Photoshop tutorial - Portrait Retouching

1. Introduction: Hello my friends. Welcome to the portrait retouching tutorial way. You'll be learning how to create a masterpiece. I'm a photographer and graphic designer, walking majorly on portrait. In a first step or the first lesson, you'll be learning how to remove blemishes properly. Because removing blemishes is the major thing in a portrait or a picture, or removing irregularities like some messy hair and all. Those are the major things. After that, you'll be learning Frequency Separation. Yes. You have already tried frequencies operation. You may ask me, what is frequencies operation? Let me tell you. Frequency separation means we will be separating color and texture in the picture world majorly on color. Why? Because we need to, in Brazil, texture. Because the texture in the face or the picture or a portrait is completely natural skin texture. We don't want the model to look like, blurred and all. We need to keep the original texture of the portray, but we need to smoothen it out and even the colors out. So we will separate it using a method called frequency separation, which means low frequency will be color and a high frequency will be texture. So we'll work on color layer and result our texture. So this is frequencies oppression. And after frequency separation, we will be working on judging and bony. Yes, dodging and burning. So what is dodging and burning? Dodging means brightening the bright areas. Burning means darkening the dark areas. You might ask, why is this step dodging and burning is a process V, to create dimensions in a portrait or a picture. Remember guys, what they will revoke on is a completely 2D picture. To give it a 3D look at dimension, we must do this step, dodging and burning, which means we will be brightening the bright stuff and darkening the darker areas. So this is a mass doorstep. And after that, what we will be doing is retouching the eyes. This is the important step because even though modern-day cameras, like completely high-end cameras, cannot capture the details of the eye properly. Even it can, it can only detect the proper color of the eye. Sometimes. We must retouch the is2. We will use various a different adjustment layers to get our eyes both, not our eyes or model's eyes. After that, we will be working on camera raw filter. Everything you need to know about camera off veto is here. And one thing we will also be learning about color grading after Camera Raw Filter. There is one final step. Secret weapon of mine. Yes. Again, call it that is the secret weapon of mine. That step is required to more dimension to the picture and the punch to the picture. It's just like a bunch, much more drastic and jump up, pick Joe about it. This step is important to give the picture overall dodging and burning like thing or punch or the sharpness. This step is important to your picture. A final contrast. You could have done it with Slido by using brightness and contrast adjustment layer. No, you cannot do it, but it will be not perfect like this. Because in here, we have nearly three layers. One is for screen to brightened up bright and stuff. Second one is multiplying dark on the dock and stuff. And we have used blend if you'll see it in the tutorial. And the third layer is also screen again. Why is green? To add a little bit of shine? This is the final step. You can see the before and after. So I'm looking forward to meet you in the class. Thank you so much for watching. Let's begin the class. 2. Removing Blemishes: You can see here I have already imported in image. So let's begin this tutorial. You can't see the background layer. So the first thing we need to do to have a backup off the background layer. I know it's logged. It can't be j in denim, but just to be on the safer side, just be again, drag and drop it over this plus icon. Hope you can see this icon plus icon to copy it. Or you can use a sharper with G's control J. After copying this layer, Let's create a new layer for blemishes to remove blemishes actually, because we need to remove blemishes. Let me tell you what is the images. Because many of you will ask, what is the image? You can see some bold, like anyone else. And here you can see this one. Let me demonstrate you. This one. Like this, this small thing. We must take care of these kinds of hair strands. Hope you can see in these kinds of hair strands. These, especially because the outer layer here is the messy buns and it will look unprofessional. If you go just like that. So these things, you must remove it, strands, these marks. And we need to clear all this. So do not worry about this crazy drawing. I'm just demonstrating what is blemishes. We need to create a new layer for that, which means you see this, sorry, you see this plus icon over here. Just click on it to create a new layer. You can do is you can go to layer, new layer. You'll get a dialog box. This is useful in some digestion. But now just for blemishes, we need an empty layer without any kind of blending mode. We can go with a plus second, which is handy. Or what you can do is you can use a shortcut which is Control, Shift and yen. Yes, you'll get the same dialogue box just like this. And you go to layer, new layer and on. You can rename the layer here itself, blemishes and hit. Okay, we made a new layer. Now let's select Healing Brush tool, but not the spot healing brush tool, but regular healing brush tool. Let me show you why. Let's select Spot Healing Brush Tool. So what happens here is the Spot Healing Brush Tool. If you draw something there, yes, it will be clear. But the decision of which plays to be copy will be depending upon the mode of your PC. I mean, it's easy. It's completely easy. But you will get no texture. Look, we are losing texture here. You can see. That's all. Let me take a new layer and rename it. Remember, renaming every single layer is important because many of them still be working with ten to 152020 plus layers. And it will be confusing. Okay? So when it comes to healing brush tool, but before selecting Healing Brush Tool, we must do one thing, which is, we need to go to this eyedropper tool. Click on it. Eyedropper tool. Now, check. Sample layers is all layers or current and below our layers are current and below, not on current layer. Because if you are on current layer, look, this is an empty layer. We took an empty layer. There is nothing here. You cannot sample anything from nothing. So make sure this is on current and below or on layers. Select current and below. And sample size must be five-by-five, average, three-by-three, all 11 by 11. If you are working with the bigger size picture. I took this with a Nikon D 750, which is a normal full-frame camera of 24 megapixels. If you're working with a picture which was taken from a 48 megapixel camera, then you might want to use lab and balance, but five-by-five. Okay, for a very big job, it might be a bigger resolution or smaller. It will be above it. Let me demonstrate you want these five-by-five, okay. That means zoom in nearly equal this law, this area will be dropped. Yes, it is getting pixelated. I did it because I wanted to show you what are the different point sample and average MBA. So let's bind sample. I am sampling from here. So the bottom half part is the previously selected color, and the top half part is the now selected column. Absorb this. I'm clicking here. It's just taking one pixel at a time. It's just sampling one big cell. When it comes to five-by-five average, what it takes is it will create a box of five into 55 pixels and five pixels. So wherever you click in that box, it will take average. So look the bottom-up part and above part, RC, because it's sampling from an average of five pixels by five pizzas. Look, this is dark. This is light. There is no change. This is live, this is done. Remember? Because when it comes to point sample, you don't want to sample this part and pink here, like sample this darkish color and paint it. You want the average of it, right? Let's go back to healing brush tool and select Normal, regular healing brush tool, not the Spot Healing Brush Tool, regular healing brush tool. And make sure. Just check. In the eyedropper tool, the sample size is five-by-five and sample is current and below are all layers. Let's come back to Healing Brush Tool and the shortcut is j. Here what we will do is we need to press and hold on. Let me zoom it in. I need to replace this area with this texture. This texture. Let me take this texture. I'll sample it from here. Now you can see I wrote a little bit of skin, are there in the brush because I copied it. Copy, paste, just paint over it. Just being there. Like that. The brush size must be as low as what you're removing. Now I'm removing this hair strand. I made it smaller, a little bit smaller. But if you do it with the bigger the area around that hair strand or the thing which are remote village be affected to make sure it is. On the smaller side. It will be better. Just sample, paint, sample, pain, sample. Remember, to sample, you must press and hold Alt. Take a sample and release. Then paint. Paint by pressing Alt or option because it will be just sampling the way the sample pain sample. Let me speed up this process so that you don't get bored. You cannot sample from a dark place and paint it on a bright surface, or taking samples from a bright area on painting on the dark area, because it will also replicate the color. Remember that basic simple thing, the places where it's much brighter, you'll see much texture. Remember to take multiple samples. It will help you a lot. Always take multiple samples. As I told you before. I have an age of five-by-five. Remember guys, you must do this wherever the skin is visible, okay? Because I have seen many people doing this. What they do is The completely retouched the face, but not the body. I mean, by the skin is here to do. You must do age. Remember to taking good care of these. Here's strands. Those other things with datas when we are looking at the picture. But Lily, morning, we do not go too much inside. It will just blend like that. Remember, just gave really don't do like smooth single line thing because it will look completely unnatural. Let it be messy but not that much. So you can check over here. There are hares began glia them completely. But what my suggestion is, no, complete clear is not a solution because it will look completely unnatural. We want the picture to look completely natural, just like their skin, their original skin. We don't want that completely blurry or fake skin type thing. Okay. Let's take it off. D's adjust for these. Yes. The Healing Brush Tool works perfectly, but only on the outer edges. Look when we are going closer. It's like a gradient, low strength color from it. All right, so what we can do here is we can use clone stamp tool, which is right below the brush clone stamp tool. Here. You can check for the settings same as sample, current. Current and below are all layers. As usual. For these two processes in press and hold Alt or Option, and do not go completely in. Because what it does is it will come to regulating. It's a completely powerful tool. So just be careful with it. Don't put too much in just two little a bit of edges. I'm using a bigger brush because it's a soft round brush, not a heart on. Remember to use a soft brush board in healing brush tool as well as Clone Stamp tool. Because it gives you some soft TO adjust. That's why I'm using a bigger brush here to get that software look. And the outer layer and the background is completely black. I mean, plane without any kind of textual artifacts, anything? Again, do it with a bigger brush. But if you all with some outdoor background, do it completely with a smaller brush, remember, you cannot play, you cannot change the background completely like that. We'll look for. If you just take a sample and paint, paint paint, because it's just cloning this part over here where we'll paint. It will not look good at all. To my live at the before and after. Look. It's just a small change. Just a five to ten minutes thing what we did. But the defense and remember to take care of the dress. There's any thing on it. And do not forget the and remember some people will have a scar or a wound like that. I mean, yours will be there on some people's hands, shoulders like that. Please take care of that. Because if you leave it like that, come on. It's not a complete retouching. You pick up a job to do retouching, then you must complete it. Cannot leave it. I'm done. What I advise is do not go completely near the edges. Let me show you what I'm digging this from this loop. Do not go completely linear. The edges. A little bit risky. Remember that this is a magical volume. Do anything. What we can do here is we can clear some of this unevenness interleaved. But actually, yes, you must do. But not for all the pictures as it will not look good at all. Don't do this on all the pictures. But you must do this. In some cases. If it was completely close on boarded, yes, you must live. And trust me, there'll be much more room to play with a close up short. You'll get much room to play. The lips read that gene. But this was a mid shot. Doesn't really matter much. But the lips is clearly visible. Then you must do a narrow skip that step, okay, and now volt must do it. If you want, you can take care of some of the hairs and take care of it completely. Just like this. No problem with that. But remember, they get good. Gale. Do not think all this is completely blemishes and on because many people think gets like that. But these are textural, gay, normal human face. Extra. Do not forget that. Just the unevenness or ball-like structures, malls, and all the messy heads? Yes, that's true. We are finished with the blemishes. The next step will be frequency separation, and you will learn that in the next video. Let's meet in the next video, Bye. 3. Frequency Separation to sort out any irregularities present in the skin: Hello my friends, welcome to the next step of ported it ageing, which is Frequency Separation. Many of you will ask what is frequencies operation on yield? Let me tell you. In this picture, there are two things. One is color. You can see the column, of course, and other one is extra. So what we'll do here is we'll separate from the texture. Color, from the texture. This is just a simple color. This completely separate, both of them. And we'll simply walk on the color layer because we do not want to mess with the texture, because it's a natural human skin texture. So we don't want to mess with the texture. So what we'll do is we'll separate the color and texture from this picture. I know you asking how let me show you first create a stamp visible layer of all the layers below. Okay, you don't understand. You can see the three layers here. You can make any adjustments over here. It doesn't matter, but we need to create a new layer in which these both are combined. You can just merge it down. Modulators. No, no, no, no, no, not we're not margin-left. We are just merging n copying. We are actually copying and merging them. For that. The shortcut is Control Shift Alt and regard a stamp visible layer, which is the same thing as below, which is the same thing as below. And first we need to copy. So let's drag and drop on this plus icon. Or the shortcut is Control or Command J. Let's rename it. The bottom layer is color, or low frequency, because low frequencies color and the top layer is texture are high-frequency. Get it. Okay. So let's put them both in a group. Present hold Control or Command, and click on the color layer and control or command G to group them. Let's rename this group frequencies operation. Let's open up the group. Need to open just the right, this arrow icon. Press the press on it. Let's select the color layer. Let's turn off the layer just for now. When you are done, color layer. Just go to filter blur and Gaussian blur. Yes, we are blurring. Zoom in pretty much. Let's decrease it all the way. And increasing by little. Not too much like this. Just little by little. Until you don't see the textures. You can, you can see there's a box instead of a cursor, because it can select a particular spot for you to view. You can check many places. Little bit of texture over here. Remember, the texture must be gone. Below. You can see that now it's got, it must be completely color. We have completely separated color. We just got color, no texture at all. Right? Now let's turn on the texture layer and select the texture layer. Go to image, apply image. Remember I told you in the last step, the naming process is very much important. So here we are in the layer. We need to select the color layer because we're subtracting this layer from color layer to get the texture. Because whenever you subtract a normal image from a blurred image on a colored layer, what you'll get, there'll be no color in this because color is, color will be subtracted from this layer. And the remaining is just texture. Blending mode must be in subtract. Let's put it in. You can see the texture now, it's just texture. Nothing else. Remember, opacity is at a 100 scale, is at two, and offset is 128. Remember this is so important. Scale and 2128 respectively. Channel RGB, nothing else. Source, document name, preserve transparency and mosques is unchecked and invert is unchecked. Let's press. Okay. What is this gray layer? Don't worry. Let's change the blend mode of this linear line. Now you're asking an L, nothing has happened. Yes, nothing will happen because both are same. It's the same. But we just separated the texture and color. This is just color, this is just texture. This is just texture. These just color. But if you combine both, it will be just same picture. I'm turning it off and on, off and on. Nothing is happening because it's same guys. Here. We need to do mass ten should step for which you need to go to Windows, arrange new window for the document name. You can see here are in a new window for ARB, which means I know Raj photography, new window. Once you press that, what you will see, you'll get a same picture. Things seem documented. All the layers are intact. The layers are intact. It's just a copy of this document, but again, go to Window, Arrange, Tool vertical. This is the crucial step. Okay, so let's zoom this out. Keep it in this height. Just for those zoomed out view. Because what happens is if you're dodging completely like this, you don't know what's happening here. The Teams, everything fluke, all die. But look over here toward that, will be having two different layers over here. Now, how to paint over here? Let's create a new layer in between texture and color. I'll set up the color layer and click on this icon, this plus icon or press Control Shift and yen to create a new layer. Press Okay, you will get a new layer. My processes, I'll start from forehead. I'll come down from here to here. We can name it out. We can create multiple layers in between texture and color. Which means began in each and every part of the face or the skin which is exposed. So let's name it as press. Okay, Let's select the brush tool, which is brush here. Remember, you must select soft round brush. No hardware. Software and pressure size are drawn. Pregnant size solved from preacher open, nothing. They won't work here. Especially soft round pressure, size of pressure, opacity. Remember to select soft round brush and see if there's any hardness. Hardness must be 0 and flow must be 2%. Remember, the Opacity and Flow works differently, just like a normal painting brush now. But with a little bit of limitation. But many people will use mixer brush tool, which is just like a painting brush tool. But I don't prefer using mixer brush tool. I prefer using Brush Tool. Mixer brush tool will be like blending two colors. Okay. Soft round brush will give you much more flexibility with that. Tomorrow like that, like this. Press Space bar on your keyboard. And you'll get a hand tool. Click and drag, click and drag any way you want to increase and decrease the brush size, press and hold Alt. Right-click on your mouse, drag it to the right to make it bigger. Drag it to the left to make it smaller. Drag it down to make it harder. Drag up, make it softer. Do not take a big brush over here. It's too dangerous. Let's go a little bit small. Now. This is a highlight area. This is completely highlighted area. So what I'll do is I'll present or Alt or Option. I take a sample, remember, check this, always check this. Go to the Eyedropper Tool and samples I, this five-by-five average and sample is current and below. Let's come back to brush tool. I'm gonna select the bright point and I'll just paint. Remember, do not paint like this in stripes. Always do it in a circular motion, okay? Circular motion, just like you're painting something. Remember the flow must be 2%. But not worry about modelling that much, but phloem must be 2%. Remember that, not forget that. Because that's completely crucial. Now let's start blending. This does is highlight. I will go extra becomes to blend. Let's take a sample from you and blend. Okay. Let's make it blend nicely. We don't want some, It's kind of hard. Hard cut over here. Blended nicely, softly. No hurry. Remember, do not go near the edges because it will look like this. But don't go too much near. There you go. You can erase it easily. Do not worry. But blending is the key here. If you have seen makeup artists working one all Poisson, they will try to blend with the brush. The same thing goes here, okay? And the same thing. You're just blending things. Just blending things. If you go like this, just go to eraser tool or press E on your keyboard. Shortcut for it has come back again. Pain. Not worry, everything will be fine. Remember to blend it nicely drawn down. You can see a preview here in this window. Gets too bright in the middle. Let me decrease it a little bit. Yes, it has been decreased. Remember, if you go somewhere in the eyebrows and all, just take an eraser, press E. Shortcut is E. It is. It is it all. Let's take a before and after. Massive difference, but with textures. Remember, with texture because texture is on a separate layer, we just working on color, mass seal. The difference is the same process goes with all adult in. Let's create a new, another new layer and name it. Because that's what I'm going to do next. Take a brush, make sure the flow is at 2%. 1 thing here is in frequency separation, you can literally sculpt a person's face. Yes, that's true. I'm literally doing that. Now. You can do it completely. Just straight lines. Remember, when you're working on nodes, just straight lines, no lines like this, this, this and all. Again see the nodes over here. Before, after, before, after, before, after. You can make it a little more straight forward this picture because I want to keep the originality of the person's face. Look a little bit real. I'm not going crazy over this. But yes, the simple things can change something. Let's create another layer and name it as phase. I'm going to walk on deathbed, esophagus. Not hard left, but my left or our left. Let's take a brush. Start with a highlight. Remember, many people will have this. It will be a little bit gone deeper to the inside. But this will be out in the outer layer because these are cheeks. What I'll do is I'll just start with painting this area. I will take a sample of a bright area, not completely bright, a little bit bright near to this area. They'll just start painting it. Start blending this sprite. And I'll be blending all around the faith. Because you can see in this example, you just remove more like dogs, so-called thing. Remember, one more thing. If you sampled from your paint here, if you sampled from you paint here, do not mix it up. Do not mix it up. It's too dangerous to mix it up like that. Do not mix it up because it won't look good at top. Trust me. You can even remove this, but I don't want to remove it just to keep that texture and the reality of the v's. So let's take it off this section and look. There's a hard cut here. That is a hard cut because what I've done is I have used a three light setup, which is one from the front, 45 degrees, which is a main light, another from behind, which is more or like sidelight. And another from behind to act as a rim light Von loop. And it's nice and light for that. It depends on lighting, but I want to keep it sharp. I don't want to make it like that. Remember, you must blend it very carefully. Make sure you take enough samples. As much as positive urine sample just one place and go all over the place. Type simple thing. Remember to take as many as possible. I mean, sampling, sample from as many lives as possible. I'll show you a magic Greek here. Okay, which we read it. We must do it, must complete it. Again. See under the leaf, there's a little bit of brightness, which means it's slightly uptrend. But here it is black, which is a little bit inside. That's how light works. I will show you in the next step when it comes to dodge and burning. But now, if I want to take it in, I cannot write. It's a 2D image, but what I can do is I can sample from this area and paint over this. And then we'll take a lighter shade of that. I'll paint over this. Tuck it inside. Same for this side. Look how massive difference it looks. You can check out here. Look how massive it is. That's the power of Photoshop. Remember, and do not leave any area here because you must cover as much as possible. That's how you can achieve grid result, okay? Remember to take care of all of this, okay? Do not leave anything behind. Before, after, before, after, before, after. Let's take another layer and rename it as faith. Of course our right. Let's take a sample. And what I'll do is same as that side. It'll brighten this area just to color them, but you don't need to do this step is just required by some clients. Don't worry about it. But remember DJing because you guys must know these steps and my client wanted so I'm doing it. There's no need for you to do. If you're applying. One completely naturally meant, just ignore it. Just ignore that bar. Do not worry. Just to get it off. Do not worry about anything at all. Take a sample, paint, take a sample. Take a sample. The Let's take a look before and after, before, after, before, after. It's a dramatic difference. Remember, it is if you going over the lips and all, let's say before and after of just the face. We just finished the faith Before, after, before, after. Dramatic change, right? We have all the textures. We haven't lost a single texture here. All the textures. Next step will be other parts. Let's create a new layer and name it as I can, shout it out. Let's take a brush and take a sample and being murdered, go like this all over the neck. The highlights and shadows to describe the dimension, to describe the dimension of the picture. Got it. Remember, we need both highlights and the shadows. A freeway before, after matter, small changes. But it will affect it. Take a sample and take a sample and whatever you do, blend it nicely in some places, but not completely blending inlay in some places where there is a hard light or a hard cut. In-between shadows and highlights. Denote code too much on our adjust. If you go just taking it as it is at all. Do not go too much on edges. Neck and shoulder apart. Complete. See it a little bit over here. Remember to give it more blank. Sorry, I forgot. Sample. But remember a thing in almost for every one, there will be two colors in. Yes. Of course, it will be a little bit because of tanning, because there'll be, look, you can see it here. It's a little bit darker and brighter here. Remember to blend it nicely. Okay, Remember to blend nicely. These two ordering Board. And again, this is completely important step. You cannot leave it, skip it, do anything with it. Because PDE is important. Remember that you can see a hard edge and the highlight line. I'm retouching, but I'm going accessible. It is because it's a highlight land and it must be edited to the center. It's a highlight. I'm trying to blend it. Let me take my eraser and make it a little bit bigger. It's a software and it is not a hard round. It is it really, really gently go inside and all. I think she wears a little bit of color change over here. Must take it off. D2, need to blend it really, really well. I want to lose any of the details. Dimensions, really important ones. And be careful. Do not leave the fingers are now haven't done anything. They haven't done anything for you. So do not leave them out. Once complete those two. This is the harder way, but trust me, that result will amaze you. Take it is it is all the excessive things which are painted own alone. Not only for this hand and all. You can do this technique for any variance. Do it even here, because we did complete on separate layer. This is the advantage of having separate layer for separate section guarded. Do the same for this in the same layer, okay? You're going to create another layer. It's up to you. But remember, sample paint and blend it properly. Do not worry. Just it easy with it is it is completely oval. In sum, we can decrease the opacity. Let's take out the before and after of overall frequency separation thing. Before, often people half down before. You can see massive difference. Right away. If you feel this is too much, let's close the group, select the Frequency Separation Group and decrease the opacity, not the field degrees, the opacity. Blind when it looks okay for you. Okay. I didn't get this again, but I'll keep it at a 100 just for the sake of this tutorial. Again, see before and are still some massive difference. Remember to save it. Always in every step, each and every step, I should have told this before. But you must save the file in each and every step. This is the end of frequencies operation. And the next step I'll be teaching you all about dodging and burning. So guys, this is all about frequencies operation. I'll meet you in the next video. So till then, bye. 4. Dodge & Burn to create a 3D look: Hello my friends. Welcome to the next step off portrait retouching. In the last classes, we clear the blemishes and extra things by using normal or regular Healing Brush Tool and clone stamp tool right? After blemishes, we did frequencies operation. You can see the before and after here. So in today's class or in this class, we will be learning about dodging and burning. Let me close one window. In this tutorial, we will be learning all about dodging and Bonnie, Let me turn off everything. Create a new solid color layer. This is just a circle, nothing else. Let me go through the normal color. Anything? Let me do a nice one. Dodging means brightening the bright areas. Bonding means darkening the dark areas. Burning. When you burn things, it will turn dark. Like that. Let me take a new layer and demonstrate it to white and black. This is to set it to default. This is to switch between the foreground and background color. I'll make the brush bigger. And I take a soft round brush. Just dab. The flow was too perfect. Now I'll just tap. I need this to only apply on the circle. I'll press and hold Alt and click in-between the two layers, the line, you'll see that it will create a clipping mask. So this is clipped to this. Okay, let me take a black brush, do the same. What do you see now? This is completely as become 3D. I just add one simple layer. This is completely a normal circle to the circle right? Now, this has become a 3D spiel. No, I haven't used the 3D software, the 3D plug-in which comes with Photoshop. What I did was I just brighten n.gov because that's what highlights and shadows are the only thing which gives dimensions to us. This is what dodging and burning it. Let me delete all these layers and turn on all the layers back. You can see I'll be joining before and after. There are many ways to dodge and burn. Some people will use, some people will use levels, and many more. But my choice is to go with a simple gray layer. What does that mean? Let me create a new layer this time. We will not go by this because we need the dialog box. Go to layer, new layer. I will name it as Jen bond. And we'll select the mole, the blending mode to soft light. And we need to check this box, what it is filled with soft light, neural color, which is 50% gray. We have 50% gray. It's not more than that. On not less than that, it's just completely 50% gray. In here. What we can do is first we need to do is we need to reset test swatches. You can go to these swatches or you can press D on your keyboard to set it to default, and the X to toggle between foreground and background color. Let me zoom in a little bit. Let's take a brush and remember disease, completely delicate process. It can keep flow and opacity at a 100 and do like this, it won't look good. Let's decrease the flow to 1%. Not more than that. Just one person must go as low as possible in this scenario. Let's degrees of both sides. Remember, you must do these two. You must do this for his two. Let's select our photo and color as white. Let's keep it as white. Brush on highlight areas. Not on the darker areas again, just the highlights. Wherever you see the highlights, just paint over it. Okay. Let's change the color to black. Let's switch the legs, switch to background. Let's switch to Blackboard and paint them black areas, the dark areas. Let's paint on the dark areas in here. Just paint away because we're darkening the dark on stuff and we are brightening them. Bright stuff. That's on towards the end burning. Just do it all the way. Anyway. See Brian just paint on let's see the before and after, before, after. Look, look at the difference. You can see the difference. You went from a far because it's creating a dimension. Let's start with the face. Dragging the stuff. That darker stuff. Simple thing, can gene. It can change shapes. Okay, That's the power of these tools. Do you use it deliberately? Because as I told you before, it's monster tool. I can say that dot and the dot stuff. Bright, bright. Quote too much on it. It will create something. In 2D pictures. What are you going to do is that darker stuff? Looks like it's inside and the brightest of looks like outside. Okay. Let me do this. I just painted white here. You can see, look, it looks like it's out there, but it's not it looks like it came out. That's the power of this tool. Jen bone. Let's take black and being here because we want this to be inside, we wanted this to be inside. Remember, you must do this for lips too. Dark areas and bright areas. Because it will mans the lips too. Look, look at the difference. We get the phase. How different it looks. Now, you must do this for all the thing. Remember, do not paint too much, okay? If you paint too much, just erase it to it is it You cannot address it with it as a tool because it destroys it. What you then do is you can select for absolute 50% gray and go for it. What I did here is it's just for skin gone for the address, for the background. If you do next is I won't grid another layer. But instead of it, what I'll do is I'll increase the flow to 2, 2% percent is too much for five years and older. But for drugs, sometimes it's okay. Sometimes it won't work. If it doesn't well, then just stick with the 1% flow. Let us see the oral before and after, before, after. Let me zoom it in. Before, after, before, after. Look how much it has been changed so that this is all over dodging and burning. Hope you all know what is dodging and burning now, I'll make in the next video, Bye bye. 5. Eye Retouching for sharp eyes: Hello my friends. Welcome to the next step of portrait retouching tutorial. In this tutorial, we will be learning how to retouch ice. Yes, Because look, skinny is all fine. Dodging and burning is great. But the eyes, It's not looking nice. Look. It looks super drowsy, light, dark, shadowy. Fix it. Yes, Let's get right into it. For the first and foremost, what we need to do is we need to remove the veins over here, look at this unevenness. For that. What do we need to do? We need to create a new layer. Which tool we must use. Any guess? As you say, regular healing brush tool. Let's zoom in quite a bit. Just take a sample. Sample, paint. You see these veins and all. Just clear it out. It won't look nice after the complete retouching. And all. Do not leave anything behind. Just clean it up. Yes. I'm finished with my range removal. After removing the veins, we need to bright white and at the same time. So let's create a curves adjustment layer and just increase it from the center. Just a little bit, not too much. Just a little bit. Okay. Just invert the mask. We don't want it to be all over the face, all over the picture. Just invert the mask. Select the brush tool, make sure the flow and opacity is at a 100 births. And because we need a 100% and just paint on the light, okay. Not anywhere else. You go access just toggle between the foreground and background. Paint with black, because that's the mass properties of black heights and white shows up. Let me demonstrate here. I painted white, it shorter, and painting with black. It's hiding. That's the property of months. Now. It's bright and it's not looking good because you haven't attended to whiten it. Let's create a hue saturation layer and clip it. Because why we are flipping this hue saturation layer two curves is because we already painted on dry. We don't want again, paint over here in the same areas. No, we don't want that hard way. Let's create a clipping mask by clicking here or press and hold Alt and click in-between the two layers. Decrease the saturation. Go to hue saturation layer and decrease the saturation. Look how changes cities can decrease and stuff, but it's not going to walk back well, just a simple hue saturation layer. Get this result. This is not the n. We have a lot more to go. Let's create another curves adjustment layer and same as before. Increase the brightness just a little bit. Okay. Let's invert the mass. Take a brush and just paint under the paint on the iris and the highlight area. Yes, of course it's not looking good. Let's create another curves adjustment layer. But in this curves adjustment layer maybe increase the brightness a little bit. And let's invert the mask. Not on the iris, but it is. Because we need to create that 3D depth, even inside to need to paint. So just a simple thing. Better it looks now. It gives that 3D look. After this, we need some highlights over here. Light is coming from here, then this part will reflect it. So let's create a curves adjustment layer. But I don't want to create an artificial light over here. But instead of that, what I'll do is I'll use the light which is already here. Now, what we'll do is we'll use blend. If. To use it, just double-click on the right side of the layer. Get this dialog box blending options and blend diff. What we just did was we brightened it. We need, what we need to do is we need to take the brightness from the dark areas of the picture of the underlying layer, not this layer, but underlying layer. Let's drag it up to the moment where the highlights will be completely gone. Look, we need this much of highlight on both the eye, but it's too harsh. It's too harsh. Solving. Present hold Alt, click in-between the novel. It will divide. So just drag it apart to make the transition motor. Just drag it apart. Press and press. Okay. Now let's invert them as take a brush. Paint over this area. How beautiful it looks. Now. Just paint over that. Look how beautiful it looks. Right? Now, we need a little bit of saturation, hue, saturation adjustment layer and a bit to this month because we already painted on iris. Let's increase. Not too much like this, not too less. Just on 15. Okay. This sudden increase. Now it looks better. Okay? So after this step, we need some sharpness in the eyes. Because look, we have the texture in all the skin and all. But we don't have texture or sharpness in the eyes. Do two times. One just for the ideas and another one. Further. We need to pay stamp visible layer. For stamp visible layer, the shortcut will be, you guys use right Control Shift if you've got a stamp visible there. Now let's go to filter high-pass to increase the sharpness. Okay, let's select I. For the Eye is what I'm going to select it. I'll gradually increasing, I think will look good. Now. Now we will change the blend mode of this to overlay. It's too much. So let's present hold Alt and click on this icon, which is the Masking button. If you press and hold Alt, it will create a negative mask or else it will just create a normal mass. But do we need negative mask? Let's take a brush and paint over the iris, just the IRF. Look at it. It looks magnificent. After this. Again. Again, we will take a stamp visible layer filter. Hi above. But this time it will be a little bit low like 1.5 because we need this adjuster bishop and rehab press. Okay, and let's change the blend mode to soft light this time and create a negative month. Take a brush and paint over that. Gave it a bunch. But I think this is too much. This is too much. Select the topmost layer and hold the Shift. Select bottom most layer to select the less in-between them and to create a group, just press Control and G, to create a group and name it as the fill won't work with it. Okay. Let's decrease the opacity. Let's decrease it to 0, and let's increase it a little bit. Somewhere around 65. For this picture, 65 works perfectly. But further tutorial purpose, keep it at 100 so that you can see better. Before, after, before, after, dramatically improves overall before or after. This is the overall before, after, before, after, and how better it looks right? For today. Guys. I hope you know how to retouch eyes now, you can develop on this, you can learn more with this, you can play with it. My suggestion is just play with it. Okay. Media in the next video, Bye-bye. 6. Camera Raw Filter & basic adjustments: Hello guys. Welcome to the next step, bulb portrait retouching tutorial. In this tutorial, we will be learning all about color grading, normal adjustment in the camera raw filter. For collaborating, many people will use color lookup table for collaborating. But my suggestion is for a portrait. Just keep it simple. If you want to go artistic, you can go with the color lookup table. You can select any kind of large and decrease the opacity of fill of that because both affects differently. Let me delete that. But my suggestion is to create unnatural looking portrait. The first thing we will be doing it will create a stamp visible layers of all the layers below. How to do it. You guys to try it. Control Shift Alt and we got the layer. You can directly go to filter and select Camera Raw Filter. But no, that's not the way. Because we need to do this in a non-destructive way. Who knows, after all the things you're done. But you don't like the look, right? What we need to do is we need to make these smart objects and how to do it. Just right-click on the layer and convert those mild object. Now, whatever we do on this layer, we can go back and edit it. So for example, I'll apply a blur. Let me choose the blow. Anywhere. For pine tree is something. Press. Okay. Look the smart filters you got hit here. But in normal, you cannot go back and change things. But again, Jane, the Gaussian blur and all right, let me delete it. This is the much better function. If you want to edit in a single layer or if you're not do anything on the same layer, you can use this technique. You can convert this layer into a Smart Object and do anything in it. It will be editable. Okay, so now let's go to Filter and camera off. The shortcut is Shift Control plus a. Okay. The Camera Raw will open. You can see the picture here. These are all the tabs in here. This is just a basic information about your camera settings. Do not worry much about it. This is the basic setting. White balance, temperature, tint, exposure, contrast highlights, just like in Lightroom. Again, I Adobe Camera Raw is nothing but Lightroom inside of Photoshop. The names just different, a little bit different. That's it. Again, name is the only defend, but let's do it all the same. So I need a little bit of exposure and a little bit of contrast. Don't go too much, don't go to less. Just a little bit to make the highlights a little bit brighter. Shadows, a little bit of alcohol, white and black guarding. So it's all about your desktop. And look, it's kind of warm. Look, let me cool. This is fine. I just dragged down. If you want, you can add a little bit of tin. It's all up to you. This is completely depends upon new. For this picture. If you need clarity, you can increase it decreases anything. It's all upon your taste. Remember, saturation is a completely destructive. You need to use it very delicately. Okay. Let's take a look after, before and after with just a basic adjustment. If you haven't gone through anything yet. It's just basic. Before, after look changed. Let's quickly make simple, basic adjustments first. Remember guys, there's no need to do as I am doing. Okay. It's completely your taste, your Joyce. Nothing here. Have done some minor basic adjustment. So here's the before and after. Now let's go ahead to color mixer because I don't want to go to Details section because I don't have any noise sharpening or anything like that. And curves, I don't want to use discuss because I will use the adjustment layer curves will be much easier. Let's go to Color Mixer. You can see this is HSL panel. Hsl, which means hue, saturation and luminance. Hue is what controls the color of the things. Yellow. This yellow, this slider will control the color of yellow because it's in the View tab. And saturation, the same slider, yellow slider. It will control the saturation of that particular color and luminance. Of course, you know, it's the brightness and darkness. So let's come to hue. Let's come to Hue tab. And I see a lot of greens here and there. But I don't want greens in this picture. I want it to be warm and moody. Let me select this yellow slider. And if I slide it to the right, it will become a kind of greenish. Okay, I don't want it. So let me select green slider and if I drag it to the right, it will become much greener, but I don't want it. I will drag it to the left. It will become yellowish. Look how the change. I see some yellowish, but I don't want that much of yellow. I mean, it's kind of greenish yellow. Drag it to the left-hand side to make it a little bit of orangeish. You can change the blues to add bar anything it's completely upon. You just play with those sliders. And when it comes to saturation, what I'll do is decrease a little bit of saturation in the skin tone or the orange slider. Because remember, always orange slider controls the column max to max, the subject's skin color. So I'll just decrease a little bit to give it a more natural look, I'll just add a little bit of a tint over here, that pinkish tint for the face. And here in the Saturation tab, I don't want yellows and greens to be desaturated completely. Just increase it a little bit so that I want that point. So increase or decrease whatever color you want. It's completely up on your own. Let's go to luminance tab. I want a little bit brightness in the phase. Brightness in the yellowish area and darkness in the greenish area is all fine. Now, let's take a before and after of color mixer. Before, before. Look how it changed the subject. Now let's go to color grading. I don't want this tiny circles are tiny adjustment things. So I'll go with a bigger one, highlights mid tones and shadows. So let's go to highlight. I want highlights to be little bit orange-ish because I want this to look like an evening for it. Of course, it was taken in golden half, but in editing we need to enhance it because of course camera won't see. Let's come to midtones and a little bit more over here too. When it comes to shadows, we need to choose the opposite color of this. Remember, this controls the intensity of saturation. You can see here. Yes, he's moving, which means saturation. He's moving. And if you slide this, it will control the hue. Remember that this is the before and after of color grading. Now let's come to global adjustment and a little bit of orange tint is okay because I need, I need this to be completely warm. Need this look completely warm. This is the before and after, before and after. This. This is the before and after, before and after. You can play with the calibration, but I don't recommend it. Let's check out the overall before and after. Stopped before. This is the after, before, after, before, after. Dramatic difference. After this step, you can do one more thing to add a little bit of punch and a 3D look. So first thing we need to do, we need to create a stamp visible layer. And the shortcut will be Control Shift, Alt and E. Now let's copy it. Let's see in the blending mode of the top most layer, 2D multiply and the bottom layer to the screen. Let's turn off the top layer. Now let's go to Blending Modes. By the blending mode screen, bright and stuff. The blending mode Multiply it dark and that's why it's in the dot-com group. And this isn't the light and group. Let's go to Blend. If we need to take the darkness away from the bright areas, will display, which is on the black side of the underlying layer. So let's drag it until only the highlights, not here, here, here, but proper highlights. We just need these highlights. Let's present hold Alt and click on this knob to separate it to make the transition smoother and drag this all the way to the right. You can see the before and after. Not just this will do the same thing to the multiply layer. But here we need to do vice versa. Which means we need to take the darkness away from the bright area. So let's take this up. The point we need here. Let's break it apart. Let's drag this all the way to the left. Now. Let's select below layer and group it up. It's too much. Let's decrease the opacity, the 0, and gradually increase it. Let me keep it at 20. Look at this. And what I would suggest is, do not go beyond 25. Looks bizarre, won't look nice. But if it looked nice for you, just go with it. But I will keep it at 24. This picture. Before, after. This is a massive difference. But after this, there are many steps you can do. Again, just create another stamp visible layer. This is just to add shine on phase stamp visible. So let's create a stamp visible there and change the blending mode to screen. Same process, nothing else. Okay, let's break this lighter apart and drag it all over. To the right. You can see it's too much. Let's decrease the opacity and increase it gradually. This, it added a touch shine. Going to add this to the same group, as well as some massive difference right? Before, after. This is the overall before and after, before, after, before, after, before, after. C. Look at the difference. Have that texture. The blended everything, cleared, all these things. And we did everything to get it perfect. Let's recap everything from the beginning, whatever we are done for in this portrait. Let me zoom in a little bit. We created a copy of the background layer just to keep a backup. So after that, we cleared all the blemishes and irregularities in the subject. So we clear all these blemishes and hair messier and we took care of that. After that, what we did was frequency separation. That we separated color, texture. We will simply uncolored. And we created multiple layers just to have the power of controlling each and every part of the face. The body we have painted, right? We did frequencies operation. You can see before and after. That's the major step. Remember, after that, what we did was we did dodging and burning, which means dark on the dark stuff. We brightened up bright stuff. Before, after after dodge and burning. We took care of this yellowish eyes. Look, the camera won't see the sharpness or the real colors of eyes. Okay. We need to reattach it so we do get off the ice. Before and after. Massive difference. After that, we did a basic adjustments. I'm incomplete overall basic adjustments of the picture using Camera Raw Filter. After that, we gave it a little bit of punch and that 3D look, a little bit of sharpness and shine in there with the blending mode off screen. This is the before, this is the after. So that's it for this video. Hope you have learned something from me and thank you so much for purchasing, but don't go anywhere. You must watch another video, which is a bonus video. In there. You will get a bonus file. Photoshop action file, my personalized Photoshop action file, just for portrait retouching. So do check it out. I'll meet you in the next video. Bye-bye. 7. Extra + Color Grading: Hello guys, welcome to this bonus tutorial. I'll be giving away this portrait retouching action completely for free. And there are many things you can do here. You have a check layer. Use this Check layer before removing blemishes because this helps a lot in removing blemishes and all kind of guide. Okay. But it's not a mass. Do think I have a frequency separation action for you. Dodge and burn single layer, which we did using soft light. It wasn't gray. This is that action. This action is for that Dodge and Burn using curves and dodge and burn in one place. But I don't recommend using one clique because it's not good. We want to look good. After that action to retouch eyes, which I already showed you how to read a Jive. But I just made it for you. I just made it easy for you. I eyeliner and announcements. Again. The eyeliner and announcement. I made an action for that. And I shade this part. I shared an announcement, rosy lips and dark lips, Rosie G, The final step, color up of shine. And I showed you these three steps. The final step, color Bob and shine. I showed you in the last, this group. It's just a last final punch to the picture. But as a complimentary, you get a eyeliner enhancement. I shared an announcement action, Rosie lip action, dark lips, action Rosie G. Just for you. It's for free. Once again, guys, thank you so much for purchasing this tutorial. I hope you have learned something from me and I wonder to give you a pro tip, we can call it a pro tip. Just a table again, it's completely upon you. No problem. But I cannot show you in this picture because I have used three-legged setup. And that technique mostly works on single light setup on natural lights scenarios. Let me open up this picture. So let me open up this picture. I'll show you. I have already edited this picture completely. You can see it here before, after, before, after. But I have edited it as I like it. You can do it however you want, but the steps will be same. Nothing fancy with that. But this step, you must, but you must do this step when you will be accessing Camera Raw Filter because this is all about Camera Raw Filter. Okay? Remember that? So let me convert this to a smart object and open up camera or veto very quickly. Here is the Camera Raw Filter. My motion needs Camera Roll 14.1. Remember, the basic adjustments are all same with all the versions of Camera Raw Filter. But masking. It's a new feature, which you can see here. This is a new feature with the camera raw filter and the Lightroom. Now, let's go to masking techniques. This is where it gets interesting. So first let's select subject. It will automatically select and mask the subject. It's a wonderful tool to use. So after selecting subjects, you can see the selected area will be in the red color. You can change the color here to color and opacity here. So I just have right now let's invert the mass because we need a separation in-between the subject and the background. First thing I'll do is bring down the temperature a little bit, decrease the saturation. That it creates a dramatic effect. More like kind of spotlight effect. And you can decrease the exposure. Highlights, shadows and all this stuff to make it looked like it was taken with a flash again, but I don't want in this scenario, degrees. We all increase the highlights of the background, decrease the shadows. Remember it's completely according to you. The one simple math, we have chain. This might look before, after, before, after, and this is not the n. We have to create another mask. You can go with linear gradient or radial gradient. Both will work fine, but you must go according to the composition. Hope you can see my composition. The shadows is like a frame. It creating a circle around the subject. So what I'll do is I'll go with a radial gradient. First. Pick up point where pickup point from which the light is coming from, light is coming from this direction. So pick a point and drag it until the highlights are covered. You can you can decrease it like this. Can make it proper because these are shadow areas. And make it a proper one to remember. But remember feather must be at 50 or a 100, not 0 at all, not 0. So what I'll do is I'll just increase the temperature because the place where the light falls or the Sun is falling, it will be a little bit warmer. Even their detection tool, and it will be a little bit brighter. I'll increase the brightness because the shadows and all it's completely upon your test. Let's take out the before and after, before. I don't look how dramatic it looks. This is not then let's create another month from the same point. And we'll draw it a little bit bigger because we have a feather EL, little bit bigger circle. And let's invert the month. You need to invert the mask by clicking on the cycle. We have inverted so carefully. Now, what are the shadows? Darker areas. So let's decrease the exposure a little bit. Increase the contrast if you want. Increase the highlights. Because remember, highlights are essential because without highlight, it's looked completely faked. So we need highlights a little bit more if you want. So highlight is an essential thing. And bring down the shadows, increase the whites, the black. Look. Let's take a before and after just the masks. We have black three months, one for the subject, one further brightening and one further darkening. Here what you can do is for the subject you can create two months. My subject was a little bit warmer. I haven't created one, but you can create two months, one for the background and one for the subject, where the subjects temperature must be increased. Okay? In this, what have we've done with the background? We need we just need to do the opposite of that. Let's take a before and after of just the math. Look, look how dramatic it looks, right? Let's take an overall before and after. Before, after, before, after. Look. So dramatic. Look. A simple Camera Raw Filter magic made this 8. Recap and Project info: So in this class I'll be showing you a different picture which I have already worked on in this picture. There are tiny details which we have missed out in the previous picture or the previous classes because I couldn't really show you these steps, these techniques in that picture, because that was completely a different situation, because it was shot in studio with three light setup and this is a completely outdoor big Joe is I have already shown you another picture, but yes, this is completely different. Picture credit goes to Anna. I have downloaded from free rolling site. Let's get right into the glass. In the first step, as you all know, we must give a back-up off the background layer or the image with GO walking on. How I've done that. After that, I have removed blemishes. You can see here removed most of them, but I have get this mole because let me show you. If I have removed, it. Doesn't look like how sometimes you must keep those moles in place. Remember that? That's why I have chosen this picture, this particular picture. After that, what I've done, what I have done, Frequency Separation, sorry, I haven't named any of these layers. But let me show you. The first layer is of course the Fourier. The second layer, I haven't done. What I've done is I've used it for nose, face, and all oral phase. You can see it here. The third one is for neck and shoulder bar. And the fourth one, this is the most important part. Fourth one is for lips. Yes. In that picture, I told you that you can't do it, but in this tutorial, Yes. I'm showing you how just take a sample and pain, just like you do it with the rest of the skin. Remember when you are using blemishes, must clean up the lips also, if it's close portrait, tight headshots. Okay, so in this picture you can see the lips. It's looking a little bit off. So I have removed some irregularities and proceeded with the frequencies operation. And even in the frequencies of operation, have done a little bit of smoothening and matching colors and blending things and all. This is frequencies operation before and after. After that time, full Dodge and Burn. You can see the before, after, before. After. Dodge and Burn is the only thing which cuz you a dimension in the picture. It creates a dimension. Remember that after the eye retouching, you can do the whole process. I have provided a dedicated action pair. You will get it in the resources back. So please download it and use it. Nothing fancy. Just select the actions and hit play. It will do the job. I've shown you either touching. But lipid management, I shared an announcement and I line at enhancement has been included in the action back. So just play it. You'll get this group with an inverted mass and just paint on it. This is eyeliner. So what I'll do is I'll pay it on the eyeliner section, which is the black section. And I share this section. I'll paint on that and lips as usually, you know, let me show you everything. Often retouching eyes. You can do eyeliner and dance when if you want or if the picture demands it. Okay? Do not do all these steps. If the portrait is a kind of natural border daughter, an artistic portrait, which is more like a natural product absorb hill in the black area. Before. And now it's time for I shared. Let me zoom it out. Before of the ellipse tool. It's a kind of Rosalie back. You can see here. It's a little bit pinkish. And after that, here comes the main part. Camera Raw Filter. That's what gives you the major loop. Before, after, before, after. Let me show you what I have done in camera raw filter. The first step, what I've done is I've done not simple adjustments to the contrast highlights, shadows, just a normal settings. Okay? Nothing fancy. So these are all just the basic adjustments you can see here. After this, what I've done is directly going to column mix or the hue saturation and luminance panel, which is also called as HSL panel, which means hue saturation and luminance panel. What I've done is I saw some green leaves in the background. So but it will all a little bit the alloys, so I made it a little bit of green and the sunshine you're seeing on her hair. So it was a little bit yellow. So I made it a little bit oranges to look more like evening boarded on a Golden Horde portray, and nothing else. And magenta has Jane D2 a little bit of vibrant color. And you can see here in the saturation nothing has been changed. Just imagine does, because magenta does affect the flavor around. And saving the illuminance. Nothing just imagine does, because I don't want to mess with adult settings. It wasn't looking really nice for me, so I haven't gone with others later. But if you feel like it's not okay for you, you can work on it. You can use the settings of your joys. No problem with that. So let's come to collaborating. And the first thing is highlight. You can see here I have set the hue and saturation at 11 to get that kind of yellowish loop, which is usually the dime of golden HA, which means sunrise or sunset time. When it comes to McDonald's. Same here, but u is at 30 and saturation is at 12. You can see here in the shadows, it's completely opposite color in the color wheel, which means it's completely cooler color, a little bit of blue here, which means who is our 212 and saturation is 13. So this is the complete settings. Nothing else. I have done nothing else. Okay. You can see the before and after with the simple gamma of filter, your calibrations and all. I haven't used much of polemics, but check this out. Look, diseased up power of color grading. Remember to use camera or fruit or wisely, because it's one of the best tools in Photoshop. Because it contains every thing in the Lightroom. It's one of the best thing. And after Camera Raw Filter, I have to do the final step. Yes. So the final step to get a bunch or that contrast. Let me turn on the final step layer. You can see before, after, before, after. What I've done is make a stamp visible there and make a copy of it. Bottom layer to screen and the top layer to multiply. Right? After that we have used blend if to walk on it. Again, TSE diseases, green disease or multiply. Remember screenwriting stuff, multiply, darken some stuff. This is multiply and this is green. Just to add that little bit of time. I hope you can see. You can see here this is multiplying this E stat screen. Look over here in this part I hope you can see, let me zoom it in. Simple genders makes a big Joe very much beautiful. So this is the before, the final step. This is after. Look at that bunch. And I have kept a complete group opacity, which is a final step group opacity is 16 posing disease with just 16% opacity. Remember how powerful it is? Let's check Oral before and after. So this is the before. This is the after. You can see the difference in the picture. I have provided a dedicated fleet job, which I have used in the tutorial. And also I have a link to the website where you can get a grid, draw pictures to work on it. So do check out the project section. And remember, I have shown you all the steps and I haven't used an extra step here to make sure you follow all the steps and share your vote. You can download the raw pictures from the website I have provided you in the project section. So go download a picture of your own. There is no need or you can, even if you have a picture or a board rate, you can try on that too. No issues. But you must do this. Take a Big Joe, follow along, walk on it, use the same steps. Do not forget to use the same steps as I did not go here and there. But when it comes to Camera Raw Filter and all, use your own settings. Look at the picture and decided about the settings and all. And make sure you use the actions back. I have provided. Just click and play, nothing else. And after that you'll get an inverted mask. You just need to paint on the areas every layer is named. So do not worry about it and make sure you share your work in the project section, class projects section. Because I'm eagerly waiting to see what you have done. Waiting to see you all guys. Share your work with me. Thank you so much for purchasing. Hope you have learned something. So take care. Have a great day. Bye bye.