different options. So starting with the crown stamp, if would be working this way off course, we need to work on the current liar. And if you see some more hair that you want to hide, the clown stamp will be perfect, though it's not ideal because it might make their certain her darker. And in some areas, you don't want to make them darker. But you just want to make them self so the few methods not are good to work with. First will be mixer, brush tool and here in top off course, you need to send the settings. I wouldn't tell you what are the ideal settings? But the best way is do not keep them too high. So how wet you want tohave your paint? We can go a little bit higher with this one. Our load we can lower and Meeks. I would also keep rather lower because it's the amount how much paint want to mix and flow is the strength off our effort. So once it's done, once I have this mixer brush, I can try to meeks the areas, the bright areas and the transition areas. So thanks today's my hurt should look a little bit soften and the texture will stay the same. Because, of course, the texture is on the top, so I will make brush now a little bit bigger. I can go with bigger brush and off course. It meant to be brush like be also to take the sample off the color we hit next to the area . We want to soften, and we paint with mixer brush and what is happening. As you can see if they think is too strong, you can always just unjust the settings on top. My settings are quite strong, I feel, but I can just lower the pressure on my tablet, so flow may be smaller. And Meeks also, I'm gonna get a little bit smaller. And now let's see how that work I feel now is a little bit better. So I'm going to do a little beat off this work, and then we will see some other tool dived can also give us similar results. And the choice is yours. If you will want to do this kind off work will have a choice and check what works the best for you. So we did a few strokes in here. And as you can see, the transitions are soften. We don't have this harsh light anymore, which is working quite well on this image. I could get even sulphur effect. I'm not a huge fan off center. Strong effects actually will see a little bit smaller effect continuing as I want to keep it as natural as possible. But the other method is working with this much toe, which is very rare. Think toe work. But it will work perfect on the low frequency layer. So I'm just in this match though, and basically it will work very similar to the mixer brass mixer brush. We take the color from one area applied to other, and the paint is mixed with the other color. This time we smudge the color base. US manned the image, but it below the texture. So the effect should be okay, and this might give us even more natural color results. Let's see, How does work so smashed toe? I'm going to choose it. Then we no need to do anything. You just paint over the image, and, as you can see, we Smadja so we don't need to take any sample. But you go all over the hair, and when you feel the light is too harsh, you can just smiled So different effect. But off course, I would recommend to be precise. Do not go overboard with this. Let's see on the other side, because on the one side there, the effect was already done. So let's try to do it here. Strength with lower for sure. Effort was very strong, so I want to lower the strength. It's much the hair a little bit here, and then we will see how didn't work off course in this case, when we do it direction off the hair is very important for both of the tool. So we go the direction of the head and that's how I look before and after here. You can see the lines got extended until beat more. I can't even make it stronger. And ethic is much suffer. Not counting this one, because I did this at maximum strength. So this not ideal here, this can correct this. Now I think we mail the strength and effect is actually soften than the one we did with mixer brush. And the reason for this is because also, mixer brush have different settings, so we cannot just the mixer brush, for example. We can adjust the flow and then off course, the effort will be softened. So always pay attention to the settings and also smoking for stroke. I did not mention, so I want to show you so you can use the higher values if you feel a little bit shaky. But if you quite experienced you, brother can't keep it low so we can go further. If it smoke it, a few more strokes and I think we will be done because this image, it's rather not typical beauty that needs to be tight, but more off natural beauty type image. So let's have a look at the hair before and after us. You can see huge change and the hair now first of all, look beautiful and also natural. 22. Paintery hair effect: I want to show you special effect that make your hair look pantry. It's important to know that this effect will not work perfect on the messy her. So if you have the image with the message her this effect is not necessarily for this kind of image. But if you have the image with the straight hair and you want to make them look really smooth, this video will be perfect. So for this, I'm going to use frequency separation action. So I'm going to use the action that I share in this course eight beat action off course because we work on the J pic image in this case, set the radios so 10 peaks else will be obsolete enough. Then I'm opening the frequency separation of group and I pay attention to this low frequency layer. I'm going to duplicate this and then I'm going to blow this. But I'm going to do this in the special way because I'm going to use motion blur. So I'm going to blow and then she's in motion glow. Then I will try to set up the motion effect pretty much in the direction off the hair. So depending on which area want to work? Um, trying to find the right motion and of course, the right distance. Because we don't want the effort to be too strong to ring there. Natural outcome. But I feel this amount is perfect that I'm going to hit. Okay, create a must over here some cretin layer mask and I'm going toe invert this layer mask. So now I can paint on this black layer mask and bring the effect back. This her are not probably ideal. So they go As you can see, they have a certain curve here, but it will work And it would work even better if the her will go in the one direction so I can increase the flow with white color of the brush I'm painting around the areas dot I want to be smooth just like this. So this is very quick. Simple effect for sure, Not something that I would recommend using for high and be to retouching but some more creative retouching. This effort really kind of the wonders If you're looking for this kind of results, let's have a look before and after us. You can see very simple step and it allows us to make the hair look very smooth. 23. Retouch body hair: in this part, we will be incorporating the knowledge that we already learned into our workflow. And at first I'm going to read on some off their body hair that comes out to the background and it's actually quite common issue. Let me zoom in to the area. I see it's a little bit troublesome, and as you can see, the her on this arm over here is a little bit troubling. So we better clean this up. And for me, the best method will be crowned stump. So I'm usually pressing s on the keyboard and next to it, trying to clean this up off course, we have to do it on their empty layer, and for this we can create a new empty layer. Or we can work on the layer that we already used before, for example, for skin retouching, off course, everything the same as before. We work on the current below, and for this, the soft edged brush will work best. So then taking the clown next to the head and trying to paint over us close to the edge as possible and with not really strong pressure because you want to have the quite smooth. I would say medium transition between the skin and the background. If you find the manual work a little bit difficult, you can always use the pen tal so you can make this selection around the skin with pen tal off course, you have to get close to the edge, so you need to make sure you're doing it right. Because once you do a mistake, you have to go back with the selection. So if we use in pencil he just to stand by step, you can zoom in if it's not very clear, so I could zoom in. In this case, If I want to be more precise, then here doesn't really matter. It right makes election. I will keep feather rages at three pixels. And with this selection, I'm still gonna take the clone next to this just in case. The color. It's a little bit different for the way and go down, so that might be easier method. If you don't feel confident, I can see we already did this and it will be different than on top. As you can see, the bottom is a little bit more precise, so I would have toe match the top. So if you use the panto, if you make insurrection, it's better to do all the work with the mental. And if you do the work manly, it's best to do all the work. Mannelly. So this is how I deal with this small, simple issues off the body, hair going into the background. 24. Retouch body hair II: next small problem I'm going toe work on is this small Gadi her. And if there is not many of them, there is no reason why you would use any order tool than basic retouching tools. And in this case, I would work with you in brush, tool or spot here in brash, sassy can see. There is not that many off them, and I don't think we need to remove the smallest dunce. So I work on empty layer current below, and I'm trained to clean this ab. So if it's not going to take me more than five minutes, I letting myself to do it. So as you can see, it's not that difficult. And one think you need to be careful as keep the small brush because if you keep the big one, then you might actually destroy some of the skin texture, and it might look retyped. Soto. Avoid this. The best way is to work with small brush on their way off working this way. If there is some more, this small hat could be working with frequency separation. So let's try with our action. I'm going to win those actions on. I'm going to play this frequency separation 16 beat can pixels in this case will be absolute enough. And I will goto high a layer straight away and the same way I'm I can work with hidden brush or clone stamp and, of course, on the current layer. And now I don't have to pay attention to the size of the brush and be so careful so I can do it a little bit faster. That's why when you have many small, fine body her, I would recommend going with frequency separation as long as you not fluent yet in retouching. Because otherwise there will not be that much, often advantage. But if you don't want to pay close attention, as you can see working with frequency separation really works great with this. So this is the major way how I couldn't fine body hair 25. Retouch body hair on the skin: in this lesson, I will show you how to quickly remove a lot off small body hair within seconds. And we will be using the technique that we learned before. And I'm talking about dust and scratches. So what we need to do, we need to create a layer on top. So if we have the clean layer already incorporated or we have some other layers, we have to create a stamp to do this on pressing Commander Control, alter option shift and he to create this. And I'm gonna name these fine body her to work non destructively the same as before. I'm going to convert this to smart object, though if you feel confident, you don't really have to do it in the tasks like this one, because the vision will be very clear. Once it's done, I'm going to filter noise and truce dust and scratches. And once again, I'm choosing the radios that will be good for removing this body her. So I'm going up step by step to pick cells already solved this bad on not fully three peaks cells, I think one more four pixels and I barely can see any hair. But it doesn't really look natural. So I need to go up with the fresh hold so the effect will build up on the between the areas with the big different. So now it's a little bit blurred and as we bring this up, we bring up the contrast as you can see. So if we go back here, as you can see, it brought up the effect because now on Lee, the major differences would be visible. So we need to go lower and I'm going to a fresh hold rather high because I want this effort to be as natural as possible. So I'm going to the point where I can see the major her. But when the texture off the skin off the hair, it's appearance. So I believe maybe around this level the fresh hold even 15 the skin is still natural, but I can see her. I'm going to hit OK and then create a layer mask. I'm going to invert this layer mask off course and once it's done, I'm going to choose the brush. You can just press be on the keyboard, white color off the brush, and I'm going to paint all over the head and why I'm asking it because we don't really want toe effect and other areas of the image. We don't want to lose the texture from the part of the world rope or anything else. We just want to affect this small hair. So I'm painting around this area, and if we feel it's too strong or not enough, for some reason, we can always double he on our smart object and change the effect. So now, as you can see, I covered this white, huh? If I want to change something, I can double heat on dust and scratches, for example, increased the fresh hold because let Sam's seeking for something a little bit more natural . And now I'm happy with the result. There's one more technique that will work quite similar, and this technique can offer as an action. So let's go to the next lesson and try some ordered. If me that will work very similar 26. Retouch body hair on the skin II: in this lesson, I'm going to show you another technique that allows you to deal with small body her, but also some other issues, such as rough, dry skin texture or some strong highlights. Makeup sparkles. So, first of all, a scenarios before we need to create US stump and actually duplicate desire. So we need to clean layers on top. So whatever you do, whether it's you have clean layer here or some other layers, you to create a standby, present, command or control interruption, shift and eat, and on this higher we will be sharpening. Then I'm going to duplicate this layer, and this layer we can call remove fine elements. In this case, that will be her, some starting with sharpening and leads him in because we need the ClearView and we can use any, actually sharpen that we want. That allows us to define this small her, but one of the best way will be on sharp mask. It will allow you to define the verifying hair and do not define other parts, and that's what we cannot. So when it comes to sharpening, of course, you want to sharpen, emit our image at 100%. And then you want to go up with radios and Wilfrid use going to go to the point where they think you want to remove will be strongly visible and with fresh hold you want to go app and remove everything else. So what do you want to do with the threshold to go up till the point? We're only the elements that you want to remove will be visible. I think it's around days, maybe fresh roll 22. Right now I can see there there are well defined and other things and not so much. So I'm going to hit okay that I'm going toe the top layer and it will work very similar to frequency separation in this case. But in frequency separation, as you remember, it was working a little bit different way because the bottom layer were blowing out. And this layer we are sharpening. So this works quite opposite and it works pretty much singler nearly the same ass dust and scratches. So then I'm going to file. I play image, and to this layer on top, the layer below will be a sharpening as the source that scale to offset zero because That's the settings for 16 beats. So as I told you before, it's at the same process us during frequency suppression, and we can already see if we did this correctly. I can see some of these dark dots over here on this layer, and it means that my here we're defined so I'd be able, hopefully to remove them. I'm going to hit okay and changed his Reddick much, too. Alina light. So it's on here and this layer sharpening. I'm going toe remove. I can see it's not necessarily enough. Probably I could do a little bit more, but it's very fine effect, as you can see, maybe even better, because it will keep the image natural. So in the case of frequency separation, what is happening? Basically, when we turn off the bottom layer they made become very sharp in in this case, when we turn off the bottom layer, the image becomes up. Was it so? It's kind of d sharpening my I can just create an empty layer here, invert the layer mask that they created, and with white color off the brush, we can just paint over and, as you can see, the hair will not be so visible animal, and hopefully we will bother us a little bit place when it comes to this technique. I offer these as the action as well, and it's called this one d sharpening 16 beat and eight beat. So this is a few different techniques on how I deal with body hair. 27. Removing fine moustache: something that was coming to me at great difficulty in the past was face her, especially when it comes today. Most of that is located just next to the leaves, and right now I usually deal with days with clubs tamped, working on current below empty layer, soft edged brush and simply I'm trained to take the clung next to it and slowly painted. The one problem of days is the fire that working with soft edged brush cause the loss off texture. So few steps banks, and let's see how it would work with harder brush so hard and brush does not cost that much off a picture loss. But it's not necessarily that natural and working with soft edged brush. We need to restore the texture later, and for sure we will touch this subject. But there is one method that allows you to work with such an issue. We found really losing the texture and it's working away frequency separation. So I already have this frequency separation that we were working on before, and I'm going to use pastoral as you remember when we work with Patch Tal, we need to work on an actual layer so working with this highlighter is the perfect match. I'm circle E the part of the moustache that I want to replace and just probably standby stem, trying to blend it with some other areas. As you can see, it's giving us relatively natural and non destructive results. And later on, when working with Dutch and burning for want to be focused more on retouching, we can easily make this area flawless and much with rest of the skin, says he can see It's extremely simple. Method doesn't take a long time and frequency separation if you smartly can be very powerful. 28. Retouch lips with basic retouching tools: in this part of the course, we will talk about everything related to leaps and will start very simple will clean up the leaps, and later on we move forward with some more difficult techniques. I will show you how to fix the color of the leaps, how to manipulate with the color of the leaps and how to make them nice and smooth. So let's start from the beginning. I'm going toe zoom in and the same us In the case off skin retouching, I'm creating an empty layer. It can be called clean if you do it together with the skin. If you do it separately, we might call it leaps. And I'm working with the same tools, so I usually start with healing brush tool. And in this case, as I work on an empty layer, it's carrying below heart ended brush, and I'm looking on the leaps all around. So first of all, I'm looking for some small spots, maybe possible her or in case if there is a lot of flip sticks, I need to make sure that the frame off the leaps, the deep line is cream. In the case, we have rather natural makeup, so we don't have to be worried about this on this image. So I'm just going to clean ab the major spot, so I don't want to retouch the natural shine. But I'm looking. What bothers me, some looking if there is some dry skin left on the leaps, or if there is some pimples around the lips, or if there is some on even lipstick around the lips, when it comes to the most in most of the cases, I will lead them. But I want this leaps to be smooth, and even so, I'm going to retouch this here off course, the sports around. And when it comes to Leap Line I yearly speech to the clone stamp and off course. In the case of the clone stamp, I rather trying to keep the hardness close to zero or zero because it's sensitive subjects so want to smooth out. The things aren't here, so I'm trying to softly paint and try to not lose much of the texture, so people beat here. As you can see, we have this replying a little bit uneven, so I'm trying to correct these dunker spots, and it will be here so that will need some soft and special touch. Let's have a look. As you can see, it's a little bit better. Let's zoom in a little bit more here, and as much as I can clean in this corner, I'm going to do it with hearing brush. But then I might need to smoke this out and try to not lose much of the texture with Crown Stamp just to fix the line. And this would be a little bit more difficult in the case when there is a lipstick. But off course, we also going to take her off the leaps with the lipstick. But as always, we are trying to start simple toe practice, everything that's possible. So that's the basic cleanup. Off course. They could be a little bit more off this cleaning with the healing brush. Clean up some of their sports with dry skin, but overall, there is not much work to do over here. A few more sports here and now let's move on to some more difficult examples 29. Define lip line: Now we're going to clean up lips with lipstick and then try to define the leap line. So lets you mean and we have some cleaning up inside and outside off the leaps and what you can see. The lipstick is not ideal, so we'll have toe feel this ample some color. But first of all, let's clean up on. It'll be come clean on this small areas with a dry skin. We have some hair around and they don't really suit. So I'm trying to clean up as much as I can with healing brush. And this lesson might be more difficult than the previous ones because there's so much more details that will have to take her off. So, first of all the hair, it might be a little bit slower. So we need to be patient this time. And as I'm getting on the edge, I might be switching between the healing brush and the clown stomp because this is the end . So this might be difficult sometimes to sort it out with here in brush, and I did, but the leap line is not even so, there will be much more work in this area. I might try to do a little bit more. We found trying to define the deep line yet, and if you feel experienced, there is no need for the finding this. If you could do it manually and paint over, that's absolutely all right. But there is one way that can help us to define the leap prime. So I'm going to make the selection around right now. And the best tool for doing this will be pen tal, some choosing Penn Tal and I'm zooming really closely because in this case, we want to be really precise in what we're doing. So you can go with a little bit longer selections just like this. They also will be more difficult, so I might have few tries and myself. I'm not often working with such extremes. So here I feel it'll be more like this. There might be some corrections at the end, but for now I feel we are doing quite well. Phil Wicker on a little too far here and here is the areas that might cause us a little bit of troubles. But we can make it ready. Beautiful Auntie End. I believe this area here will not be ideal. So as we get to the corner here, it might be more difficult. Let's have a look if I'm just going to create another point. As you can see, it created a really huge curve and it doesn't feed to the deep line. So what I can do in this case is manipulating with the point. I have second press command or control and manipulate just with one side off this line to unjust the curve. So if I can do, I can lower the curve and now it would be around correct. I can press control or command adjusted here. And if I feel the curve here is not idea, I can do the same. I can press, command or control, and on just this curve over here with mental, you will have some more options. For example, bright pressing out corruption and hitting on the point. You can remove the lines if you want them back, just heat again and create the points released the interruption and then you can and just them once again by person comment or control on one off the lines and unjust in the curve. You can see I need to correct. It's a little bit Fandor here. I think now is close to ideal now going lower here. And also if we press commander control on this point before we can extend it as well. So as you can see pen Tal given us actually a lot off options even for difficult parts as corners. So now I kind of go fed it and still paying attention to the curve. If it's clean and in the right place, I usually like to create shorter lines to be a little bit more precise and it's hope that it's all OK right now. So that wasn't ideal. And I feel this two steps are to further apart. So I would like to tryingto work again on this and do a little bit stronger curve and this is what I mean. When I was saying that it might need a little bit more work, so it's pretty well adjusted now and hopefully now we tend finish this up. That might be a little bit close to the edge here, so I want to leave this ab just a little beat and also once again and leave this area here because I can actually see this wasn't ideal there either. So let's move here and now. I believe with it pretty solid line, and I will be ready to start working on our lips before moving on off course. We need to create a selection out of this last checks. If everything here is correct that I'm going to heat right in my case, control and heat on my tablet make selection and this time she a little bit less. Maybe I go with one or two pixels. We're going to see how it's going to work, but I feel it should be OK. And now we can start working inside, so I'm going to go with Crown. Stamp at first Now will try to define the lead plants. I try to retouch close to the deep line and also feel some color. So what I'm doing simply taking a clone. And as you can see, I'm trying to feel the leaps slowly, step by step, to not destroy texture close to the selection that we created. If you just want to feel the color, you might want to sweet days to the brush and then change the blend mode off this branch into color, and you can also, I think, the sample and trying to feel this in some areas, so usually work by mixing brush and clone stamp, depending on what I need to do so here. I don't need to go with Cranston too much. I can try to feel this with color if it's going to feed. If not, I will sweet in the Quran stamp. So here's some lacking of colors, for sure. Too bright here, and it will be here and then switch to clone stamp in again. I'm being focused on the edges. It doesn't have to be really perfect because it's not going to look natural. So what you want to do in in this case, just make sure you will not spend too much time? The more you spend, you might be sure that the result will look a little bit on. So just go fast and softly. And once it's done inside, once you feel it's done insight, you can actually reverse the selection. So I'm choosing some selection toe, then control hit right or control on my tablet Select inverse. So now the selection is not inside the leaps, but outside off the lips and then choosing clothes stump again and painting on this site close to Dedge when I see some red color just like here trying to correct this to make smoother leap line. Also, remember toe not make too sharp off the transition between the leaps and skin, because then it's also not going to look natural. So you want to have this 12 pixels transition. Make sure just not putting zero, because then it will look just we could say too good, and now I feel it should be should be done here. Some more correction and let's have a look. So I'm going to bringing the selection. And as you can see, that's what we did. And leap line is pretty well defined on the end. I want to smooth this out. So now I'm going to try to do some things. Minority may be on this side choosing cross stamp, and I want to smooth this out a little bit here in the natural way, so make sure that it took natural in some areas, so when it looks too sharp, you can just smooth this out and dance it so before and master 30. Make lips smooth with frequency separation: in this life. Some I'm going to show you first technique for making it smooth with frequency separation. So for this, I'm going to start by playing frequency separation action. And this image is a bit image. So I'm going to choose frequency separation a beat, and I'm going to play that action off course I'm going to choose the proper radius for blue renowned. The images rather close up image so it might be blurred out stronger than 10 pixels arse were doing before hating, maybe even a little bit more should be enough. I'm going to heat, okay? And we have our frequency separation here. I'm going to zoom in, and it's actually very simple thing to do. I'm going to duplicate the low frequency layer Command or Control and J and this copy layer I'm going to blow out. If we want to make sure work non destructively. We can convert this to smart object, but in most of the cases that won't be necessary. That I'm going to filter bluer and the guards and blow. I'm going to go up with radius a little beat because for making its move, we want to make it actually visible so I could go with frayed use in this case, maybe even twice as big us the previous blow. That's actually quite a lot. And it doesn't mean for all of the images the values will be doubled. We're going to hit. Okay. Next, I'm going to create an empty layer mask on this copy layer. Some present a small icon in the bottom. Then I'm going toe. Invert this later. I'm going to juice white color off the brush and to bring back the effect on the leaps. I'm just going toe, paint it on the league area with white color brush and what you can see leaps easily, becoming smooth. So once again, I will mention I rather ended a big value off the blower because you had quite harsh light on this leaps, and it depends on manufacturers. If the light is not so harsh, I believe you don't have to go so strong with the blower, but for the sleeps, it actually works can paint a little bit more here, and that would be very simple step. And as you can see, the leaps are very smooth and what, most important, they still look natural make sure that if the lead do not look natural, you will do it again and then make the values a little bit smaller to make sure it doesn't look artificial. 31. Make lips smooth with inverted high pass 2.0: in this lesson, I'm going to show you possibly the best technique for making leaps smooth. I'm going to use the technique called Inverted High Pass. I'm going to show you how to create the layers and how toe work with inverted high pass. And of course, you will get this as an action. So first of all, we are going toe work the same way as with frequency separation. So I'm going to create two layers. I pressed command or control and J and duplicated it twice. The first layer I'm going to rename Minto Blue and the second player I'm going to call I H P Inverted High pass. I'm going to start with the blue. As the name says, we go to filter, blur and chews Gum Schindler the same as before. We need to choose the rages value that blurs out the texture. But we can see all the shape. And in this case, I feel around nine pixels should be life. I'm going to hit okay that I'm going toe another layer this inverted high pass and I'm going to image apply image and the same way as in the case of frequency separation, I'm going toe Sharpen this layer. So it's a bit image that will be subtract scale, toe offset one toe eight. As I see this image, everything is correct. I'm going to hit OK, And now I can turn up this blur layer. And on the inverted hyper slayer, I'm going to change planet month toe leaner light that the same as before. So as you can see, this layer is sharpening the image. But we are going to invert this. So I'm going to press command or control and I to invert this. And at this stage, we can convert this to the smart object. So then we will be able to work non destructively. So you need to see this blood layer if you see it at this stage, everything is correct. I'm going to convert this quickly, too. Smart object. So in case we do something, Kronk will be ableto correct this once again opening future and applying changes in nondestructive way. So once he's done, I'm going to filter and apply the garden floor filter and I think and see if we apply pretty much the same radius. The image goes nearly back to normal, but it's a little bit smoother than the original. I'm looking in this case around the leaps and going down with radios. I'm trying to see where is the point where I'm happy with this movements on off the leaps. It can be one off the third. It can be half of this, so you might want to find the right radius for your image. And once it's done, he's okay. Create an empty layer mask on it. Invert. Zoom in to the leap area and with the white color off the brush, paint over it. Too uneven. I'm not getting close to the edge, because off course you want to have well defined edges, but just paint on the parts that the rough. So it's how look before and after. If you're not happy with the strength off your effort, you can just double heat on the future and change the right use, and that's it. 32. Add lip gloss: quite common thing is adding some extra close to the leaps, and we can do it manually their induction burn process, or we can do it afterwards. So first of all, I'm going to create some unjust meant layer that is good for the night. Some trees in curves. I'm going to rename this into Leap Crush, and now let's have a look at our lives. We might want to see how the light is located because we don't want toe. Add this to the areas it doesn't exist or unnatural. So if we do it manually, we can just increase the curve up exactly in the center, so the image overall become brighter, which is soft edged. Brush and soft flow. Invert this layer mask. I could increase the flow, and it'll be tired for over 20 and then manually paint over the areas where I want to increase the classiness. And this is probably the easiest method in theory, but might be a little bit more difficult in execution. The other way of doing this Let's go back. I'm going to create curve adjustment layer again. I'm going to rename this to Leap Glass, and this time we might actually do some selection. Whether we want to do this with flash, subtle or parental or any other selection toe that will find useful in this case, Then what I'm doing trying to create some selection around the glass somewhere. Sure, I'm first. Then I'm going to make selection and radius. Of course, in this case will be a little bit higher. And then I'm going to press command or control and I to invert this selection into the mask . So this is this black spot. First of all, I want to invert days because I want the effort to be visible here and not invisible on as we know. The black represent the effect that is not visible, so I'm inverting this. And as you can see, the glass is visible here, though it's not ideal because the edges are still very hard. So I would go to filter blower and the cow gender and blew this out till the point. I find this gloss natural that I'm going to hit. Okay, let's see how it's located and we can see before and after. We can lower a pastie if you think it's too strong, and this way we can add nice and natural glow. My favorite way off working is actually manual work, but if you don't feel confident yet, you can make the selection. Or you can paint over with bigger size off the brush through your glass Innis and then manipulate with curves or other adjustment layer that allows you to manipulate with light. 33. Create mask on lips: Now I'm going to show you how to define a specific color on the image to do some work on it , whether it's related to color, saturation or luminosity. Some this image. We have specific color off the leaps, and I'm going to show you how toe define the mask around it, toe money plate with luminosity or saturation or whatever you want. So for this, we need to create some and adjustment layer, and the good adjustment layer for days will be hue saturation. It allows us toe work with Hugh, which is simply speaking the color saturation and the lightness. So once it's great that I'm going to define the mosque just around the lips. For this, I'm going to use select color range. And once I'm in color wrench, we can choose and any color we want to work with. But one thing you cannot release when I want to work with Reds, and I'm trying to define the Reds. As you can see, it's not Onley defining the red leaps, but everywhere else that even a little bit off red pixels exist. So what I am going to do in this case, instead of choosing some color that exist here. I'm going to choose sampled color, and then I'm going to heat on the leaps to define them. If I come to find them on the first try, I can choose this eyedropper with small plus and heat in some other areas to make sure I have good selection with fuzziness, we can increase the wrench off our selection in this case or decrease the wrench of this selection. I'm pretty happy off what I have here, so I'm going to press OK, and it's now pay close attention to these because now we need to define our mask. So the white area off the mask. I just pressed out corruption and heat on the mask to see how the mosque looks like. And, as I said, the white area off the mask represent where the effect that were applied to the mask will be visible. So we want to define this a little bit better as we are going to work on the leaps. So what I'm going to do? As you can see, we have affected some other areas as well. I'm going to press be on keyboard to trees and brush. Then D to reset the color and X to invert. So I'm working with black color. Increase the flow toe 100 paint over all of the areas that are not leaps. So I can make sure that I only created selection on the lips or some other area. Depending on what area you were working with. I'm going to zoom in now. Press xto, switch the color again and with color white, I'm going to paint over inside the leaps in the areas that were not affected simply because they were in the highlight area. So something like this, it's pretty good selection now. Then I'm going toe press al corruption heat on layer mask to go back to Dave, you and the image I'm going toe open this hue saturation adjustment layer. And now if I want to increase the saturation off the leaps, I'm just going to go up with this. If I want to decrease, I'm going to go down with this. What we can see the selection is not ideal because we might be affecting some other colors to make sure you only affect the color that you want affect. I would recommend to choose this small hand here. It will allow you by pressing on the color you want to work with to define the color you have. So it's defined as the red, and now I can increase a little bit off the saturation. If that's what I want to do, I can also manipulate the hue if dots what I want to do, I would recommend to keep the values rather small because going to extreme will not give you nice and natural results. So this technique is for some small changes, but it will allow you toe work carefully on specific color. If I want to work feather, maybe with the light, I can easily make selection out off this mask to do it. I can press command or control heat on this mask, and I'm making selection out of the sleeps. Then, for example, I can go to curve adjustment layer and the same mask was created here. So what I can do? Maybe I want to increase the light on the leaps overall or decreased the line on the leaps overall. So even if the result would be not used on this image, you can see how easy you can manipulate with light and colors on the image toe. Achieve what you want to achieve 34. Whiten teeth: in this life, son. I'm going to show you how I clean up teeth and how I do some other adjustments to them just to make sure to make them look perfect. So lets you mean And when it comes to their cleaning up process, there is no difference between clean up the TIF and the skin will be using the same tools. So in this case, I am goingto work on empty layer. But of course, you can choose your own technique if you will use frequency separation, that will also be the right move. But when it comes to the teeth, the color in this case which comes from the lipstick, is very different than the TIF. So I believe the best technique for clean up this kind of things will be working with empty layer. That's why I'm creating an empty layer. And I'm going to start with hidden brush, hard headed brush, everything the same us we're doing during skin retouch, unequal beat inside here. And we have this hair which I want to clean up a swell. So we have to be careful here because we'll be crossing a lot off edges, so that will be rather difficult task and for sure, the more experience you are and advanced with using tablet and retouching, the better. So, as I always say, when you go close to the edge, it's good to switch to crown stamp and tried to clean it as close to the edge as possible. The same way when we have this small discolorations or so also, close stamp will work perfect here and everything that this on the edge here, deciding to go with the clown stump and everything else which is further away. I'm okay doing days with here and brush and what you can see it went rather smoothly so far can compare. We have some more elements here and our zoom in and try to makes it a little beat with healing brush. I will see how does it work and a little bit with the crown stamp, and I believe it's going to give me the best results. So we do ask mattress. We can hear to make sure it will look perfect. Some other discoloration. We can try to take down some color and make it smooth. And this her both. I'm not going to be worried right now. But doing this later with Clone Stamp and Hilton brush will not be difficult. Also, when we are not having the straight tooth like this, we can simply use crunch stamp and feel this gap a little bit more and everything else here again here and brush. And as you can see, 8000 costs in a problem on the edge Clone stamp again, A little bit here and here. So there is actually a little bit off work on. It will be more than I expected because the model have very beautiful white teeth that I thought will not require a lot of work. But when resuming, you can actually see the wrist. Many things toe perfect the outcome. So I need to be more here and here, So I'm going to speed up a little bit. I'm going to do it a little bit faster so we can move to the next step. You also have some discoloration is probably from the leaps. Even though it doesn't have the red color, it could be just like so for now, I believe we sorted it out. It's still look natural, and of course, the more you spend time on it. You can stay and publish them even more and try to make them looking perfect. But so far, I believe the outcome is good enough. So as the next step if want to whiten thief, I'm not sure if I would do it on this image down. Not too. But sometimes we have a little bit darker born so me, we might want to adjust those things that little bit more. So what I do, I usually go with hue saturation. It allows me to work with saturation, which is very powerful when it comes today whitening. So I'm gonna name this teeth whitening and I'm going to drive the saturation down for now to maximum because it will allow me to see and it will be better. And then I'm going to invert this mask. So, Commander Control and I to invert this. I'm going to choose a brush, and that's always white color of the brush, in this case of 100% and I will paint over a thief carefully. If you don't want to paint over the teeth, you might also do a selection with mental around them. But when you will be doing selection with the pencil. Remember to pay attention. Also today edges over here that always will have parts of the gums, and we'll have to be ready to be more careful. But if you don't feel confident with painting, you might do a selection, though I do not believe that doing selection in this case will allow you to save some time . So just painting Mannelly might be faster. And in most of the cases, it's not such a difficult task. So let's do it quickly. Let's paint all around a little beat more here on the back and once again like don't worry too wide. Now, off course, it's not our final results. For now, I'm just trying to paint over and de saturate in days to 100% allows us to see better when we created a mask. So that's the main point. Why the saturated this at such a high low a little bit here? I'm not going to do the bottom ones right now, and they're not bothering, so I don't think that would be necessary. Anyway, once he's done, I'm going to do. I'm going toe open this saturation and go and put this so I always try to make sure that look natural. So I'm just going to go down and compared to before, after, I might let myself to do a little bit more before after, and I feel that would be enough for this image. I don't want to make this like this. Might look a little bit unnatural. Maybe sightly more. We can give a little be touch over here, though this It's not very visible area here, but you can give a touch. Make sure it looks all right and then off course, if we want to give up some extra shine. If want to brighten this, we can create another selection out of these by pressing command or control. We make this selection around the area, we just paint it, and then we can go to curves, levels, exposure, brightness, contrast anything you want. And then we can play with brightness off the teeth, though, when it comes to the brightness, be really careful unless your teeth are very dark. You shouldn't use it simply because it will affect this strongly. So even changing the exposure, it would have to be very minimal, and I would recommend changing Brendan, but from normal toe luminosity to preserve that color values. So in this case, the chief are very bright. And in most of the cases, that teeth will reflect the light. So they should be. In most of the cases, they will be very bright. I don't feel there is a need just a little bit off the whitening and this how I do it. This is how I cleaned the thief. And this is how I white and then 35. Retouch eyebrows: Now I'm going to teach you how to retouch eyebrows. So let's zoom in and see how we have here when I looked at the model right eyebrow. It's nice and smooth, though, when I look at their left eyebrow. As you can see, we have some small issues and there's few possibilities. It can be left like this, and nothing will be wrong about this because it just naturally how the eyebrows looks and some eyebrows are a little bit different. We can a little bit retouch this on the clean layer, or we can try to make it look perfect. And I'm going to show you the third version of it. If you have issues like this, if you want the eyebrows to be perfect, I'm going to show you how to do it. So what I'm going to do, I will be using the method where I will be copying parts of the image, and I will be working with the masks at first what I want to do. So I want to create a stamp on top. Simply speaking, I want to duplicate the layer that I have, so as I already have some of the layers here. We can actually turn off the Dutch in Berlin layers and create a stamp on top off the clean layer. Or create a stamp from the background player, which could be the best way because later on we can actually clean up some parts of the image on this clean layer. So I duplicated background, and now I want to flip the image and for me, flipping whole image instead. Off. Cutting out the part of the image will be best option because we will keep all of the proportions as they are. So I'm choosing some selection tool. I'm going to hit right and I'm choosing free transform. We can zoom out a little bit and I'm just going toe lead the image just like this. I'm going to grab here and I'm going to pris shift to squeeze it. Holding shift. I'm going to grab it from the other side, move it here and stretch it on this side. So what we did right now who just fleet the image on the other side, and it doesn't much necessarily with the background image. As you can see, the location is completely different. So now we will start all of the fun. What I'm doing, I'm going to change of blending mode. Too soft, light or overlay. In some cases, it allows us to see through this layer. So So look. Okay. I have this eye and need to be matched summer around this area, especially this eyebrow. So what I'm doing, um, grabbing it and trying toe much the eyebrow correctly. I'm zooming in and I feel a little bit higher over here, and that should be about right. This is not everything, because I feel there will be also the different angle. So what I need to do next? I actually need to change the perspective off the image. And it'll be, I believe so. Selection free transform and going to drag it down. Just a little bit. Kindness. Let's see if it's enough. Probably move it a little to the other side. Now it feels like the angle is snarly. Correct? I want to see the overlay because now probably we need to move it a little bit further. And here, let's change it to normal. And I feel we got this pretty much right. So now on this background copy, I'm going to create the layer mass. And, of course, the white layer mask represent the fact that this layer is visible. But then I'm going to invert this toe black color, some pressing command or control on my keyboard and I. But remember this layer mask need to be selected. So we need to see this white think around this square than Commander Control I. And it's inverted. I'm choosing brush be on keyboard, white color off the brush, soft edge. It flow at 100 right now. And I'm trying to paint over here to bring it back. So there's some issues, obviously, and why we have these different color is simply because on the other side, off the face, we had a little bit different color. So I'm not painting everywhere, but I just want to replace these part off the image. Let's have a look before after. Not too bad some more. Okay, so we have this straight I bro now, but there is a lot off imperfections at this moment, and I need to take care of it. So if I want to cover something on prison ex toe, change the brush into color black and I'm trying to cover this area. Do not make it too dark. I don't hear it's her look before after before after. Not too bad, some more correction. So I'm just keep painting and keep checking everything. It's quite all right now. And if you completely missed the color on this side, what you can do, you can create the curve adjustment layer. You're simply speaking Dutch in Bern and right in some area. For example, if I want to brighten the area over here, I can create new Dutch in Bern layer. And then I could simply paint on it with white color of the brush, soft edge it and low flow. I can paint a little bit here toe, unjust it. But of course that's not the case because we still need to polish them. And here's a little bright and here's a little bright. So what I would do in this case I want to go dark and this on. It'll beat inside so it won't have these reflections before I'm going to do it. I'm just going to make sure all the hair are nice and tight, so I'm retouching this small eyebrows with healing brush and clone stamp switching whatever suits better. So I'm trying to make it tidy, unequal, but you're here the same on the other side, if needed. Just retouching this small tiny her around because we don't need them. And it'll be here and a little bit here. Okay, Once it's done, I'm going toe bear wide color off the brash. We can keep the flow soft as it is or make it higher depending on our need and dark in. They're areas where you can see through. So the errors that you need to darken because you can half the see through and you can see the skin. So I'm trying to cover the bold parts and dark and the skin so it will look more even just like this. But it will be here, then going to the other side, painting a little bit here, dark and innocently speaking, and the skin part. So we make them look thicker and dunker. And that's how I look before and after still have some areas here. I can see some dark hard, so I want to bright in this area because it doesn't necessarily match all around. And let's have a look now. We started with their I broke looking this way and we ended up with the eyebrows looking like this 36. Paint natural eyelashes: Now I am going to show you what I do to improve eyelashes when you will be working on eyelashes. More likely, you will be working on a beauty image because on portrait images this work, it's usually not required, and I usually go to clean layer or create a new layer that I'm going to call eyelashes. In this case, once it's done, I'm ready to start the work. So I'm mean very closely when it comes to this kind of work, so I can see all I very clearly. And what do you want to do? If eyelashes, you might want to return them softly, extend them and make them more visible. So the best tool for this will be working with the brush pressing D to make sure the brush chosen the flow getting higher, often even 100. But I'm working with soft edged brush the brush. I'm also sharing with discourse, so I'm making sure it's small enough to imitate the eyelashes that I already have here. So it might be one or two pixels, and I'm going to start somewhere here by picking up the color off the eyelashes. So what I want to do I want to do them? I want to make them a little bit more visible and darker. Some tryingto paint exactly with the direction off the eyelashes, doing this small strokes, and usually that will be a few tries. And sometimes you need to do a step back. So something like this, once it's done, just keep going to make a darker. And also I'm going to get the color again. This one was dunker, and it'll beat your and in between when I don't have many off them the same method trying toe paint one and imitate one. So something like this here and that's already more visible. One here unequal longer because we get into the major part, and then we can paint over this one's to make them longer and more visible as well. And as I'm changing, making sure the color is the same, so I'm often choosing the color off the current eyelash with eye dropper. Now the color is pretty solid for all of them, so there is no need to change it here. Very fine one. So I'm gonna make it. Ficker. Here's the short one, so I'm gonna make it a little bit longer. Just like this. You can see before and after us. You can see that already look much more impressive. This one was painted one. So a little longer. It'll be here for after some retouching here. So I'm going to clean up the stop here because sometimes you have, moreover, mascara left at the very end. So if you have very fiqh top want to return to this and then correct by painting just ID's , it'll be here. It's when a speaker so I'm going to paint over it will be more. And on the bottom I got used to work in without flipping my screen. But if you find it difficult to work this way, you can always flip your screen to do it. You can use your track pants. You can use the tablet or press are on the keyboard, and with this, you can manipulate the few, and for many people work in this way will be much easier. So once they have these, it's easier to make this line down to the bottom just like this. So as you can see, I actually did some of the mistakes here. It's very easy to correct this. I don't We want to create a mask on days. And that's why you should prefer to go with simply razor toe because there is no need for a mask and just make it tight on the edge just like this, as it's also part off painting. So then, um, I can actually reset this view and going down to the bottom and on the bottom. We have finner eyelashes, and that's always the case. So here I'm just going to be very softly if I just want to make them and it will be darker . But here need to be really careful. And as I mentioned the word softly because if you make them to dark, if you be too harsh and then it's not going to look natural, and we want to avoid an artificial look, so just very soft moves like this, with even smaller size of the brush. Let's have a look. This is before, and this is after very natural correction, and after that I'm going to do soft, similar correction on the other. I 37. Change color of the make up: although it's not so common to change the color off the makeup in this lesson, I'm going to show you the best way to do it. I'm going to start with huge saturation adjustment layer because it allows you to work precisely with the hue and saturation off specific color. So let's say we want to change that top. I'll eat, which has Color Ping. It would be more likely defined as the reds or magenta as I'm going to go toe magenta in this case because in Retz there is a lot off right peaks off some skin and with magenta, I believe going down to the bottom here we will be able to unjust this color quite well. So I'm making the wrench off the color like this. Maybe it was a little bit to wine, so a little bit smaller and let's see if I was able to define the 12 as I can see now, are many changing the color off leaps and the top eye shadow, and I'm affected most of it, which is pretty good. I could extend the range just a little bit more here and also the best way of changing it is keeping it natural and similar to what we have there. I'm going with a little bit more often extreme, and I will go with this blue color. So for days, I might want to extend this a little bit more on the edge off affecting the skin, actually, but it will be okay because we are working with the mask. So I'm going to do. I'm going toe invert the mask by pressing command or control, and I and now with white color off the brush, I'm going to paint over strong on the bottom. And as it goes up, I need to do smooth transition so soft on the top, just like this to cover 12. Let's see before and after I can see where affected a little bit too much so to correct. I'm switching the brush to color black, and I'm correcting the areas that I did not mean toe effect and the other I White column painting strong on the welcome and suffer on the top, making sure I all now I think the makeup. If I go too far, I can correct this or also trying to correct this by adjusting the wrench off the change. As you can see, we can increase or the crease it depending on the on the needs and what we're looking for. So I will increase until beat because that was the case here. So we have nice and smooth transition. Now, if it goes too far, I'm switching the color to black and correcting where I feel it got too far. So I'm a little bit more here, and that would be It's a little bit strong, and when we will be changing color, we might increase the saturation. That's why going more extreme colors or recommend to go down with saturation as well. And thanks two days we can achieve more natural results. As you can see, we have this blue and with the saturation value, it's very similar to what we had before. Now going to the bottom off the I better we start with new adjustment layer to be more precise, so I'm going to hue saturation once again, and I will try to see what the color we have yrc yellow. So I assume this color would be somewhere between yellow hair grew and green. As you can see, it goes Houthis two colors, so we have a little bit difficult. Work will have to increase the wrench from yellows. Many oranges to the green color was is done. Let's see if we are able to have think this and I got too far because I'm also affecting the skin. So for sure, I don't want to go that far. And now it's looking more natural. Though I can see the yellow color doesn't really work well in this example. So I will have to use some different method off doing it. I'm going to remove this hue saturation layer and we will have to do something more complex . So hue saturation once again. And I'm going to choose this battle color rice. So the color rice allows you to apply any color we want by the saturating the previous color. So I want to go with this kind off yellow shape. I want to have this a little bit more saturated and also can choose the lightness off this color and that should solve the issue. So now once the color I want to apply here is selected, I'm going toe invert this math by pressing command or control, and I and Then I'm going to paint with white color around the areas where I already have applied the shadow of the previous one. So, just like days being very careful here, convenient to stronger, closer to die and so on down site. So look, it will be more and the same thing we can do on the other. I so strong here. If we go too far, we can just switch the color toe, black and paint. And where we have the makeup, I'm painting strongly with the yellow. So it's not ideal method because we had some difficulties. This color waas a little bit complex that faced this. We got another method. How you can manipulate with color and painting on the masks, using mosques creatively and using an adjustment. Players in the clever way can save us a lot of time and can give us some really great the heat on how toe work and manipulate the color 38. Brighten eyes: when it comes to the eyes, there is two things, one to take her off, one to make sure the eyes are bright and dynamic, and in some cases we might want to change some color. So I'm going to start with these basic things. So how? Toe bright and eyes in the natural way. Let's zoom in and we can use for this hour Dutch layer, or we can create the new layer. Best for it for me. Discover Adjustment Layer. I'm going to name this eye brightening, and then I'm going to drive the curve adjustment Layer AMP off course. We need to inverted this layer mask, and now all the fun will start So you don't want toe right in the eyes all around because it will not look nice. And let's see how it's going to look. Let's see the example you don't want to circle around because it doesn't look natural. As you can see, it actually look very weird. So you pay attention where the light is located and always from the eyelashes from the top . I did. We got some shadow here, so most of their light will be located on the bottom off the iris, so I usually go with the shape of the eye and Mahaney painting. Here on the bottom. I'm lower inflow off my brush. Of course, we need to paint with white color off the brush on this layer mask. So I'm going to paint here just like this. As you can see, I'm tryingto pain together with the shape off the I. So it's quite specific, but this actually look way better and natural than the other. I in the same lock it in the shape, and I'm doing this specific shapes as the I go. Let's have a look. If we feel it's too bright, we can always lower the opacity, and this is before and after very natural and simple ethic. And in the next lesson, I'm going to show you how to change the color off the ice. 39. Enhance color of eyes: in this lesson, I will tell you how to enhance color off the ice. I use the word and hands because I preferred to boast the natural color off the ice instead of changing in. But this technique allows you not only to enhance the color but also tell you how to change the color, if that's what you want to do. So for me, the best technique for this will be hue saturation. Why again, hue saturation? Because it allows you to work on a few different elements. It allows you to work on the saturation off the color, and it allows you to manipulate the huge. So before we start, I usually go with their saturation very strongly. You can go to 100. It will look quite angrily and maybe lightness, a little beat up so I can see the difference quite well. Then I'm going to invert this layer mask and I'm going to change the name toe, eye color. Then I'm going toe. Choose a brash, of course, reset the color X for switching toe white and with white color off the brush. I'm going to paint inside the eye, just I dish, so I can see how the color is changing. I can see clearly which area I'm affecting right now so carefully here and then the other. I also carefully or around to where the eye color exist. So on the top there is not much off it just like this. I got a little too far here, so I'm going to switch to color black and paint over here. And then I'm going to go back toe hue, saturation. And of course, I don't want such a strong saturation, but I might want to manipulate with this. So I'm going to go back to zero with every aspect and the natural eye color here is blue, maybe a little bit gray. So I would like to work more likely with this blue shade over here. So now again, I'm going to go out a little bit with the saturation to the level I can see small difference. And then I'm going to manipulate with the hue to see if I can improve the natural blue color that is already dead. And as you can see, if I want to go with natural green natural sion, it's also existing there and I feel I found kind off blue around here, strong blue color. And this is what I'm going to choose So before and after, As you can see, I boasted the natural blue color in this case. So if we don't want toe affect the light, we can always change the blending month normal to color, just in case to preserve and often satisfied with the first affect I created here. If you want to go further with the color off course, there is some more ways off work how you like to do them so you can use a hue saturation once again. Or you can use any order tool. It could be color balance. So if we would be going with you saturation, you can just press, command or control heat on the ice. And then with you saturation, you can choose colorize and then choose the very specific color off the eyes. You want to apply here and also you can choose the saturation. If the effect is too strong, I would recommend to lower the opacity and then I can connect the two effort that I have here so natural improvement from the previous I am and then the color improvement on the new layer, and this is one of the best way how I like to work on. Don't hesitate toe. Create some more layers. Of course, you can do the same thing, even using care of adjustment layer, because you can work with the colors there. But, of course, always pay attention to the mask. I see I still need to correct some of the things since I did not cover the area here well and on the other side here and the same on the layer below as you can see more saturation and that's it. So this is very strong effect and not necessarily fully natural, but it for that presentation purposes so you can see clearly how easy you can change or enhance color off the ice. 40. Create nail reflections: and now more advanced. Think we are going toe retouch nails? I'm going to show you how to make nails look very smooth and create beautiful reflections on them. So I always start with an empty layer. So I'm going to create empty layer and that you will name clean in this case. So we know it's about the nails now and what I'm going to do. I'm covering in the reflection that I have here because usually the reflections don't are already there are not ideal, the rather quite rough. So I'm just covering it all at the same time, making the nail smooth. And this is the first part. I will cover this nail as well, and we'll be working on these three nails that we have here will create a little bit better reflections and make them look smooth. And as you can see when I clean them up, I do it with just basic retouching tools. Once again, here in brush tal and what I'm closer to Dedge. I'm going to switch into clone Stamp and trying to cover it with Khan Stamp just like this . It's not something I paid crazy attention, just trying to clean this up because when it comes to very close ab details, it's and not really so important will. No, not this many things here and also here a little bit off work, trying to cover it and made the nail smooth. And that would be it for the start. Once it's covered, we will try to create a natural looking reflections, but also looking smooth and beautiful. Of course. So you have it here. It doesn't really matter that we have some reflections from the Tom because it will be covered by another reflection, some creating new layer. And I'm going to name this layer reflection, and I'm going to name this reflection Blue. So I know I'm working on the nail that has color. Then I will turn off this clean layers. I can see exact direction where the reflection is going that I'm going to switch to brush. I can press be on keyboard, and I'm going to paint over here just like this inside the reflection not to its full extent, to make the way for a new reflection. After that, I'm going toe filter bluer, and I'm just in motion so motion blue will allow me to give this really nice and smooth reflection. For now, it's very soft, but what's really important here? You need to get the direction right and I feel now it's in the same direction. We can change the distance. Whether we want this longer or shorter. I few around this level will be absolutely enough that I'm going to hit. Okay, The one issue here is, as you can see, it's still very soft, so I need to create few copies, one to maybe three more copies if it's needed. If it's needed, you can do more, but I don't want to have so many layers. So I'm actually going to merge this layers, selecting them all. 1st 1 perceived last one. Then he tried on these, and I'm going to merge layers so it will be reflection blow. Once again, I'm going to rename this. After that, I will create you layer mask and with the black color off the brush, I will paint over to make it nice and smooth. Off course, the brush needs to be soft energy so we can make this nice, smooth reflection just like this. And I said from the distance that's how it looks now, And that's how it looked before. So let's trying to do more on this to nails. Now, the second name. So I see how it looks like I'm going to create new layer that I'm going to name reflection , read. And now, with white color of the brush painting over here just like this, then going to filter blue and motion, though. So this time the direction needs to be, and it will be different. So just like this, it looks perfect. Can extend this and it'll beat Hit. Okay, activate this, and I'm going to make 12 maybe one more copy and one more because I see the fronts not ideal. So we have reflection Red Select. All the same way heat, right, Midge layers. I'm gonna name this reflection rent again. So creating mask and with black color, I'm going to paint over the edges so the effect will be nicely visible and also make it smoke here. So with black color off the brush, I want to make it fina from both sites, just like this. And then we can see Have really you 24 and smooth reflection. Yeah. And then I'm also going to create another reflection on this yellow finger, and at the end we could do also this one. But I'm going to end up on the 3rd 1 so this one will be called Reflection Yellow. Let's see how it's located. We have this weird, curvy result here. It's not a big problem. Smaller size, and this will be in that direction. So that's what I'm going to do. Then I will go. Might see it's not actually idea. Also, I'm going to use your razor. And he raised this a little bit here and there. And now again, Brush. And I'm going to improve this alley smaller size just like this. Then suitor Blue Motion blow. And again, that will be a little bit different direction. Some around here. Not so long distance. I'm going to make a few copies of this. I believe on the tree is enough here. So select. He tried. Merge layers, reflection yellow, create a layer mask and with black color. I'm just going to paint a little bit here. This reflection will not go fully to the edge, and also I'm going to smooth this out around this area and that's it. So activate this all. Let's put this to the group. I'm going to name nails and we can have a look. Simple effect before, after and completely before, as you can see before cleaning up clean dump and after This is how I make nail smooth and shiny. 41. Retouch stretch marks: in this lesson. I'm going to show you how toe retouch stretch marks use induction burn on the one professional technique to deal with this kind of issues. So I'm going to zoom in a little bit more to see the stretch marks, and then I'm going toe play the actions that I have prepared my data and burn action. So I'm activating Dutch done and help player. So it's the same actions the same way off work with touch and burn as it was shown before. And I said, It's on the one professional way off dealing with this kind of stuff. What I mean by that it's on the one way to do it 100% non distractedly. So then I'm going to press be on keyboard to switch to brush flow. I'm gonna keep around 5%. I just like it this way. Press D to reset the color X to switch them and with color white, I'm going to cover this marks on the burn layer, so I need to adjust the size and paint over inside so there's not too many stretch marks should not be very difficult, but we need to be very precise doing it. We will start from the top and then we'll see how it goes for us. We might need to do maybe another layer in the case. It would be not enough. Just want to see how I'm able to cover it. We might have some other things. Not only the color here. Some scar, actually, not only the light, of course not the color surgical. Bit more work. You need to get it here carefully. Sometimes need to zoom in. Zoom out. I'm going to actually extend the dark in here because the marks are quite deep. The very contrast E which is very rare. But this image it was just this way, which is great to show so usually don't have to go darker like this. But this stock image was mainly focused on representing the stretch marks. So just painting over. And as you can see, sometimes we might be able to get some edges darker. So as we were painting with darkening us, we use the Baron. As you can see, some other areas become darker as well. And this other areas we did not necessarily wants to be darker. So then I'm going to switch to Dutch and trying to Dutch some of the other areas just like this, and he could be here. It's not too bad some more areas might be a little be time taking process. But what's really great about these? We are not going toe effect the texture at all, because it's all just light. So a little bit more here, Let's see it's processing. I'm as you can see, a difference. It's absolutely amazing. You can't not. This belly coming up is the areas. Where were the stretch marks before and after we do a little bit more work, it will be impossible to Not this, that there was anything. And thanks to this technique, this part will be absolutely smoke and there is no limitations to it. No matter how many stretch marks is there, stretch marks can appear in many other areas. It could be the belly. It could be actually across all of the legs. But using that and burn techniques, you can absolutely smooth this out and make it look amazing. Off course, the more you have, the more time it will take. So that's why I'm going to show you some under technique How to do it fast. It might be a little bit distractive bad in most of the cases, you will want to do it fast instead, off doing it professional way. It'll be here some bright spot over here. So I think I'm gonna finish it in this lesson. Not much talking. Just there. Work on how dodge and burn the need works, how to use it when you do not. Bernie can always fleet the screen same way I will show you before during doing the eyebrows, though I get used to not moving it. So if you wanna be doing it if you for example just start with three touching and exploring Dutch Enberg technique If you will not be flipping the screen and just keep doing work with the static image like this, then you will get used to it, and the work later on will become much easier and your abilities of retouching I believe my get better because then you will be able to paint under the different angles. I use the word paint, which could be misleading because it would say, If you are not good painter, maybe you can be good. Recapture But in fact I don't have any plastic and a artistic in this matter to paint any abilities and never had. I was horrible painter. I couldn't paint a thing and I was afraid to start retouching. But actually it's not as deeply related super between. So a few more things for sure could be done here. But at this stage, from what I see, we pretty much finished. So I look barely any sign after stretch marks. We have some color difference here from what I see. So we might want toe and just this and it will be getting to saturation. Really, it appeared actually saturated, just quite unusual. And it doesn't much because some other areas, as you can see, are okay, so we only got saturation in this area, so there's a few ways of doing it. One. We can create new empty layer and try to solve it with our brash by painting with the color covering the color. And let's see it is going to work and it's working perfect. You can just cover like this and make sure you know there. Yes, we also do this small corrections. If you would work on the same skin tone because, as you can see, we got a little bit different colors. Here. Here we have bright light uris darker, so we cannot solve it with our layers. So then it's good to use empty layer and use the color. Or even you can use Cranston to correct the small issues later on. So this is the one professional technique that give you 100% non destructive result in retouching stretch marks. 42. Retouch stretch marks fast: we go back to frequency separation technique once again. And this time I'm going to show you how to retouch stretch marks fast. So what I'm going to do, I'm going to start with frequency separation action off course that you have available in this course aid with image its stock Jay Peak image a beat. Continue radius for this image, I think 15 will dough maybe a little bit more, maybe even 18 but don't go too high. If you're in doubt. Better toe, stay with the lower value then this low frequency layer I'm going toe duplicate by pressing command or control. And Jay and I won't start with this work by using in some areas patched. It will work perfect in this case. So I'm just going to move some of these smaller stretch marks and trying to unjust the color on it will be better. And as you can see, it works quite well Off course. We can go with some other techniques as well. We can make them in some of their cases. In some smaller cases, we can even use healing brush and it'll get here. Don't go too far with this patch. Tal because then you might change the natural light on the image. So that's why I'm trying to work on such a micro level. US for Pashto, a little bit more here on African. See, it's already getting to look better a little bit more, and then we can switch to some other tool because working off frequency separation if we want to keep it us nondestructive as possible, we will have to sweet some tools, for sure. And if you will want to polish this on the end, of course, always can also add up the Dutch in Bern that they showed you in there lesson before. But it will be more here, and I think it's it's looking fine. More so, look before after we nicely Hi the manger stretch marks. We could argue that it's still having the stretch marks, but the reason for that is we try to keep it as natural as possible in the terms off lights on this image, if would go further with the clean skin. Unfortunately, we could change some light, and we want to avoid this. So once we do as much as we can in a few more patch ups, here. Then I will go to this layer in between the Discworld tons and on this layer, I will try to break it down for their which Cranston. So I'm switching to Cranston Press as on keyboard and this time current below soft edged brush. I want to paint a little bit to break down some other small issues that I have here just like this. So she can see I'm taking a lot of clones and not painting all over the image with one from because if we would do it, we will make the image look fake, will make it look feel traded. And we will change the natural amount of me off this part of the body. So we want to avoid this. And this is some simple clean up. As you can see, an official T. We got a little too far here in this area, so I think we can slightly paint over here with a brighter color. This is before this is after some simple clean up with frequency separation 43. Retouch underarm folds: in this lesson, I'm going to show you how to retouch under arms, and this might be a little bit more difficult, but with the right approach and right technique, will will be able to achieve very natural and nearly non destructive results. So this is quite common issue on the pictures. And I saw on many forums people struggle with the same things. How to retouch on their arms when we get some Folsom small hair and I'm going to show you how to do it. First of all, you can use any technique you want. You can work on empty layer with crown stamp. You can use frequency separation and weeks patch. It'll in this case I'm going toe work just on actual layer with the patch toe. So first I want workmen destructively. So I'm going to duplicate this background player. I'm going to name this under arms retouch. Now I'm going to zoom closer and I'm going to use patched all that I already have chosen here, and this election must be very precise. So I'm drawing around and moving a little bit. I discovered it doesn't look about we can see it was done, but we will be able to correct this easy. Next bond. Nice selection around and let's move it. Just a little beat. Also, we can see some folds. We can see some issues, but it's all right for now. I'm not the one look and last one over here selection and move. So overall, it's not bad. Some more corrections here. Obviously, it can be seen. It was returned. It doesn't look natural. So this was just a first step. The second step will be a little bit more complicated, but before we move two days, let's take her off the other underarm. In this lesson, I'm not going to leave and I think, But I want to show you complete process. How I would clean this naturally Here, here, in this last one, I need to check if it's even needed. I think we can see how it's going to look just like this. I'm not sure if correcting this part will give us good result and obviously not ready. So here, I'm going to stick to this some more corrections here. Stand back in the next step. We could use anything to correct this so we could try to use frequency separation and blend this I was showing you before how to do this. Try to blend the color. Maybe with the patch door. I believe there is no need. That's why what I'm going to do, I'm going to create an empty layer now going to just named clean. And I want to take her of some areas. So with soft from stamped, I'm trying to blend in a little bit. Just the area start. I could not take care off with Patch do well. So what? It will be here. Try to blend in here. We could do some more with patch tool for sure to blend in, but I'm already on the empty layer, Just ideas. After this basic process is done, I'm going to use Dutch and burn, So that will be the difficult part that it's the on the way that gives you this really beautiful and natural result. So I'm going to Windows actions, and I'm going to use my Dutch and burn actions. We are just the curve adjustment area so I can see clearly what needs to be done. Zoom in and now let's start the fund. Soft edged brush flow also low, and we don't have to make it completely uneven. But if we make it just a little bit better, it will be great. It will have a great effect on the image. So when it comes to these dungeon burn on under arms, the areas to retouch this transitions are so big that the dodging and burning here doesn't seem to be difficult. So as we go here, I can see it. I will go to this player Brighton and recapturing to be here and here just like this. So I look And now we got very natural looking results and smooth on down. Now, the second part and here, I believe, is a little bit less. You can even increase some contrast here. And the same a little bit off painting. - Just thank you. And now we got natural looking result. Stand it off. Here we can smoke this out just a little bit. It was too strong and I missed it earlier. I'm going to remove this and put this layers to the group. Select them all, then commando control and G And let's have a look before and after 44. Retouch clothes: in this lesson, I will show you how you can retouch most common problem with the clothes. So Lenzi mean and what you cannot is here we have some of the scratches and this small white dots are actually most common. Think I'm retouching for my customers? So how I do it, I usually do down and empty layer. Let's call it clean. And this small things off course are not anything difficult. So I would be just using hitting brush. Or you can use clone stamp in some of the cases. But as this is not complicated, we have some more other issues. So this one, we could also sort out, but not always. The other common issue is their problem. The color we have some sort of color noise and the best way to sort it out will be using a camera or filter. So on the top off this clean layer, I'm going to create a stamp by present command, Other option shift and E. And I'm going to name it color color. Nice. So then, and before using filter, I'm going to convert this too smart object. And so and once it will be converted to the smart object. I'm going to filter and camera future so it might take a little beat them camera feature and I'm going to lock it. I'm going to locate the third panel, which is called detail. So I'm moving to detail. I'm going to zoom in on the trousers so I can see this color issues I'm having here and below. We have nice reduction and we have luminant story that nice reduction and color. Nice reduction color noise reduction is something I'm interested in. And, as you can see, if I move it to 100 the issues the noise with color I have is disappearing. We can also bring back the detail if it's needed. After that, I'm just going to hit. Okay, So if I want to make sure that on the trousers are affected, I can create a layer mask, invert this layer mask and then paint over with white color off the brush from the trousers toe. Bring the noise reduction effect on the trousers area just like this. If this does not solve the issue ultra commend creating in your empty layer you can name it color change, blending mode to color and Then with a brush, you can pick up the color off your trousers and paint over the trousers, but this time you will have to be very selective. So as you can see because of this, we are changing the color off the trousers and at the end the trousers will have one and solid color. But you have to be careful because it's very easy to change the color. So the trousers were a little bit darker here, so we need to be a little bit more precise. So what I would do out create again layer, name it color and probably pick up something darker. But also, as I want to be selective, I will select the area on the trousers. In this case, doing selection by quick selection tool could be a little bit difficult. First of all, we cannot use this empty layer but would have to goto actual layer and try to do selection . So in many cases it works. If you have very similar Bagram to the trousers, you could use, for example, parental to do a nice selection around a few other things to take care off, and over here I affected a little bit too, Mom. So I want to bring it back just like this. Zoom out. Go back to my color layer, pick up some color I want to use it. Could be this darker color. As I said before some using brush, I'm going to pick up this darker color and then paint over change the blend mode to color. And as you can see, we're getting nice. Hello? All around. So below here we have to be careful to not paint over this part of the body. And here on the top, it might be difficult toe correct this selection. And so I'm just going to remove the selection and with the same color. I'm just going to paint over a little bit more here and that's it. You can see the result completely before was something like this. We did some correction to on even the trousers and then, as you can see, applied some color to make it nice and clean. 45. Retouch eye glasses reflections: in this lesson, I'm going to show you something. That was my actual real work experience. I'm talking over the glass reflections. If that would be up to me, I would keep them. But when you work for a customer, it's a different story. The customers often ask for certain things to be removed and quite common. It could be the reflections inside the glasses, and this is very difficult task. But if you work carefully and cleverly, you can easily deal with this. So I'm going to zoom in closely for the one glass, and I would like to keep the bottom here. But the top part, I would rather prefer to have covered, making darker and then create some nice reflection. So I'm going to show you how to do it. I'm going to create a new empty layer, and I'm going to call it glass. We are going toe work inside here so I can see the glasses are rather around, so I want to try with different selection tools. I can try with elliptical tool may be here and see if I can actually adjust this leaps here . Not bad, but making selection like this might be difficult. So we might want to try with pen Tal as the next step. So I'm going with mental. I will start somewhere here and go here and make a nice curve just on the edge. Then again, another step. And here also carefully, just like this. I'm here when it comes to this side. I wouldn't necessarily be so careful, because where we have this reflection, this not very pleasant reflection is on the other side. So instead of struggling here, just gonna pay attention to this site a little bit more just like this, that I'm gonna hit right, makes election. And for this image, I believe frayed use one too should be OK. And now I'm going toe work inside the selection. So what I can do? I can try to do with healing brush, but what I cannot do off course, I have to switch and work with clown stomp, which will be most here. So just nine days I wouldn't be worried about losing some of the details from inside because that's the way you want to do it. And retention images. You don't want to spend hours, especially that no one will pay you for creating some rial visuals inside the glass. So this is the fastest and easiest way off. Doing it, if removed. Reflection make it quite natural so it can be accepted by the customer. So it can be good values when it comes to advertisement a little bit. Here you have something and that's it. So that's the first part. It's not finished yet. I want to see how the selection looks like. For sure. We have a few things to correct here. Bad for now. Let's see. So now I'm going to make it a little bit bigger. And then I'm going close to the edge to correct those figs, so correcting the edge probably could be avoided very easily. I could just make the wider selection and not Rickard to be so precise because if I would go overboard here over edge, it would not be visible. So I'm just going to paint over here, and once it's done, I'm going to try to make the selection around here. It's not so bad. Can I extend it because I don't want to start from the beginning? It seems I might need to, so I'm going to mental I will create something similar again weekly. I don't want to waste too much time anymore. Just eight days Gonna go here Don't have to be precise on the other side. And just like this heat right makes election. And now I'm going to dumb going to create a new layer. And in this new layer, I'm going to choose the radiance tool. So if the Grady into onto true some color that will suit for feeling the previous reflection The color will be similar to what we have here. So let's have a look. This creamy color. I'm going to see what I have here. So does the number I have. Because for now, as you can see in my tool, my great and doesn't look necessary Correct? So I'm going to change it, place this color here, and I'm going to create this kind off shape. And it'll showed eso stand back. Show that stand back something like this. Remove the selection. And now I can try to work with different blending months to see how these things work. Lighten screen. Very similar to know tro even going with that color luminosity it's not about the luminosity will change the color that we have here. So I'm going to lower Pastie. And instead of what I had before, As you can see, I got this shape. So now the other eye and this part is a little bit more difficult here, but we'll do very similar tasks. So starting from the beginning, I need to circle it around just like this. This time will let myself to actually step on the edge here. So I will not have this outline and yeah, yeah, I don't have to be careful here. Same as before. Uh, on the last step, you actually have to pay some attention to it. So that should be enough. Gonna make selection Federated's One Peak self. I'm going toe work with clone Stamp. But now I'm being selective. You're inside. So even though I will affect some area so it will not be recover in what I already have inside. But I want to have something similar here. Some painting first with the same column, just like this, trying to clean this up. And then I'm gonna make a smaller size over a few things inside. There is the I so not fully and then tryingto revealed some of the other obvious. And we'll have to have some smooth transition between these two colors just like this. So it's not their effect, but it will look. Because of this. We're gonna have this a little bit more natural. Off course. It's much easier task if you want to feel this with one color. So then simply you just feel this. Let's say with black or gray color and create the reflection and thats much easier job. If you try to keep this a little bit more natural, that's the process. Once it's field, I'm going to go to another layer straight away. We have the color chosen. I'm gonna try to do some small, simple reflection. Something like this. It's light and already, and that's the result. We could probably re touch a little bit more here, not lower days. It will have a little bit more natural outcome. I'm going to select this two layers, then command or control and G, and this is before and after 46. Retouch folding clothes I: another common issue. ISS problem with part off the clothes. So on this image, as you can see, the part of the world rope part of this swimmer was folding here and don't necessarily look very nice. And there's a few different ways how we can do it. We could maybe make a selection and doing with Khan Stamp. But I'm going to show you something that I often like to use in cases like this, and it guarantee the best and non destructive results. So I'm going to duplicate this background failure. I'm gonna name this fold just to know that I'm removing this fold. Then I'm going to change planning mode from normal toe soft right? Or any other blended meant that allow me to see fruit. I'm dragging this up until this fold is involved. The red line, the red line off the swimwear. I'm switching, blending mode to normal, creating a new layer mask. I'm going to invert this white color off the brush flow at 100% and now I'm going to paint it over. And what you can see the thing that I'm bringing back by painting with white color here is the skin it's 100% natural, non destroyed, skin off course. You don't have to paint it manually. You can make the selection and bring bank to set an area from the mask. But I believe the painting in this case is just so easy that there is no need for making any further selection. So on a little bit more here, close to the edge and, as you can see, this small issue very easily solved. 47. Retouch folding clothes II: in this lesson, I will teach you how to deal with the folds or other imperfections on the parts off the swimmer, for example, or other parts off the world rub that commonly happened during commercial shooting, for example. So I'm going to start with the empty layer. I'm just going to name this clean. So as you can see, I have quite troublesome folds here. That doesn't look very nice. I think this major one here, I wouldn't mind to leave, but the small other areas should be taken care of. So I'm going to start here. And the best way to deal with this is making some selection with mental and feeling in everything inside. So I'm using mental and I'm trying to make their straight line over here going here, and I'm sure so once I haven't done it straight over here, I'm going toe heat right and make selection. In this case, I believe for the radius one to peak cells, not truth to It's not too much, but let's try with it. Then I'm going to trust s so I'm going to work with Cranston, and I will cover this channel here because this shadow is the major problem off the fold. Don't try to go too close to the edge, especially on the top here, where we have some and different color shadows because we don't want to make it look artificial. So just being careful here, once I have done, I'm going to choose selection toe heat, right and choose select in verse and then, with Konstam, I'm going to deal on. It will be to this part here. I don't need to have very clean selection on the bottom. It's enough just to have it here. It's remove selection, and that's how it looks. So it's not ideal. So that's why I'm going to go with Cranston and do it a little bit more and also allege, No, we got it straight off course. We need to go to this one as well and do it step by step, also going to the left side later. So I'm taking this another part straight line here, just like this, making selection and trying to cover it naturally. So white color and I'm painting over here just like this. Let's have a look. It's not ideal. So once again we need to have a nice land on the bottom, just like this. So I'm going to continue and did this site So you can know how you can deal with this kind off issue later on. Off course, In many cases, it will be easier is quite an extreme example when we have many colors, usually might be one color. So when you have one color, actually dealing with the folds will be very easy once you practice on something more difficult. So once again, parental and the line here and yeah, so I will have to cut this out a little bit. So he tried, makes election and inside, trying to paint with this green shade. This time we can now turn it off and I will try to deal here. We found the any selection, and I think it's it's possible we don't have much off the issue here just like this. No, um, going here once again this election and yeah, for sure, I'm going to end this up just like this. So let's do it here. And yeah, it's make us selection. We could go even further. It will be a little difficult to cover this green. So let's Let's do it now, as it's done, I'm going to remove it and what I want to do. I want to clean this part here for simply, It doesn't look very well, this curve. So with soft edged brush, I'm just going to painted here and cut it so it will look better. And also, it doesn't affect the natural outcome of this. So just a people come here. Unless you can see we can compare before and after, it definitely looks much better. 48. Define body curves: in this lesson, I will teach you how to improve perspective off the image. It's common question among photographers on how to improve perspective off the muscles. How to make them more dramatic are among beginning photographers how to improve the natural female curves. And in this lesson, this is the subject we are going to talk about. So we have this part off beginning image, and when I want to do on this bottom here, I would like to improve the right so I could make this bottom a little bit more rounding what I'm going to do. I'm going toe work with curve adjustments later, mainly here, and try toe work with flight so I can improve the perspective here. Let's create the first curve adjustment layer, and I'm going to name this US light or even highlights. But we talk about the highlights, many in this area, because that will be our focus. So there's a few ways we can improve the highlights. We could even paint on mask manually, but there is a danger that we can destroy the natural shape, so the other way could be going for color range and trying to define highlights here, Mannelly Dragon, This fuzziness and sometimes it can really give you a very good selection. There's some other ways, and let's tells them other way through select and color wrench could be trying toe work with the color wrench by sampled colors so we can trust the sampled colors in the area we want to work on. But this is actually very risky way off working because in many cases it's not going to work. I can. Since this case, it actually seems like it could work very well. We have very nicely defined the highlights here, so the next step would be going to filter bluer counties endure. And of course, we need toe blew out the transitions so I would blow this still this level hit, okay, And then I will try to drag up the curve a little bit more and defenseless. I could improve the light naturally and overall, improve the perspective. So in this lesson, I'm actually going to use some other techniques that I believe will give me most natural results. So once again, I'm going to start with curve and Jasmine, tell you, and I'm going toe image apply image and for apply image. We can create the luminosity mask that will represent the highlights and shadows. So I'm going to hit okay if the layer is marriage to because we need toe merge all of the layers than the blending. Make sure it's multiply or natural. It will give you nice mask off the highlights. Then he took a Let's see how it looks like this selection is very nice, but it's very wide. I want toe narrow this pace off my highlights. So what I want to do, I'm going to press command or control and hit on this layer to select this highlights. Then I want toe. Make the wrench narrow. Some press in command all the option shift and heat on this again. But you can see selection seems to change, and this means their selection got narrow and we can see on this another example. So what I did after I had selection, I just went to curve adjustment layer and created another adjustment layer. So now I'm relatively happy with the selection I have here. It's not so much highlights, but I believe it's a very good start for me. So now this first layer I'm going to remove it. And the 2nd 1 I'm going to name this highlights. So now let's see. I'm going to blow this out because off course, when it comes to nice perspective, one to have a smooth transition like this one. So this is done, and after that we can make the selection around the model, so we will know that we will not affect the background. So I will try to put this highlight layer into the group. It's a little bit complicated, but you will see it's actually very simple for this. We need another curve adjustment layer or any other adjustment there. Yeah, Then I'm going to choose quick selection tool. I believe for this image that will be enough. If you have some more troublesome image that it's difficult to distinguish from the background, you can use pencil to select the area you want to work with. So I'm going toe mark the selection around here and it looks pretty decent. I'm going toe narrowed here. So as I expected, it didn't come at great difficulty. So I have selection now, as I have this selection, I want to invert this into this layer mask So I'm going to press command or control and I Okay, and let's see how it looks like out option. This is our selection. So now I won't work on the highlights here but Onley in this range. So now I'm going to create a group and to do this if you remember short kid, that is command or control and G I have created the group here, saw this group I'm going to call perspective. And now I'm going to get this selection from this area here that I had and as a group is selected, then I'm going to create the layer mask on the group. And of course, I want to work inside here. So I need toe invert days so this area will be white and everything else will be black command or control. And I to invert this previews curve adjustment layer. I don't need any more, but this highlights need to land in the group. So I have this highlight layer in the group. But I'm going to work now on this curve adjustment. Liam, What? You can notice actually affecting the light bad. It's on Lee affect in in side area off the group. So these area in white color, which is what we really care about and it's not bad, I feel it could be maybe a little bit more contrast e. So we could even create another curve adjustment layer here anything we want. If this is not enough, we can work more on the contrast to define this highlight layer more. But I have great idea that if we have already shape here, we can easily work on this and imitate the highlights mannerly. So I would choose that brush reset this toe white color off the brush and change flow toe. Maybe 5% should be enough, and after that I'm going toe. Try toe work on this highlight layer and paint with the white color a little bit here on this curve very softly just like this, and let's have a look. How did we improved this? I feel it's working really great. We can change management from normal toe luminosity, so we make sure that we actually do not affect color, but on the delight. Really, it'll be class more natural, and after that we can also create another layer for the shadows so I could create the curve adjustment there, named his Shadow's, then go to image, apply image and the same as before. But now I'm going to check this box, invert so it will invert the mask and will define shadows. Now I don't really need to change anything. I don't need to create any group because I have it already. So I could just simply crab it here and tried to dark and shadow a little beat and change. Brand motor luminosity lets her look, as you can see with dark and shadows nicely off course. We drive this curve here in the middle for the equal result, but if we go on the other side, we mainly will be affecting the highlights. So if you want soften results, go with the middle. If you want the stronger result on the highlight, go more on the highlights. But for the highlights in this case, I would not really recommend going just this way. I feel that's a little bit too harsh, and overall, the mask is already created in the certain area, so your effect will be nicely defined anyway, and I believe we did a really great job on defining the highlights here. And remember, these techniques can be used on any image. It can be image like this one. It can be useful for defining the muscles. Remember, you can always create the mask around the body, but it's not always necessary. And working with this luminosity, masks allow you toe improve the contrasts and perspective off the image. 49. Use select and mask to change background color: Now I'm going to show you how to change anything about the background, whether it's light, color or anything else. At first, I'm going to show you the method using option in for the shop called Select and Mask. And then I'm going to show you my method of choice that I consider as much better so. First of all, using Adobe Option Select Unmasked A both your image. We need to create some layer with the color. So as the color off, my image is kind of gray, a lot off bright white colors. I want toe chew something in the contrast to it, so I will go with some red color or something that they strong and will be visible. After that, I'm going to duplicate my background layer by person, command or control and J and drag it to the top on the stop player. Now I need to make sure that some selection tool is chosen and then the option selected mask is visible. So the reason why I choose this trunk color because it's best when we can see the color here in the selected mask. If I would choose the color white, that wouldn't lever obvious by the fact I choose the red color. It is very obvious to distinguish the difference between the color off the image and the red color. We can adjust the transparency if you want to see everything a little bit better and then using this stool on the top on the right side, which is quick selection toe where ableto define the background and mask it. As you can see, it's very difficult to define the smallest her, but I don't think anyone would be really bothered by this. So here we God here that was masked, and we need to bring it back. So operating with this plus and minus, we can easily get it back. If you're worried about the edges, you can switch the tool to define the edge and on the edge. You can define some small her and other elements. It didn't work well on this here, here. That's why I need to mask it back again. And simply speaking, this is very basic tool and doesn't give you ultra precise results. But let's see, let's hit. Okay, so now we have mask and we made it opposite toe. How it's supposed to be so this layer mask. I'm going to invert now by person, command or control, and I and it's inverted. So this is the method that probably Adobe would offer you. And of course, when changing the background, we need to make sure that the background that we want to change is rather similar to our original background. And the reason for that is if you change the background drastically, it might not necessarily match with the object later. So you want to go with colors that match the object. For example, if I have the model, her skin is in orange tones. I will try to look in the colors that match this orangey tones so I could go with this soft blue color and I believe it looks beautiful. So after this metal, let me show you the metal that I believe first is much more precise and second is much faster to use 50. Change background color with color range: my way, and the best way for changing the background is working with color range. And first of all, we need to create some adjustment layer. It doesn't matter what your going toe create. It could be curves. It could be hue saturation. The choice is yours. So once we have this create, make sure that this adjustment layer this layer mask your is selected. None go to sell it color range, and then I'm going to use sampled colors. And this is the method that I use the most in most of the cases, whether I'm being asked to bright in the background toe, change the color a little bit or to do anything else. This how I do it. It's really easy to define the background, as you can see by simply choosing the color that exists on the background. And in most of the cases, the Bagram it will be different than the face. That's why it's so easy to use this technique. So, first of all, I'm not ableto make the selection all over the background as we can see the mask that is here. It's not fully covered in the background, so I'm going to start here on this side and that I'm choosing this class here. So I'm prison here, here, here, here in few different locations. So I can be sure the background is really well defined with fuzziness. We can decrease this kind off wrench off this white mask over here so we can be sure it will be easier to mask it later. You can. Even the Christmas she took A And now let's have our view at our mask. Some pressing, other option to check how the mask looks like. And for months, I can see even was able to define some of the head, even though they're probably not as important. If would increase the wrench, probably there would be even better mask. So now, with the black color, I want toe cover the face of the model. So I want to keep the background us white. But everything else has to be covered. Choosing be like brush reset in the colors with the D and with the color black painting over, I'm gonna make my Russian to be bigger. Just here a little bit are in the era and we have to be careful close to the edge but do not go over the edge because that will be actually visible when we'll be changing the color on the other side, the same so down here. And yeah, so it's boring process, especially when we tried to be careful, but it's required, so a little bit here. I got over the edge so I can just press eggs on the keyboard to switch it and make sure it's nice and mask here and now we are ready to start. So I'm going to press out corruption again to turn back to regular view. And as my mask is create. First of all, if I can do it with hue saturation, I can manipulate a little beat with the color on this background. I can't doctor Days, and Hugh has reconsidered. Country achieved more with the hue, so I'm going to use this mask and apply some color. We can apply the color by simply using solid color and with solid color off course. I'm going to choose the color that I find be natural here so I can go with this soft green , soft blue, and as you can see, it's much imperfectly to the face. Probably blue will go better, and the blue always go well with the portrait's as well as it's beautifully matching her eyes. So this hour do it and you can actually see how great is the selection using color wrench, and how precise is this selection? 51. Masking messy hair: Now I'm going to raise the difficulty level and work on the background, having the image with troublesome and messy her like this one. So first of all, we going to start very similar. We need toe create a mask. And once again, we need to create some adjustment layer to make their selection, then select and cholera ranch, which is still the best way to do it in this case. But now, at the start, we already have to be very precise. So what? I'm going to choose this eyedropper. We are going to place it in some area that allows us to defined the white color. This time we don't want to try to define this too many times with this. Plus I drop because then we might lose the fine hair. So we want to be very soft and precise here to not make the transition between the hair and the Bagram too drastic. So I'm going to do I'm going to use this eyedropper as you can see tryingto preserve as many her as possible. Maybe plus, and once more here, not more than this. Then when it comes to the fuzziness also, I'm not going to the top because let's have a look what we are going to get if I'm going to raise the fuzziness very high once again, I'm losing this small and fine hat. So that's not the way to go. I'm going to try again and go to Sarah Color wrench. And I'm going to decrease the fuzziness Quite dust drastically to compare in tow. What was before? And now I feel I'm actually getting this more natural look, but there is still so more of to do. So I'm actually doing a step back again and trying to get the selection once again, I might try to get another selection from the corner wrench. And I'm getting from this side because I want to it to be even soften than it Waas and the Christian fuzziness, father. And OK, let's go Look now. So this selection is not bad. We pretty nicely protected the mask around the head, so I believe there will be well visible, but we'll see how the final result will be so first off course, we need to mask the face inside and part of this body, but it will get here also. I'm going to use the white color. So I'm pressing X to switch it and I'm going toe mask it a little better here Mannelly this time and some other corners because, ofcourse thes time, this selection wasn't so perfect. So we got this election and I'm already worried because I know I will have a lot of white color around all of the hair. So what I'm doing now make the selection and now I'm going to solid color. I will choose some completely different on drastic color. This red will show this nicely. Everything will be a strong and visible. And here is the method how I work with this, how I work on the image to avoid this white culo around the head. First of all, I'd still don't think this right strong column would be suitable for this image. But first of all, I need to show you how to deal with this thing. So create the empty layer on the top. Call it blend. So we'll try to blend this colors on this empty layer. Some people would say that the solving of dishes you would be changing the blending mode on this layer to some different one and then we could match it better. But as you can see, it doesn't necessarily work this way and also duplicating the layer and trying toe blend. This or their way, as you can see, also doesn't necessarily work well, and we still get some of the color. That's why I'm avoiding this technique. So I have this empty layer. I'm choosing Clone stamp in this case and on this layer changing blending mode to darken. And then with clown stomp, I'm climbing the red color and applying this around the hair, and you can see this beautiful thing that has happened to the head. So let me explain what's going on here with the dark and blending mode. Everything that is brighter than this shade off red is darkened, but everything that is darker than this shade of red is not affected. So now everything that has white color, simply speaking, that is brighter than the red background. He's being darkened, and this is absolutely the best method to blend with that troublesome, messy her. Like this one off course, It also depends on how well you do the mask on the hair, and I believe here we could probably do a little bit more work to make it perfect, even though we can do it. I don't think this color iss matching to the model, so I'm going to go actually with different colossal. First of all, I'm going to change the color. I'm going to have something actually pleasant for the ice. So I will go with this blow or cyan color, and it will be darker here already. Think some talker and Palin cologne will match it nicely because we need to decide on the color before we actually going toe. Cover this on the empty layer. So does there. That's did con off this technique, but this technique will give you the nicest results. So let's go Something like this. I I find it really beautiful once again. Empty layer. I'm gonna name this blend now, darken, and let's blend it off course. We need to be careful to not go close to the skin. So we need to pay attention that we do it on Lee to the hair on the other side as well. And here I can see the selection could be and it'll be twice that and we could active preserve some more off the hair so it would look nicer on the other side. And this is possible to actually do this nice of selection. But we can also trying to replicate some of the hand if it's going to work for us. Not always ideal. But that would do here also. I could create a new empty layer, and on this empty layer I could clear up this single straight her so it would look just on . It will be nicer. So this is how I do it. And as you can see, we were able to really a mask nicely, even very difficult example off the messy her. 52. Eyes: off course. In this final essence, I have prepared some tasks for you. So I'm sharing with you some images that are related toe different parts off the image. These images you can download in the project section off this course and later you can share with me to get some feedback. So the first task is the image related to the ice and everything around the ice. I'm sharing with you. This too image is what I want you to do here is to retouch this part of the so you might improve their light on the eyes. You might want to retouch eyelashes just a little bit. What is very important? I want you to do it in non destructive and natural way. So I don't want you to create some artificial eyelashes. But just as I showed you, you might want to extend some things you might want to on app something But overall, I wanted to look as it wasn't retouched. I wanted to look natural. You might retouch the skin around and, of course, the eyebrows. The major part here is I want you to retouch eyebrows with the techniques I showed you. You don't have to copy the part of the image you might want to use. Crown stamp and doctrine burn on the It's up to you. The final result is important and it must be natural, and it needs to look like it wasn't really retouched. So these two images First, you can just start with the one image or recounted to images. And after all, in the project section, you can share your final result with me. And then I'm going to give you feedback, say everything was great and perfect. Maybe I will say that few things need some more work, or maybe it won't be good enough, but that's the best way for you to learn the good ways off retouching. So the first task, this two images. And of course, all of the images are available in the project section, so make sure this will look nice and natural. 53. Lips: second task is about leaps. So in this course I shared with you many techniques that can be used for retouching leads. And what I want you to do in this task after you down on this image is first of all retouched the leaps inside. But of course, naturally and non destructively. So if you can find some dry skin inside on some sports, maybe some small her get inside. Retouch this if the color is missing in some areas also and you need to feel this out when it comes to their corners off the leaps, it needs to be retouching. Of course, skin around leaps also should be retouch. One important thing that I want you to practice in this task is also defining leap line. So in this task, I want you to make sure that the leap line is straight. But at the same time, it needs to be natural, so it needs to be half nice and smooth transitions. I want you to achieve high and look, but the leaps needs to look natural. After you complete this task, make sure you should the image with me and get their feedback 54. Hair: next task. Her retouch. So here, I want you to do two different things. First, this image. I want you to take her off the small cross, for it's not needed for every image. But if you can just remove the major, cross her over here, and when I want you to do for this image, make the hearse move and shiny so you can use a few different techniques that I have presented in this course. It could be frequency separation. It could be anything else. I believe that and Burn could work great on this image. If you need to even out the herd action burn can sort it out nicely and naturally. So this hurt smooth, shiny and soft. And then we also have the other image. And for this image, I just took this piece of the head because it's not needed toe work on beak amount of her. It's for a practice, and here I want you to keep them more natural. So all of their shiny her and crossfire, I want you to retouch, but I want to you to retouch us non destructively as possible so I would recommend their basic retouching techniques I would recommend working on an empty layer with clown stamp or some other they needed that allow you to even this Cross her to blend it across her maybe frequency separation on the top layer Also to hide this cross her. But for me, I find they're working on empty layer Took me the best and at the end you're gonna add a little bit off tagine burn to smooth this out. So these hair more natural here more creatively you can do some soft effect to make her soft and shiny And after all, off course. Sure, the final result with me in the project off this class to get my feet back. 55. Stretch marks: as the next task. I'm sharing two images in the folder under the name Stretch Marks, so you already know what I want you to do, and I want you to be focused on retouching these stretch marks. But what you can also not is here. There's much more things to do, so we have some spots you for sure need to retouch that you, for sure, need to retouch the small her as well. But make sure you're not going to lose the skin texture. So the technique I want you to use for retouching this like here the stretch marks spots and her is basic retouching tools and dodge and burn. Don't really try toe even skin with frequency separation or some other technique. You can use this for skin retouching on the top layer, but don't really use it for making the skin. And even because you will create Phil traded result, especially on this image, that the skin texture is visible and this is the reason why I don't want you to use this technique so it needs to be natural. Spot her and stretch marks off course with passion burn, and as the final result I want you to see the skin texture that exist here, so that's a little bit difficult part. But practicing this way, we'll give you really good habits and prepare you for great work. Give you some good experience, and what's most important makes you better at professional retouching. So two images Make sure it looks perfect on this image also can take her off this part off the world rub. But we have the separate subject for this. So what's most important is the skin here, and if you want, you can work a little bit more with contrast later toe improve than natural curves over here. But this is not required on this is up to you. Most important, I want you to learn how to retouch this part. So, of course, after all, shared this with me and I can give you some feedback 56. Under arms: next task retouching under arms. And even though this is not some common issue, that you will be retouching over and over. But this is great exercise for your retouching skills. So what I want you to do here, off course you. So my lesson you So how I'm doing it and I want you to do exactly the same. So I want you to remove the lines under the arms and I want you to Any event, they're light. So few things. You can do it. You can off course, do it on empty layer. You can use the patch tool for days, or you can use frequency separation. So empty layer crown stamp healing brush or patch toe by duplicating on the actual layer. Or you can use frequency separation and sort it out with frequency separation and at the end, a little bit off dodge and burn toe on even the light as probably you can get a little bit artificial. In this case, it's not so wrong, but still try to be as good as possible and try to keep the natural look as much as possible. 57. Clothes: in this lesson on other tasks and this time about clothes. So I want you to do two things. But I would say this is not required. I find the odor task being a little bit more important. First asks very simple. And I did so I don't expect you to share the result, but off course you're free to do it. If you think it's too easy now for you to do it, you don't have to share so few things. I want you to check this small black dots about the part of the world, Rob. And from my own experience, I can tell you that these dots and such a things are most common. Think in retouching to do so. The other most difficult tasks are actually very rare, and the other thing is the color. So I want you to sort out the color and get it us close to the real color that this trousers have us possible so you can use some different methods. You can work on an empty layer toe, bring the color toe most natural, and that's the other task is something more difficult. So something I was doing before I want you to remove the folds on this side and these faults over here, I don't expect you to work on the other side because it's so big and it would be too difficult to do it, and it would be waste of the time. And probably you would never get the task to do like this, if you would. It's really 1% of the time. So the great practice will be on this side, made this straight over here and remove the fault. And then off course, you can show the result and get the feedback. If it's properly done, I will be checking for the things like a texture and the natural light over here. 58. Portrait retouch: as the last task. Something rather very simple. I want you to retouch days Natural portrait, So few things off course taker of the skin If you find some scars, also, remove this car's off course in retouching on the face off the spots off the peoples under the ice taker off the dark circles Over here, of course, naturally, you can use frequency inspiration for this, or you can use dodge and burn. Also, we have some of this alliance on the neck. So I would like to you to retouch days, so make it smooth. Bad. Be careful with pattern. For example, you decide toe, do a little beat with the Pashto. Here, make sure you are not changing natural light or you are not changing the bone structure. So be careful with this after this and not to match. Make sure the clothes are clean, maybe a little beat around this area. Make sure the chest is skin when it comes to the hair. I don't really wanted the hair to be retouched because remember, this is just simple portrait natural light. This is and not some studio image. So the retouch need to be very settled I'm doing this because I want you to understand the differences between the images and when we look at certain image, we need to know how much retouch I need to be done. So that's what I'm saying. Simple retouch. I think it should not be difficult, but we have some really good points here that we can practice some off the retouching. And once you finish with this, I'm going to include some extra image. If you want to have some extra work, I'm going to include some studio you need so you can practice a little bit more off the techniques. And after that, of course, should the result. We will talk about this. I will give you some feedback and maybe we will check your weak points. So we will see where will be the room for improvement. 59. Full Retouch: Clean up: as promised before. And now I'm going to show you how to do the full retouch from the beginning to the very end . I'm going to work on this stock image. And of course, I'm going to start from skin background, her the number going to move to some details such a sleeps or nails. I will try to use nondestructive techniques for retouching skin and almost going to use that didn't burn to keep they look professional and non destructive. So let's start from creating an empty layer, which I'm going to name us trading. And then I'm going to zoom in and before I will move to the skin, I want to solve the background her. We have some of the background her over here that we've seen before how to do it, so I'm just going to remove it. I will be using healing brush and a clown stamp for this because I believe it's easiest for this might be a little bit more difficult, but I actually believe that healing brush can deal with this easily. Even though I wasn't keeping re small size of these, then I'm going to the top over here and as I don't want to make a clean cat between her and the background. What I would do here I will press s keyboard to treat scrum stamp and I'm going to make a smooth transition so current below and I will try to blend this suffering so flow off course a little higher, a swell. Keep the flow at 100 for this task. Obviously, unless you can see I don't want to cut this year. But I would rather make some smooth transition just like this. And over here so it will still look natural. And then I can move to the skin so the nails and leaps I will leave for some next section. And when it comes to the skin off course, mainly I will be working with hearing brush. I will do a little bit off work with him and brush, and then I'm going toe speed on this video so it wouldn't be too boring to watch 20 minutes of clean now because on this image we have a large to do, even though the skin is rather good. But we have a lot of very tiny spots that are not easily visible, like over here. As you can see, we have some of this dark spots. And if we want to keep professional, there's no other way than cleanliness. Mannelly, Standby step as undoing this right now. So just quick moves that how you are going to do it. I'm not going to remove all of them now. I just wanted to show you also as I want to keep the young look, I'm going toe remove this tiny wrinkles which are natural But it will look better if we can get rid of this. So we have some of this rain polls. I will try to do it by mixing healing brush with clone stamp because Crown stamp will allow us to blend this nicely. As you can see, I'm choosing from stamp and then we can bend it nicely. Where else? Using Cranston. Here is where I have this deep pours between highlights and shadows. I can go with clam stamp to blend this force and it will be better just like this we can see it looks it looks very simple. So that's having good doing this above the ice. So as I mentioned, we really have a lot of work on this image. And that's why I chose this as the final thing. For this course. We can do professional, non distractive cleaning, cleaning up professional retouching under the end so we can see I actually work in the professional work where I need to do a lot of things. It will be over here and no other option. So everything here I'm going to do with healing brush and clung. Stop Sometimes when I'm going to play samba, Goethe, Cranston, just like this to smoke this weird spots and transitions. Then go back, toe him brush and continue doing what I do. Also, I'm going to move to their hand and around the neck. As I was showing you, I'm going to return this small goose bumps we could call it and these lines with dodging and burning. But this will be with the next lesson, dodging and burning. So now what I want to do just remove the spots. And if I want to remove the hair close to the edge, I this I will do it just by class stamp. So now I'm going to speed up the video because I want to quickly clean up the skin way 60. Full Retouch: Details: now I would like to take her off some details on this image. That's why I'm going to zoom in on the nails because, as you can see, that far from perfect, then I want to take her off some of this cross her and we can easily do it still on an empty layer and a little beat around here on the eyebrows. So I'm going to start with the nails and the best way I can see I could do anything here is trying to work with clung Stone and feel the missing part off the nail. So we'll have to be very careful. As you can see, I see him now getting covering this, getting discovered next to the edges. It doesn't have to be perfect because, as you can see, there was no nail technician. There was just a simple color off the nails, so we not creating any think artificial, just trying to fix what's missing here. So never really think off creating some fake nails. This thing doesn't work, but things that fix the things that meant to be there but are missing also, if I'm not seen something out here, I'm trying to clean up a little bit better the next one. Not very demanding work, but it's very important to not means this and show every single step of retouching. And you told Bickmore. Sure, and that would be so as the next step. I have some off disc er that bother me, and I will do it with clown Stamp because, as I told you before, during the course, it's much easier to blend darker than the blood color of the her. So when I'm with the darker, I'm not bothered to create any techniques. But I freely work with club stamp and just darkening with the clone stamp different that I want to make. Not that visible, that I don't want to distract me so a little bit more here. And still, I'm not really doing anything artificial because naturally the model has carried her, so we don't want to make the hair like it with the all fake. I'm just slightly blending in. Later on, we might do some work. Maybe we will want to make her soft, We'll see. But for now, just this shiny her. The shiny dots needs to be removed just like this, and as you can see I'm not even going to some small signs of the brash and letting myself easily here just like this. I need to be more here, and once it's done, I'm going to get closer to the eyebrows and I want to make them really smooth. So I'm going to remove the hair close to the edge over here and here and then switch toe clone stamp and paint with them once again, close to the edge. Just itis. Can I switch again? Do it here and that's it. The next part off softening everything like her and work on the leaps will be with some other techniques. I think we can use some techniques like frequency separation to smooth this out. So something you actually learned before and everything we are doing now are the things that you already learned before so few final touch ups. I'm going to close this last son, and we are going to move to the next lesson and you some other fancy techniques to solve some trouble. Some issues we have from this image, so few her here. I see. But that bothering me and also I just notice I noticed before but totally forgot off days part which I don't really have to think what to do with this just with clam stamp paint over and feeds the color just like this. Once it's done, we can move on to the next lesson. 61. Full Retouch: Frequency Separation Touch ups: right now we can have a look with it. Pretty descent clean up on this image. So now I want to take her a few more details such as leaps. And also, if I have missed something about this skin, I will smooth out the skin. Maybe here, under and for this I'm going to use frequency separation now. So this is additional technique. And I'm doing this because we have the skin with rather bigger pours. If if I work on the skin with smaller pores, I really ever use frequency separation, some going toe windows and I'm going toe use my action that you have available in this course. So if you have missed this, go back to the first lessons and get the resource is I'm going toe play. This action rages around 12 to blow this out a little beat as we remember. Do not see the details, but I'm going to start with the leaps. So I'm going to zoom in to the leaps to see it Clearly, I'm going to duplicate this low layer and I'm going to blow this out a little bit. That will be very easy. Mattered to smooth out leaps If I go up as you can see, they get very smooth. If I go lower, not too much. I don't want to go to extreme. Maybe just somewhere around 20. It will still look natural. Let's have a look before after. That's not too bad. I'm going to create a mask. Now invert this mask and I'm going to paint her on the leaps to smooth this out with white color of the brush. So pending a little bit here. And of course I'm losing some light, which I let me recover later, but the lips will look healthy and soft. I have some dryness, and I didn't solve this on an empty layer before, although I could, so I'm going toe high frequency layer and I'm choosing clone stamp. In this time, I'm going toe work on current layer as you remember from previous lessons. That's how we work if we work on the top layer and I was using soft edged brush, which is okay for the leaps. But if you work on the skin, of course, it's recommended to get with heart Edgett brush so into clean up some of the areas. Now my brushes rather harder. A few areas here I wanted to solve with soft edged brush. I wanted to smooth this out, and I think the leaves. Who could? It'll be better now. I might have the final look through the skin. I might also get suffer brush. And wherever I see some traveling poor or something like this, I will try to break it softly, maybe even with bigger size of the bride, just like here to make the nice blend between the skin that doesn't have the pores in the skin. But that's half for so all the mitral look a little bit more uneven. Some here here we have this troubling area. So for sure, here he must do. It will lose a little bit off skin pay extra if, at the end, we will think that there is a lack of skin texture off course, we can easily recover this a little bit more here a little bit on there. Nike. No, too much just like this. A little bit from the hand, and that would beat so very soft details from the distance we barely concede difference except the leaps. No one I want to do and the end here is to take her about her. Unfortunately, I did one mistake before I did not remove this part over here. I thought it will be all right. But now I actually feel for better outcome. We better remove this. So I'm going to create another empty layer on on the top. I'm going to named is clean her and I will use pen tool for making the selection here. So I'm going to start here and somewhere here, make some nice curve something like this. Rather look natural and now make selection. So control and right makes election. And here, the feather radius Rather high eight, maybe 10 pixels for this size of the image. Because I want to have smooth transition in this part. And then I'm going to close this year not too harshly, because this transition is important for the natural out outcome. So let's see how it looks Still not ideal. So now I'm going to blind itself t once again here, and that's it. So now I want to make the her smooth. We can work on the stone layer, for example, with clone stamp and maybe paint over here, or we can also turn them off on this moment. Create a murder stamp here inside with this blur, which off course will increase the size of this image, but likely in just j pic image. The size will not get too big if you work with a big size of the image. Of course, it's good to create this times and avoid creating too many layers. I'm going to press comment. Other option shift and e on Windows that will be control out shift and e. I'm going to name this soft and now let's get back toe works on this soft her layer. I'm going to go to Mixer Brush, similar before just the settings as the wet is quite high here. But lead, Meeks and flow keep it low. And now, of course, the corruption taking color sample. And that's how I look. It works. I need to Yeah, it does work. So I'm trying to make this move now. Not too much, because we will lose the natural appeal of the natural shine off course. We will lose some shine, but we won't lose that much. And for those who don't want to create this layer out, recommend working with Cranston. Okay, that's how it looks. With crime stamp, you can just cover some extra areas here. I think I can cover it here, here, and fix a few parts here. It's gonna have a look before and after descends change. And now we will be ready Toe work on this in the next lesson, using batch and burn nondestructive technique to finally make this image the perfect. 62. Full Retouch: Dodge & Burn: and now it's time for another step, which is Dutch and burn retouching. And once again I will start with the introduction. I will do a little bit off work, and then I'm going to speed up the video. And in this part I'm just going to use my passion burn actions that are available for you. In this course, I'm going toe windows, find actions which I already installed to buy for the shop. And I'm going to use this Dutch bone and black and white help player actions. This black and white help player can help me to see this micro transitions that I have to retouch. And as you can see, they are perfect, perfectly visible on the hand, around here, on the neck, on the face. Not exactly. So we can actually adjust illegal beat more our black and white help players. So I'm going toe manipulate with the curves here, Dark and a Seiken see better are on the face once they are justice. I'm going to move to Dodge and burn just the white color off the brush, so brush tool white color flow around 5%. So it's the same way us. I was doing before into Simien and start retouching. We can start retouching from very highlights here, but we don't have to do my tree touch over here, so I'm going to do a little bit here a little bit here and then I can adjust my curve adjustment layer slots again. So I'm starting with their dodging and just paint over are you could be in this areas. It's around here, but I can already see the difference before and after and continuing here. So usually around the highlights, we don't really see that men off the transitions because off there amount of the light we have here doesn't mean they don't exist. But it might be a little bit less retouching in the highlights. If the highlights are very strong and majority off, this work possibly will be located somewhere around the lights and metals, but not very much highlights, as you can see next to their areas that are too dark. Sometimes you have areas that are too bright. Also, you need to remember about downloading my special dodge and burn brush so it will allow you to paint softly and if you are in tow, such an advanced retention like doctrine burn. So if you want to get in the professional retouching also getting a tablet the graphic tablet, the one I'm using very basic one is absolutely necessary because with the mouse you won't be able to create such a precise strokes that I'm doing right now. She thinks that are very important to remember Here, done just paint over because the beginner mistake would be that I would just bright in this area, this area, this area and all of these she won over here would get flat. We can't do it. We can I we have to actually niks dodge and burn. And we have to keep this shape over here. We can just flatten this. You need to be really settled when doing Dr in Bern. So you can see we have the nice transition here between the highlights and the shadows. But we did not really flat on all of this area, so a little bit more dodging here you can see the result before and after a little bit more work for better transition Here, Nieto feel up with darker color These gaps a few more transitions here. I want to do, and here and here. So I'm going to move slowly on their forehead. But we don't really have that much problems on the forehead. So this is rather easy task a little bit here. You can notice in this areas. We have some micro transitions here and below. We're going to go, are on the hand and the neck. But the work here should be much easier because all of the transitions are not so small. Assault on the face. We just have this line. So we have toe paint over it with the right direction and then on just the light so we can see everything at its best. So just painting like this and doing a little bit more work in the same around the hand, so all of it can be really settled. And even so right now, I am going to speed up this video so I can see all process in just few minutes. Yeah, 63. Full Retouch: Color Shift Corrections: We did a lot off dodge and burn retouching on this image, and I cannot straight away that we got some color imperfections because of this, especially on the area right here. I can spot some saturated areas over here and next to it, some areas de saturated. So then we have to find the source of the problem. And then I usually switch off my passion burn layers and as the surprise coming to find that it's not Dutch layer causing it because usually when we don't Samaria stay up, you more saturated. And when we burn areas, they appear de saturated. So it comes at the price because our on the Dutch areas I can see that a little d separated , actually. But of course this is not the rule and it depends on manufacturers it the pencil, the luminosity of the image. Hugh issues you very similar. But of course every skin is different, so we cannot assume that it always be the same. And then I cannot, is that Actually the burning in some areas cost the fight that it got a little bit more saturated, so if you were working with actions, you can just open this saturation layer and work with it. As you can see here, we can't even increase this. If we're going to get lower with the saturation we can, and just it quite well, not too much. It's a little bit better at this stage. It's not entirely sold, but it got slightly better. I don't want to go too far because on in some areas that skin changed the saturation mawr in some less. So this technique will never be too perfect, says the next step. I would like to create an empty layer, which I'm going to rename Toe color. I'm going to choose a brush I can praise be on the keyboard. Soft edged brush flow might be at 100% or are on 50 but rather decent amount, and we need to choose the color that deceiver so I can see some color here is looking quite nice natural here, but not this saturated part. So I'm gonna get color from here, and I hope that will be the good choice so I can paint of the normal branded more first and let's test it if I switch this to color. If it looks better so does it. Not necessary. So I want to do a step back. An experiment more because the keys about finding really right color Let's see. I will paint suffer now, do not affect this strongly. And I feel now it could be a little better here in some other areas. Some other color it'll be cure. You have very strong saturation around here and also here. So looking from the distance a few more time touch ups around here. I had this de saturated zone, so we also have to cover it. Let's have a look now, before and after, and it looks way better now just on the cheek bone over here. Polish it. And even though this technique bring some difficulties because we need to be precise, we have toe check it few times. If we do it correctly, it's simple. There is not much theory behind this, and it's all about painting, so I like to use it because of the simplicity of the technique and that would bid before and after. And as you can see, the colors are more likely fixed are you could be more here, and that would be once the color are fixed, we can move on to the next things 64. Full Retouch: Lights: Now I'm going to show you very simple work with lights and adjustment off the contrast. And for this I'm going to use levels. There is often on discussion, what to use between levels and Caribs, but it really depends on the image. I can see this images really nice and contrast is so There is actually a very small think I want to fix. I want to manipulate a little bit with the meat tons and maybe trying to bring back some details from the shadows because they are very dark and we can actually see it on the history. Graham. So that's why I don't really want to drag this shadow cider this dark cider to make it even darker. What I will do, I will darken the meat turns because I feel the face structure. The shadows on the face over here actually are located mainly in the meetings. That's why I'm going to darken this a little bead. But when it comes to the shadows, I'm going toe drag this slider here and I will try to bring back some details so the effort might be a little bit washed out, but it really believe it helps to the image. Maybe a little bit plaster. So we don't have to make that fits so strong. You can see the image guard just a little bit darker. But we can easily fix this, and I can feel the balance off the shadows here. It's a little bit better. So I'm going to name this lights. Number one and I will also change blending remote from normal to luminosity. So I'm not affecting some other areas. What we could do here, we can manipulate with the lights off the bang grant over here. And this will be rather easy task for this. I'm going to use care and I'm gonna name this background luminosity. Then we could just go to select color wrench and use color range to define their color of the background. So we have sampled colors here. I'm just gonna heat the background and we can adjust. The ranch of this doesn't really matter, because it's quite simple selection that I'm going to hit. Okay, press out corruption to see the mask and what I'm going to do now. I'm going to paint inside with a black color, took over all of the areas, but I don't want to be visible, so the mosque wherever it's white, it represents the ethic to be visible wherever is black. It represent the effort to be invisible so as I want to work on on the bank ground now, I want their background to be color white. The mask off course, white color because it's not white color itself, but the model I want to mask in color, black as much as possible and as precise as possible. I believe I could define this mask a little bit better, so we would not have to paint some much right now. But you will get the idea because especially here on the edges, we have to be really precise. And if you could, just to find is better. I would not have to care so much now a little bit more here, just like these, and now should be easy off course. Mask the hair. We don't want to dark and them, although with with dark and a little bit on the edge, that should actually blend nicely. Same master. Then I'm going to press our corruption and heat on the mask once again. Toe turn off how it looks like and get back to regular image. And now I can go to curve. And by manipulating with this, as you can see, I'm able to set luminosity off the background. If you don't want to affect the color once again, you can treat branded mode to luminosity. And now Bagram DiSanto be darker, so I believe it allows the model stand out and it will be better, and he can do it on every step. This is all I want to do with the lights and the state. Some going toe select involved in command all control and Jean and I'm going to name this lights before after, So let's move on and do some more staff now related to colors. 65. Full Retouch: Color Grading: after lights. I usually like to go to the colors, and I'm also thinking about something simple for this image. I don't want to work with too many layers, so I'm just gonna go with color balance, and I believe that should be enough. So I'm going to change panic mode to color straightaway because I don't want toe effect and a light values. And I'm gonna name this color grading for the shadows. We usually have two options. So this image, what you can not this house complimentary color harmony. We have called their background and, of course, warmer model the background in the colors on the green blue. We have reds and oranges on the model. And we could go this to go with this toe and a little bit more orange. But I can see straightaway. It doesn't really work. So for the shadows, I'm going to cool down the image, not too much. I want to keep the nice balance and I can see that it really works well on the skin. I want to see if I should have majority off science or majority of blue. I feel blue gives this extra punch to it. So that's what I'm going to do and then for the highlights that still a little bit too warm compared to the rest of the meat. So I'm going to cool days down. And even though we aren't one type of color on this image, as you can see Harmony State and we change a little bit off the background so you might bring bank the green background or you can stay with days and how to do it. We can, for example, use the mask that we have created before, so I can go to this background, luminosity, press command or control to take a selection. And the good way to do it would be with you saturation, for example. I can go to hue saturation, and once it's done, I can simply manipulate with the hue, whether I like more blue Thanh for the background or green tone for the background. As you can see, it works. If I would go with the Blue Don, obviously I would have to work on the mask over here. You can not. Is that some color stick to it, so possibly I would go with white color of the brash and tried to blended somehow, but it does not work Ideal. So probably after all, just create a new mask and then you can paint over with the color, and that should solve the issue. So going back, I'm not going that extreme. First of all, these color over here can't be bothered to Fikse. And I want to get something more natural that will suit to disengage. So the image will be well saturated and this color seems natural to it. If I want to change it a little bit more to the blue, I can do it even more. And the very end. And honestly, I feel the blue work slightly better for the image. So let's see what we can do. Maybe this amount for now and rest. I was what I can do in the final steps. So this is how I worked with colors. I'm gonna name this background hue, and that's it. 66. Full Retouch: Final Touch ups: on the very end off retouching process. I like to work with camera future to do some final adjustments and to do it, we need to create a stamp which will be the final result off all of this. What we did here to do it, we need to price command option shift and E if you work on Mac. If you work with windows, that will be control out shift and e. I'm going to rename this to final and then I'm going to convert this layer to the smart object so I can work non destructively with any future I want in photo shop. So I'm going to press control heat on these or just heat right then convert toe smart object. So once it's converted, we can go to camera field. You need to remember if you work with old version off photo shop. If it's not for the shop, see, see, you will not have Camero as the filter. Then you would have to save the image and open this in the camera. So I'm going to camera future. And over here I can start with adjusting some lights and contrasts If there is more to it I want to do. But for me I wanted to see if I can find maybe better, balance with the colors. And later on night, I might check if adding some contrast or doing something more here will be useful. So what I'm going to do toe work with the colors. We can go to hue saturation, luminous adjustments and think I was doing before. We can do with the huge so it can find Hugh off the background. We can have the hue off the shared, and we can manipulate with this. So, for example, if I'm going with Fred's, as you can see, it picks up some of the face but not too much, but will be able to manipulate with the hue off the shirt. Even I don't want to do it. I think it's a really powerful think we can do, maybe to study to be and oranges that will affect mainly the skin. So if you want to correct some of the skin tones that will be also place to do it, we have the background that will be probably a quest or blue, and I was right about this. As you can see, and we don't get this weird shift over here, so I really like it with the blues. We also have it so whether I would decide to change the background or something more green or change the background, it's something more blue, and this is the good place to do it. And I feel the images a little bit more settled when it has some of this blue tons over here. So that's why I'm choosing it. You can see before after, I believe, even if it wasn't necessarily the color we were starting with, the colors work better. This blue not not necessary. Blue aqua background works great with the skin tones, and then we can also work with the saturation value off this blue. If we think it's too strong, we can't decide rate. Then we will have this in the nearly great tons so that hole there attention will be focused on the model. So through the depends what you want to achieve with the image. If you don't want the Reds being that dominated, you can also lower the saturation just a little bit. So then we will get the image to be a little bit more settled, it would be The strong colors won't be getting that much off the attention. Saving now is the great balance. I can go to the basic adjustments that I can see. Funding more contrast will work well for this. I think I've been just a little bit of contrast. It's not that bad. Often idea. I'm not going to bring back the shadows to match our skin back and did some more details. I think this image looks so much better when it has nice contrasts on my glower, just a little bit off the highlights because they are quite strong and that's about it before and after a very small change and now I'm quite happy. So the last thing I want to do and it's to make sure that the transitions between the colors and between the lines are very smooth and feeling like I like toe add a little bit off noise so you can go toe F thanks panel, which is effects and we cannot a little bit off gray. I'm going to have that good look. So this is a large image of the size, so money, decent amount off grain and of course size of the grain. I need to be quite visible roughness. So something on this Not everyone likes Gray, so I would say the grain is something for personal. But to me it adds this special look. And I really like what? What it offers. So just maybe al undies. Let's have a look. If it's still too much, can lower amount of gray or make this size smaller. I rather like the Russ Green and I do spend quiet long time checking. Which one is perfect? So that's it. OK, I think the grain is still quite strong. So So now I'm going to look from the distance around this area and lower the amount of little beat. So now we have very soft and settled Great. And this would be my final result. We can have a look how it looked before Sham putting everything to the group Gonna name this edit. This is before, and this is after we touch with it.