Professional Beauty Retouching in Photoshop 2. 0

1. Course Teaser: do you want to learn, but you re touching? If your answer is yes, you're in the best place to be retouching. Beauty images had always been a huge challenge for photographers and Rita Cher's. I made this course to introduce you nondestructive ways off retouching that will allow you to retouch fast and effective. I am much MacOS and I am professional recapture. With six years of experience in the field, I specialize in fashion, beauty and commercial retouching. Choosing me as your teacher can guarantee that you will get professional knowledge and practice from the rial industry expert. In this course, I corrupt all of the important subjects off retouching such as raw processing. I teach you how to process images in such a software's like camera light room or capture one. In the cleanup section, you will learn such a retouching tools as healing brush, tool, spot, healing, brush, tool, patch toe and Constanta. You'll know how to clean a background, how to read and skin her eyes, apes how to remove fine body her within seconds, how to fix issues with color and light on the skin and how to restore skin texture. I will teach you how to create natural nail reflections on the image. I will teach you Dutch and burn retouching the only one none destructive retouching technique used in photo shop. You'll master contrasts, lights and shadows. I will teach you how to color Great your images and teary behind the color work and, of course, final touch ups. So the things you need to do on the end to make sure your image look perfect. And the best part off this course is that I'm giving you high quality images to practice taken by amazing fashion and beauty. Photograph for Dominica, Chaska shutting professional studio with professional model and makeup artist and all of these specially for this course, except the images, you will get my re catching actions that will be big help in your retouching process and let you get the things done much quicker. 2. Introduction to the Course: Hi. Welcome. And thank you for showing your interest in the best professional beauty retouching course on the market. Right now my name is marching because I am professional recapture And I made this course to teach you the right way off retouching images. Maybe our photographer who takes amazing beauty portrayed shots bad when it comes to the retouching. You don't really feel confident. You feel your work could be better. You feel when you look to the magazines When you look to the billboards, the images have something special. They look really perfect, but at the same point, they seem to be natural. And this is the retouching I am going to teach you. I'm going to teach you how to retouch images to make them look perfect and natural. And all of these using nondestructive techniques. So in this introduction less on, I am going to tell you few words about me and also a few words about this course you already know my name is marching, Nikos and you already know I am recapture. If you want to know if I am the right person to teach you for the shop and re catching, please visit my website marching because that come where you can find my portfolio and you can decide if this is the quality off retouching you want to learn yourself. And as you can see on my website, I did quite some off fashion retouching for some fashion magazines as well us for some beauty magazines. So feel free to check every single image to make sure that I am someone right for U F. If you're happy with my images, I believe you're in the best place to start your adventure with for the shop and retouching . So check out my website, if not my website, because that net where I also keep my portfolio. And now let's discuss what we are going toe learn in this course. So, first of all, we will be working on this amazing images provided by professional photographer Dominica Algaze Ca and don't I often work with and let's have a look. This is the image after the row conversion and as you can see, I am going to teach you all of the steps that going to lead you toe this results and we can see different images. We have different posters. We have two different makeup looks. So let me open this and it group. First of all, I am going to teach you non distractive clean app off the images to make sure you know how to remove pimples, sports, some unwanted hair and any other imperfections you could think off. Also, I am going to teach you very knowledge how to make sure the nails off the images look really great. Have a look. This is the before and I'm going to show you how toe ad this natural looking glow on the nails. We have also this image which probably is a little bit better to show you the nails. That's why I will be showing you how to do this on this specific image. So let me zoom in. And as you can see, this was their nails before, and I am going to teach you how to make them look absolutely perfect as the next step I am going toe teach you very unfamous technique Dutch and burn retouching using curves to make sure the skin look absolutely perfect. This is 100% non distractive retouching technique that you're going toe master in this course. Then I'm going toe show you how to work with the lines shadows How toe unjust The contrast to make your images really stand out To create amazing perspective off the image I'm going to show you how to color greater images to get this really specific look to get the specific atmosphere on the image you can think off. And I'm not on the showing you how I color Great this image. I'm actually talking to you about the color harmonies. I am going tiu to you about the color composition. I am introducing you The adjustment layers in photoshopped toe work with the colors and it delights so you can choose yourself. You can know how to work in different situations because you will know how the adjustment layers and different tools in photo shop work. And of course, at the end I'm going to show you the final steps that I do for my images. And this is the final results. So as you can see, this is complete guide. How toe retouch your images like a pro. What you need to know this course come with their resource is such as images to practice. Yes, I ordered the session with professional photographer, makeup artist model just for you. So you can work on the professional images as well as I am providing you re touching actions. My brush. I am working and, of course, the support from me that you can get any time you want. 3. Camera Raw - Basic Panel: welcome in the first lesson off this amazing course for absolutely everyone. If you're advanced for the shop user and you know something about retouching, this course is still good for you. We're going to talk about all of the important stuff that you will be using in professional beauty retouching. And if you are beginner, discourse is for you. We going to do full walk through every single stamp off retouching, explaining all of the tools and software's that we will be working with. So in this case, off course for the shop and old tools that we use in retouching process will be explained and we're going to start from the row conversion. So if you're re torture, this is something what you're going to get from photographers to read if you're going to get the row files. So we need to do raw processing any of your photographer, you do shoot in and then you have the raw files. This is something you're going to start. You're going toe rob process images and what's important in beauty retouching is to make really correct raw processing for the comfortable retouch in photo shop, and in this case, will be working with camera, which is the software that come with the father shop. But I am going to explain you light from a swell because some people choose camera. Some people prefer the light room. If you are subscribed to for the shop cc off course, you have the buff. So I believed us. This is the right thing to explain this for everyone, whether use light room or camera as well. In this section, we are going to mention capture one which is very popular software for re touches. I have capture, and I know many Rita Cher's and photographers who use capture one. But at first we are going to start from camera and this is beautiful, said We have over here, and when we have one said, What we want to do is tow open all off the images at once. That's what That's why what I did here is I perceived and selected all of these amazing images we have over here and next. I need to open this in camera. Of course, if it's raw file, it will be opened in a camera as default on just going to heat control and on my tablet heat on one of the images, and then we have option open with. And, of course, I have Adobe Photo Shop or capture one that will be also opened in camera option here. So I'm just going to heat opening camera. This is profile. This always has to go through camera and on the left hand side. All of the images appeared, and on the right hand side is everything that we need to work. First of all, we have different panels that will be using some of them for the rope processing. And on the start we have the basic panel, which is most important panel when it comes to the beauty retouching. Because here we do some basic adjustments but are very important. And let me explain to you these basic panel at first. At the top of this, we have something like profile and with Bt images, mostly you will be going with adobe color, but I always encourage everyone to check all of the other profiles over here. So from the favorite profiles, we have a W color. We will have adobe landscape. You can easily switch between them and see how it looks. If you like something. Feel free to go with the profile, but I do not recommend to go too crazy with beauty images. You want to keep it natural? This not all of the prophets. Because, of course, with the recent update off for the Shop CC line from CC 2018 we can browse more off the profiles, which are a little bit better. The profiles were not really that great with the older version, so, of course, were the favorites here. We'll have some other artistic, some more and abstract professor over here, Um, but I always want you to check camera matching profiles, and they're usually probably slightly better. The favorites. I personally like profiled faithful. I like standard profile, which is a little bit more punchy, more saturated, and in camera. The image tends to be a little bit flat. I think camera standard gives you something more punchy. If this is something you will be looking for and faithful, something different, maybe not perfect for the beauty images. But when it comes to the other images, that will be absolutely okay for me. Probably in this case, under be color is something I am going to go. So first thing we check in the profiles. Second thing wide balance. If the image is done, correct us this one. As you can see, great white balance. Nothing to do. But you can, of course, manipulate with the slider. If you want to lower the temperature, bring the temperature up or manipulate with thinking you want to add a little bit more off the green color or a little bit more off magenta. You do it here, but many when you're going to use this. Sometimes the white balance is not correct. For example, we get the image that this absolutely cold and you want to change it. So when you have the wrong quiet violence, then of course you are goingto bring it up because you wanted to be correct. So white balance is something. Quarry usually correct the white balance, but you don't really manipulate with white balance too much unless you have some color theme that you have tow achieve. And this manipulating with white balance is is going to help you with it. So that's the thing to know about the white balance and below that something super important, and this is off course, working with light, even images to too dark or too bright Exporter is something you want to work with. Contrasts. At first, it's not good, but basically this slider allows you to increase or decrease the contrast. And then we have highlights and Chantal's. And this is important if you get the image that has really harsh highlights and you cannot see the details on the highlights, this is the place where you will want to lower the highlights. And if you get the image, which has maybe two dark shadows and you cannot see the details on the shadows, this is the place where you are going to increase the shadows. So not very complicated. But it can help you to flatten image, and it'll beat to make the retouching easier for you. And below that off course, we'll have winds Blacks, which is very Cinar, work pattern as highlights. Chandos, but it's stronger related to get the color of wind. Chris Weitz or decrease writes increased blacks or the Crease black. So this is probably the most important part when it comes to the basic panel below that something that we're not using in beauty retouching of clarity. We can increase the clarity. As you can see. At first it could really destroy the image for you. If you go that far, if you go just a little few points, you might actually do it. But for beauty retouching, it's probably better to do those things at the very end. And of course we have D. Hayes If the image is hazy, which is not the case with the beauty minutes, poor Preds, etcetera. It's not something you would actually use here. And we have two sliders on the bottom with vibrance saturate and so a bold color saturation . And once the difference between the vibrance and saturation So vibrance preserve the orangey color is quite well, the colors off the skin. So, for example, you can see when I gonna to decrease the virus Tu minus 100. This skin is still have some color. When I am going to decrease the saturation, it will be the saturated fully because now we decrease the saturation off each color equal . So this is the information about the basic panel. I'm gonna keep it as a separate lesson. And in the next life, son, I'm going to talk about the other panels that we also use in raw processing, but they will quicker to talk about. Then, of course, Lightman Final Will will be ready to do raw processing once you we are going to do, walk through all of the panels and important stuff we need to know about the camera. 4. Camera Raw - Full Filter Explained: So now you know, they think about the basic panel, the three things profile. Setting up white balance and setting up the lines to make it comfortable for retouching and forth shop. And then what about the other panels that a little bit less important? But there are certain things that will have to take care, of course, working with the color, etcetera. So we have the curves and the curves can actually help you toe work same us with shadows and highlights how to do it. First of all, we have to kind off the curve will have parametric curve and point curve. Point curve is the standard curve that you have in foot shop. Parametric curve is the curve with the sliders that we have over here. So you can't really set up the points on this curve as you can see, which you can do on the point curve. But we can manipulate with a certain area below with sliders. So how to define this history, Graham? On the bottom left hand side, we have shadows. Then we have darks and lights which both together creates the meat terms. And here we have highlights. So, for example, we want to take down some of the highlights. Want to bring up some shadows? Here we go. The job is done. If we need that for retouching and with the point curve off course, we can set on the point. To be honest, I don't think for beauty retouching the point curve would be used so much, but we can just simply bring up some shadows. Take them some highlights, but it might actually washing out the image a little bit, too. Majid will give you some of the film effect. So this is not something that I use for beauty retouching. When I want the image to be really nice and crispy, then the detail panel that is absolutely not in use on the beginning for beauty retouching here with sharpen the image, all we reduce the noise and for beauty images, you don't want to sharpen the image on this stage because later on it will be difficult for you to read. That sharpening is the thing that you do in the final touch ups. That's the thing to remember. Then the next thing Hue saturation, luminous adjustments. This is something I actually like. This is something I actually used in the road conversion and we have different colors Over here we have reds, oranges, yellows, greens, acquiesce, blues, purples and magenta as and we will be manipulate with the hue saturation on luminous to achieve something choir satisfied. And of course, we have £3. Here we have Hugh panel. So, for example, if I'm going to choose the orange, which is the skin tone and I want to manipulate with the orange, I want to make the skin more red. I will change the hue in this direction. If I want the skin to be more yellow, I will change in the opposite direction. As you can see, going that strong doesn't give you really great results. I think the oranges off the skin are just on point. The other panels saturation so you can choose every single color Asai presented to you for saturation. You on the make up to be a little bit more visible, you can increase the green yellow saturation, as you can see, and you will increase the saturation off the makeup. You can press P toe, see before and after on your keyboard, so the question could be should I do this now or maybe later. Answer is for the things like makeup, final touch ups of the makeup and saturation on the and is the place. Do off course we'll be doing this. But now is the explanation. How the Camero fielder or software planning this case will be working and luminess is nothing different are setting luminous on certain color. So, for example, greens, yellows again, we want to increase the luminous as you can see it dragging on the slider. Fluminense's increased off course. You want to increase or decrease the ruminants on the oranges. Once again, you grabbed the slider for oranges, and you will be money plate in this, the next panel that require some explanations. Pleat turning something for more creative, not in useful beauty. Retouching, hound us split tuning works. You first choose the huge for the highlights on the bottom. You can choose the hue for the shadows whatever you choose, and then you increase the saturation for this color on the highlights and increase the saturation for this color for the shadows on. As you can see, it gives you a little bit off artificial results. If you want to use it. Final color grading. But that way better things to color. Great your images than here. Next panel. What we have We have lens correction, not something in use. We have FX panel post crop vin eating. If you have eating on your image, you can actually manipulate on evil beat over here. If not, this is the panel to skip and the last things from this panel Over here. This calibration is the color calibration. So first of all, I told you about the panels that we have profiles off course, the profits that we talked here that can set up different colors if you can find something for yourself, this calibration allows you to calibrate the colors for your image. It's not something that you have to use but unjust in the hue off certain channel and saturation off certain channel can help you to achieve really nice colors. I think to understand these are channels. This are not really color. So it's not that we going toe change the hue off the red color. But we're going to change the huge off the red light that it's part off RGB red, green and blue, which cover each other, so the blue will be mainly located in shadows just in the shadows. Not much in the highlights, right will be distributed quite widely on the image over here. So, for example, you are not fully happy with the hue over here. Maybe for their for more shadow area. You can manipulate this a little bit, and you can also increase some of the saturation as you can see on the channels. And then you could get more saturated image in total have different outcome. And if I could say this in simple word, you could create sort off your own pro fire outlook over here. So let me reset all of this. And now we introduced quickly all of the panels that we using for camera for, for working in camera, for processing in camera. Then we have also some tools on the top, and most of the tools are not really in used. But there is one thing that I really like to use, and this is transform tool, this something I could use And the end, for example, if I'm not happy with the crop, we can simply change the scale off the image we can change their perspective off the image , of course, and not every perspective will work here. But you can slighty manipulate with the perspective ive the perspective. It's wrong, so we don't have to travel. Some two get troubles in photo shop, but you can easily do this on this stage, fixing the scale, the size, their perspective, the aspect and all the things you need to fix with the image. If there was some issues at the beginning, off course, we don't have any issues. So this is just quick presentation what you can do over here. So now, as old tools are introduced, we will be ready to prepare our images for work in photo shop. 5. Processing Image in Camera Raw: in this lesson. I'm going to show you how to quickly prepare the image to work with foot shop using camera . And we are going to start from the very beginning. I want to compare the panel. I want to compare my other be color too. Camera standard And I think camera standard gives me ready interesting outcome. Over here it's a little bit more saturated. Compare so there will be color. Let's compare it once again. Dance the other big color. And this is counter standard, which is way deeper. It goes a little bit too far. So I would be really I would be rather happy to go somewhere halfway with it. But as a basic, I will start for Commerce standard. And then I will try to unjust everything manually, take a little beat down this really strong saturation, some going with camera standard here and then I'm going to close it. I feel it looks better and I feel for me for what I'm looking in, this image is this is the look I want to do. So that's the first step. The next step I can see some of the areas and I believe you can see us. Well, when we look in the highlighted areas, this needs to be taken down just a little bit. So I'm taking them some of the highlights. And of course I'm bringing up some shadows because I can see some areas being really dark here. So I really want to bring this up two seat, much better. So let's press P on the keyboard. As you can see already decent change for this If you're not happy, really with the temperature with this camera standard, what I'm going to do, Mannelly, I'm going to decrease the temperature just a little bit. Maybe somewhere around 6000 and also just a little beat lower down off the team. So as you can see I choosing camera standard and manipulated a little beat with the wide balance to make the look a little bit more natural to bang the look as something I am looking for. And this is all I am the win in this basic panel and as the next step I'm going to jump in hue saturation, luminous in hue, saturation, luminous. First of all, I would like toe see how the saturation values for our just looks like because what I see over here is the fact that the chest is a little bit different in the face. So what I want to see I want to see if it's possible to correct this a little bit now with the saturation. If not, this is not a problem because I am going to take care of this in photo shop. So what I'm going to do, I'm going toe work, a legal beat with oranges and I think taken down just a little bit off. The saturation will do really well for this image. I think it's not too bad, but maybe just one point off the saturation over here. And then I also want to see the hue if getting more red or more yellow will be dance for, but also what I'm paying attention when I'm getting in more red. I don't want model to look a little bit bird, and I'm afraid if I will go into more red directions, she might look a little beat, not healthy, really a little unhealthy. So I will keep it as this, then the saturation on the yellows. I want to have a look and the greens. Maybe just it'll be done to start toe. Adjust how this image supposed to looks like and also luminous. It's not something I'm going to turn because if I want to touch the luminous off this green , this something, I will be working already at the end. And I'm rather satisfied with this. This is how we did eso you can see before really flat image with different profile. And you can see how this profile actually approved this image. I think maybe a little bit more off the shadows camp. I can see her. If the Parametric curve can help me a little bit more with this and this will be my starting point. I don't think I need calibration off the color. Now. I'm really happy with what I have over here. We can see because, as I said, the blue primary will be mainly around the shadows so we can see if we can actually do something with it. It from the saturating this I probably mainly affecting the shadows so I can saturate a little bit off the shadows and seek. But as you can see, changing the here will not really work. So just taking down a little bit off the saturation for the huge. So now the question is we applied some of the adjustments. It will be just great for the retouching foot shop. But we have some other images and how to apply this to other images. First of all, a which images I have. I have two different looks. As you can see. My other love that I have over here, it's more off the evening look, So I don't want to apply exactly this adjustment to this evening. Look, But I want to apply this unjust mint toe the same look that I have here. Right? So I applied this look. So what I'm going to do, I'm going to apply the settings from this look, I had to the other looks. So this is the major image. As you can see, it has blue around the impressing command and selecting other images from this look and what I'm going to do next, I'm going to heat this small I can over here, open it and then sing settings. So I want to apply all of the settings over here. I have I can't guarantee if all colors were be matching, but you can choose what needs to be much. So, for example, if you want to on the march white balance or exposure, you'll check on the two boxes. I'm gonna keep it all. Let's have a look how it works for us And I think it does really look well. I don't really see some unwanted this proportions here, but one think you really need to know. Once you match it, you always have to check each image separately anyway because some of them still shadows could be not right. So we're actually going for them, right? I feel this image actually was already done, but I feel the shadow. It's a little dark here again. I see the shadow mind the elite will be too dark. As you can see neck. It's a little different. Eso here again. I'm bringing back more from the shadows here. A little bit more highlights down so everything is easy as you can see, it matched to each other. But this Manuel changes should be done. It should be checked if everything is matching. If not, we will do some of the changes manually and always a see. Look at the color. I was trying to look at the color if everything gets right here. So, for example, I have some of the red here, and I want to see if working with Blue Primary I could change it a little bit, but I think the change would be to general for all of the face, so I'm gonna keep it as it is now. But we have already signed this image. This image have some red chest over here, and this area for sure will be corrected here. I might choose one of them other image and much the colors over here. A swell, for example. I'm going to choose this image and let's have a look if it actually looks good. If not, we will start everything from the beginning. Some selecting this image, the last one a swell. And then I'm gonna sink. Arise this okay? And I believe it does look really good, but I'm keeping some of the other images off course here to do some work in light room and present to you how I do process Images in light room were on these examples. So I think this was a really good example how I do work in the camera. We have a few different things to do. And we did change this image a lot once again before After us, you can see image looks different and this is the image I want to work in a photo shop. So what we need to do toe open the image in photo shop, actually always like toe open the image as the smart object and the reason why I opened the image as a smart object because it allows you to work non destructively. So first he decided before familiarize yourself with settings. I work with the color space And don't be rgb, which is very universal. One thing you just need to make sure that you don't work in adobe as RGB, which is too small. You want to trust W rgb or pro photo on Jimmy. And of course, death will be 16 bit channel really important. If that sorted hit, ok, and then do not open image perceived and then open object and what is happening? This image is now getting opened in photo shop and what you can not This this is not open as an image. So it shouldn't be really cold. The image. But we have a small square over here. What does it mean? It means right now, if you see the resulting crunk with the image, you can just double hit on this layer and you can steal correct this in camera. So this is why I always open this as a smart object because the smart objects always allows you to work non destructively. So once it's open in for the shop, save it, remember, Because you want to have the work save. You don't want to go back some straight away. After opening foot ship, I goto file safe us and then I'm searching for the place. I am working with some going toe courses, plant retouching techniques, and I am going to course images on always create myself. The folder that is called usually processed. And this is where I store my files. The saving four month. You have to available four months. It could be PST or T fouls off course. I'm talking about the four month where you have the layers available for this course. I'm going to keep it as the T file. Of course I will be saving this t file with the layers. So everything is checked. Processed folder. And this is where I am going to save my image off course with the layers than hit. OK, and we can see in our bridge the images that we decide to work with will be saved in this folder. 6. Processing Image in Lightroom: we did the row conversion in a camera. So now, for those who use light room for the rock conversion, how to do it? Let's import the same images to our life room. So once I am in the library, I am going to hit import and simple thing to do. For those who start, you just need to find the folder with the images on the computer. So I'm going to files. I open the users my name. That's my users. And as you can see, that's quite a lot of folders, but I'm actually actually getting there. So OK, course images and that what I'm going to open. And this is exactly the same images that I had in my camera. And this is the selection off the images that are choosing to import right now, and I'm going toe remove one selection. Of course, as you can see, there's also won t found because it's in the same folder us all of the roofies, just one folder more under the name processed. So off course I don't want this. I d select this image and all of the other selected images I'm going toe import toe my light room off course. If there's any meat you don't want, you don't have to import this, but you really. We tend to import all off the images to have a look in light from how it looks like. So I'm importing the images that I am going to do now. They're being important. And once it's done, I'm moving to develop panel. One thing to know and this really great thing, that light room develop panel is exactly the same. US Camero. Many people wouldn't believe this, but there's one proof. We imported the same images from the same folder with the same conversion that we did in the camera. And let's look at this image and see on the settings off white balance and everything different. As you can see, it is the same ass with did in the camera. So if you apply something to your row file in camera and later opened this in light room, the settings will be the same and other things as the proof I am going to do quick walk through with you through the panels to see if it's all the same. So, of course we have the basic panel which is exactly the same thing. And also we started to start basic panel at the top. We have the profile which is already camera standard, because we changed it to do it. You open and you browse it the same way Off course, we have temperature, we have exposure and we have the presence as the second panel is the tonic. Your band, Of course, In this case, we have the point cure on the start and third panel, which is a little bit different because the third panel in the camera is actually the detail. And here we have hue, saturation, ruminants. And to be honest, I actually preferred the layout off this hue saturation luminous panel in the light room. And let me explain you why when you work in the hue saturation ruminants, as you can see, first of all, we can choose the same way off work in us. We doing camera, huge saturation, luminous. But we can also see everything at once leased below, or we can heat the color and then when we want to work on a single color, for example, want to work on orange hue, saturation and luminous are listed in one place if we are going to choose the color. So when it comes to differences, I think the light room might have the advantage that the layout itself a little bit better . That's about the third panel off course. We have split turning as the next one, and now we have detail that tends to be in before, of course, for retouching detail we're not using. We have the lens correction off course, the same as in camera. And remember, I was telling you about the tool that it's called Transform, which is not least it in a Camero as the tool but which is not least and in light from as the tool in camera is listed as the tool, not least that the panel. And here, as you can see, it's the least that as the pounds we have scale, we can change the perspective off it. But, of course, I'm not using this under start for these images. Also, we have the effect, So if we need to work a little bit with post Praveen eating that where it's done and off course color calibration will be here. Not much off, Dan, but as you can see all the same. So all of the settings for the image I've done, I can see we have close miners on all of the other images and I have some off the other images that I will be working with. And I want to do this manually. Once again, small work through. Ofcourse, I will be looking on the other image. I could copy the settings, but what I want to do I just want to do quick work through manually applying the same settings because also what we can do. And it's very important to mention we can also synchronise settings. So, for example, if I'm going to select this one and this image, we have to even just selected here we can to synchronize settings and the same us in camera . I'm just gonna hit, synchronize. And as you can see, the settings God applied to this image a swell. So whether you started camera in the parking light from its OK, or you do everything tonight room, you can also synchronise settings. But quick manual work fruit off course what I'm going to do here, um, browsing for different profile. I am going with camera standard. And I'm doing this manually for the reason because I want you to get yourself a little bit more familiar For those who are not familiar with light room, what we're doing here off course, we lowered the white balance. So what are you going to do? I'm going of similar features. So the white balance are on 6050 the 10 thing at seven. And of course, what I'm going to do Highlights. I don't need to look at other image. I just want to thank down the highlights. Still the level it is comfortable for me bringing up shadows just a little bit. Okay, Now I'm going to have a look house that tonic your if over here. But I don't think this town cure will be comfortable toe work on. I actually think it's quite comfortable toe work with maybe a little bit less highlights for this image and what else was done, I believe a little beat off the hue, saturation luminant. So the just a little bit more saturation for green. Andi, I two down one point of the saturation foreign. So of course, we have different makeup here, So I am going to take down a little beat on the saturation for the color orange. Just minus one point in this case, makeups really strong over here. Probably what I'm going to do on different I might increase a little bit off the luminous. I could even let myself do this at the beginning, but it does affect some part. Are the models. I would be really careful with the luminous right now. We don't want to do over low minutes right now, and then we would have to fix it. There's many methods in Photoshopped how you can improve the lights on the certain areas, and we will be learning that. So that's about it about hue, saturation ruminants on a little bit of the calibration. Of course, I'm going to take down just a little bit off the sun saturation minus tree for the Blue Channel. So what I'm going to do now? Like, let's compare these two images, they look absolutely fine. So this image is selected, um, going off other ones and I'm going to synchronize settings. And the last question you could have about light room is how toe open this in photo shop. Now there was easy method to open this in for the shop. Just going to press control and hit on my tablet Simply hit right and then we have option added in. So we have the first option which is editing out doubly photo shop cc, but what we want to do once again, we want to open this as a smart object in father shop and we do have this option. So this is what I'm going to hit and I'm going to show you one thing that is probably important here. Once these images open as the smart object in fourth shop, we still can work off course non destructively because it's smart object, so you can double hit on this layer, but of course will not be sent back to the light room. That would be too complicated, but we are back in camera with the same settings that we just applied in light room, which is again saying to us, this is exactly the same. Devil panel in light room and camera is the same. So if you still see in photo shop, when you go to photo shop and you see something that it's not right, we can still apply a little bit changes over here if something could be not correct for you . And once we're happy, we compress okay. And of course, saved this image the same way as we saved before. Because we don't want to lose any information. When will retouching So I always save this on the very beginning off my work. And then we would be ready to work in Fatah Off course. This is not that end off this information about the row processing. There is a lot of information, but row processing is really important for retouching. So in the next lesson, I am going to show you additional software capture one that many people is using them. I believe some of you who are taking this course also might use capture one. I am going to quickly introduce you capture one and tell you about the differences between the capture one and light room and camera 7. Processing Image in Capture One: in this course, I am showing you a few different Softwares for rock conversion. Of course. At first I show you Camero light room. And of course, now we are in capture one. I'm not showing you Softwares that are not really good or not Popularity all but presenting you destry Softwares that are mainly used in retouching anuses, of course, Adobe products, which is slight from Camero, an extremely popular software for Rita. Cher's capture one and I will explain you. Why is it so popular and why so many people choose Capture one and under start out Say it is about the color. But first, let's import the images to capture one so we can start our work. So first of all, the layout is completely different than the one you have in light room or Camero. But once you open this, you will see this arrow on the top left hand side and this is the import. So I'm going to hit this and, of course, on my computer as the source, I'm trying to find the images that I am going to work with. So I'm just in the folder and then, of course, my images for the course, and once it's found, I'm going to hit open and everything will be important here. I believe, including this defile I did so I don't want the STI file. So what I am going to do? I am going to select all of the images except this one TIF. I want to import on Lee the raw files, so import 12 images. Now I am important. And what is happening in my Cantel collections just belong here, which should be open. You can see new import is create that. I never border too much in the catalogues, but I always work with the imports over here. So my recent imports, as you can see 6 September and today time and I have 12 images that I want to work with. So now we can talk about the difference between capture one and other bi product. And, of course, these are the images without anything applied into them. So I am going toe my bridge, and I want to see how the image look when it's un processed. So let's choose this image, for example, which is an image how the image is viewed in the camera or in the light room, and now I'm going to see how the same image will look in the capture one. So this is somewhere here. Let me open the bridge again, and I'm going to move this on the side to make sure you can see comparison. Mint off these two images, Let me move it a little bit more. And here is one image viewed in capture one and one image viewed in and they'll be product , and you can clearly see the image in the capture. One is much more punchy, much more saturated and half better color than the one in there. Under the product off course, some of the people could prefer more washed out colors, but what capture one does. It's exactly the color as you had in your camera, and the reason for that is different. In prophecy. You see, capture one has much more profits, and it adjust profile exactly to your camera you are using in this case, and it presents the colors in much nicer way, and now we are going to do rock conversion in capture one. I'm going to start from this image because it's just extremely beautiful and I think we're going to choose three images from each look for these chorus and it'll quite many, but I think it's better to have few images done. And let's start from the very beginning before we start any conversion here, let's have a look at the lens correction. I like toe. Have a look into this, its third panel titled Lens. And at the top you can see the lens that was used for this image and below, which is quite often happened, is distortion. So this image has applied distortion original. It's more like this, but I do think this distortion is actually helping here because the face was slightly small compared to the hands and I want this and it'll beat more, equalized when it comes to the retouching. I think it's very important for the beauty images to pay attention. If the image needs distortion or it doesn't. Then I'm moving to the next panel and I want to see why capture one has such a great pro fais so we can look into a base characteristic profile and you can see that capture. One can show you the camera we were shooting and this other profiles that are available in capture one. So for most of the cameras actually capture, one has the prophets. So once we know these basic things, I'm going to go toe exposure because I want to start from the Exporter. That's how I get usedto at the top. We have, of course, sliders like exposure, contrast and the third Cider is something I really like and that I find it's missing in many others because brightness it's really something I think many rock conversion software's would really need here for this. If it needs slightly be bright and exporter, it's not always that perfect. Of course, we need to increase Explorer decreased Exporter, but sometimes it's really good to work with the brightness at the level off road conversion and what's really interesting. Me here is high dynamic wrench, some going to decrease a little bit off highlights for more comfortable work and also, um, going to bring back some shadows and not sure if you can not these days. But I feel for a certain cameras capture. One is actually more sensitive here when I bring up a little bit of shadows. As you can see, we can really restore a lot off information. So be careful here because I believe capture one is really sensitive, which is also a good thing. But don't go too far with it. And of course, we'll have other things asl evils here and curves. I'm not going to work with this. Of course will have RGB mount as well as Charles Red, Green and Blue, which we don't really need to do On this level, Others panel will be clarity, which is something we want to be really using. We don't want toe Sharp and Amy True Don't want increased clarity or anything like this. If your image has veen eating off course, we can sort out some post crop vignette in in this case, if you cannot some vindicating around the corners. So once I'm done with the exposure, I'm actually moving back to this color panel where I also have this base characteristics and here below based characteristics. We have wide balance and we have of course, different moments to choose autumn and a light shade cloudy, etcetera and off course we can manipulate with our white balance Calvin on tending so temperature or tainting over here. If we have run quite balanced. This is somewhere we can fix it from. The other things. We have color balance, which is amazing feature. I'm not really using this on this stage for the beauty images, but when it comes to the color balance and he needs to do something for the fashion image, I'm gonna quickly introduce you That, for example, you want to get warm shadows and you want to get opposite and cold highlights. This is how you do, and you can really easily manipulate with the colors an amazing way. You can also work with the meat on. So this is similar feature as we have in photo shop. If you need to set up the colors on the very start, I think the color balance in capture one is the best color feature that any software could have. I'm gonna keep it natural, of course, here. So stand back. It's reset. I'm going to go with our original color. And also, when it comes to the color, I was working a little bit more with the color in camera or light room. But you already so and then this color is much more punchy. So what? It's really great here. We don't have to work that much with the color if want to get nice and saturated colors because we get them naturally in capture one. That's why I'm not doing that much here. If I don't need that last thing when it comes to the color and this is absolutely amazing, it's color editor. We have three panels in color editor. We have basic advanced and this kingdom, So the basic. We have a few different colors, something as we have in capture one. So, for example, if which was this color we can manipulate with the huge over this color, I believe this color doesn't really exist in the big amount, but maybe yellows. As you can see, we can choose the yellows. Oranges here manipulate with the hue, saturation and lightness, which is basically luminous in the adobe product. But this is not the best future, because the best feature is under advanced. When he can use this eye dropper toe peak up exact color from the image sy countries I drop there, go to the leaps off the model, for example, if I think they need correction, I'm going to choose the color we have perfectly defined the color of the leaves. You have all of the information about the channels here. You have hue saturation, so you know exactly the color you have. And if you need to change the cute Hugh off the Red African see, we still do affect other areas, so it means the wrench would be too big. We could try toe, make the wrench a little bit smaller. In this case, let's go closer, right? And now, as you can see, we could manipulate with the color of the leaps. So this is something amazing about capture one. The control it gives you on the color off course. I'm not going to go too far here. You can also increase saturation. 10 saturation change. You change the lightness by choosing each unspecific color, all of them. So if you have more colors, if you work with the fashion, I think on the fashion images that would be absolutely perfect. And the last thing the skin tone you see in capture one. You don't have to use the one panel for skin and all other elements, but the skin tone panel gives you a little bit more control on the skin and doesn't apply such a harsh changes to the image. We still have the eyedropper here. So, for example, if you want to work a little bit more with the skin color, you can choose the skin you want to work with. We have information Hugh 24 saturation 64. In this case, if you want to change the hero of the image just a little bit, as you can see, you can manipulate with the hue here and then separation, and it doesn't really do such a massive changes. It gives you really nice and self control on the image, so you will not go too far. You will not destroy the image, and once again you can decrease or increase the ranch off. This on the top over here can increase the saturation if needed if you feel it's not enough . So everything That was quite difficult, I would say in Adobe product, because switching the profiles, working more with the saturation captured one make those things really easy. I am going to keep really natural colors over here, and I am going toe color. Great this and it will be more in 40 shop. And I'm really happy with the colors I have as the road conversion. And quite often, I must say, in the road conversion when I do capture one, I do not apply that many off color changes. Um, because rock conversion is about fix in the wrong element. So if you get the image you have wrong, quite balance, you fix it. If you have the saturated image, you fix it. If you have the wrong skin tone, you fix it. This image has ready is really well done. Good photographer. We don't have toe Fikse a lot off these bad things. So we will be ready for conversion and for processing this. I'm going toe many the last panel, which is called Output Off course. Before that, I recommend you to go through all of the panels because we'll have other panels like sharpening nice reduction film grain, etcetera so everything we actually need. But we don't need at this stage. So this software house, of course more that I'm showing you, but these are also the panels that we don't really use. So I'm going to the output panel and off course will be processing to Pierce the or TIF, and I'm going with TIF. 16 bit, of course. Full size Adobe RGB below. We have also received so format 16 beat un compressed resolution 300 pixels. This is very important to keep everything at maximum output location, which is the location off the image, so I'm going to choose it now as the destination. I'm going toe desktop and I'm going toe find where I want to process it, course images Processed said As an old output folder and outward naming. I always keep the same a file name. Do not get confused and then we can heat process after everything. Is that so? Then it will be processed and now we will see the image in the bridge. I want to see the difference in processing how well I got it. As you can see a difference in color, even though I waas working a little beat with the camera, trying to make it a little bit more punching the colors. The outcome off the capture one is still different, and I like more than one from capture one off course. If you're not happy, what I would do here, I'll just go with this image and try to adjust it a little bit more toe the one I have in capture one. If I would decide to process, this image is in camera. So what? I saw that I think looking at this, we have probably more of the red color and a little bit more off the saturation here. And this is Mai mainly what I would do here, I would probably increase a little bit off the saturation and just a little bit off 10th in here, difficulties would be with the background, probably toe add a little bit more to it. Also, I could try to work a little bit with the hue toe, unjust it and it'll be better. And if I would start in here and want something seem well, maybe at this stage, I would be starting. So no matter which software you prefer, which software you have, which software use, you know how to do the road conversion. And now we will start working with photo shop. I'm going to show you how to clean up image non destructively. I am going to show you some different clean up techniques, Dutch in bone and everything. You need to make the beauty images look absolutely perfect. 8. Photoshop Clean up Notes: now we're going to start with for the shop and of course, before we start doing anything, I want to explain to your everything what's important about this image. So I'm going to give you some notes, what needs to be done, All the elements that need to be removed that need to be returned. Something needs to be bright, and in this lesson simply, we are going to discuss talk about the image, what needs to be done. You can see small, different. This is not smart object. It's because I decided to process off the image at the end in capture one. It's just easier and faster for me. But of course it doesn't make a difference. I made true. The colors are exactly as I want them to be. So to show you the notes, I am going toe create new layer to do this, I'm just going to choose the small icon on the bottom and I am going to name this as that notes. After that, I am going to go to the left hand side, choose the brute brush tool and I am going to chew some bright color because it will be much easier for me to paint and much easier for me, for you to see everything. The first element that I can see on this image as this corner over here So this area will have to be reduced with have to be exactly the same us rest of the Bagram. We cannot leave the image looking like this. That would be proud, the unacceptable for most of the people. And then let's jump straight away to the skin What needs to be done on the skin, first of all will be some small sports, Um, on this image, there's not so many off them, but still visible, as you can see really tiny spots. But this sports are is not something that is massively trouble. Some will, so we'll have the small wrinkles color this proportions that will be very important. And also we have some off the smalls over here, and this is often when I zoom in, I can see much more objects, but this is often the area on that is discussed because this is not really the issue that necessary must be done. This is something that naturally exists on the image, So if you plan if your photographer, if you custom and ask you remove this. That's something that needs to be removed. But to be very precise. This is not something that is the issue that needs to be removed, so this is not treated as the people's. So this tree spot absolutely natural and they're absolutely fine to stay here. I might remove one, because I think this is not very certain. What is it? So I'm going to get rid of this part. Of course, we'll have some bright spots that doesn't really look so great. We have to fix the eyebrows a lot off the tiny spots on the eyebrows. If we have tiny her inside the eye, that also needs to be cleaned. So these are very basic things. Also, don't forget when we clean the face, we cannot forget about the rest of the body. So we always need to pay attention to the nails, for example, that I think is always missed and also pay attention to the rest of the body. We might have elements down will have to fix a little bit off course. It will be less than the face but still dark things on the body that needs to be clean. Another element on their face might be the tiny her timing body, her tiny face her. And I am going to show you exactly how you can easily deal with that, whether using basic tools or where they're using some filters in for the shop to get rid of this. When you already talk about the head, we have some had that needs to be correct, the hair that getting inside the face, they're not necessarily that the band, but in this case, I think we can easily take care of this. I know they're part cross hair, so this not necessary bad here. But we have some of the cross hair, and I am going to show you around the scores, the techniques that help you to clean such across hair. So it just doesn't look on later. Cross her also, not everything, because we have a lot off her that are just brighter and those think can be really nicely corrected. So I'm going to show you how to deal with this. So not from the skin retouching but retouching hair around the Bagram. All of this stuff will be explained to you off course from other parts. After we will be doing this, we will add a little beat. More perspective to the face will be working with the contrast and one I'm a element that needs to be mentioned also will try toe on a little bit more definition to the ice. The light is not re perfect, but I will try to add a little bit more definition to the ice and I will see how it looks if we need toe, correct some of the areas and retouch some of the things for example, the light. We have a quite certainly, but we might actually need to remove this. So this is what I plan to do on this image. Of course, we have other image and we'll have similar elements to do. People's her background not needed here. Off course, improve the eyes and all of the other things like contrasts and color grading. So now we know what needs to be done on the image in the next ice on, we are going to talk about the tools and execute the things that we planned to do right now . 9. Wacom Tablet - Why do You Need It: one thing I would like to mention conditionally because there is a lot of questions abound . The retouching tablet and of course, dance virus. Do you need retouching tablet for retouching? Of course you need retouching tablet. You can try toe retouch Without this it will be very difficult because during this course not on during this course, but during retouching. In general, you do a lot of things. You do the clean up and you have to do this fast and working with mouse or anything else doesn't really allow you toe work so fast and effective. I know when you start first with the tablet, this actually might be a little bit difficult because it's difficult to get used to things . When you start with something new, it always difficult, but it last for a few weeks I have been working with tablet for at least past for yes, and I know you can't go back from it and I just I just want to show you quickly why tablet is so much better then the mouse And also the question because I get the question very often. Do you need the pro tablet? Absolutely not. I used the basic version off the tablet, which is way cheaper, and I work as the professional recapture. The truth is for just for the retouching. You don't really need Greatest tablet ever. Just need basic tablet where you can use your pen. So why tablet? I have connected mouse and I have the tablet and simply I'm going to show you the difference that make it impossible to work with the mouse in certain think. So there's a few basic things, like the flow off course working with the with the tablet. You can work much faster, for example, when I'm going to treat some color. And if I want to clean up and do this fast, as you can see with the tablet, I can go fast and move fast, though, when I take the mouse, as you can see well, the speed okay, I can clean up, but it doesn't go as well as my tablet, and you can also see another thing now, which is super important mouse dozen half pressure sensitivity. And this is once the crucial thing about tablet is and White Tablet allows you to work much better. So let me choose the black color, and I always work with my own brush. This is a brush that it's used for thatching burn. But I also use this brush as, uh, clown stomp, often when I want to soften up the the texture of the image when I want to break it down a little bit. So when we work and we paint on the image, we always need to have sensitivity, because in some areas now I will show you working with the time we need to press stronger. And in some areas, we actually want to paint very softly, and we can press stronger work soft. And as you can see, Tablet allows you to really paint softly, depending on how strong you press it. And this is possible because off the settings off this brush, I make here controllers pen pressure. Of course, we have transfer, and this is the branch that I find comfortable toe work for my own retouching needs, and I think it's also very universal. But Mouse doesn't have that many feature. So with the mouse, everything you're going to do, you going to do with 100% sensitivity, and unfortunately, the retouching doesn't work like this. You cannot really make the image with nice transitions with the mouse. It would come out ready. Patchy. You would have a lot off some dots, discolorations and because off the fact that you cannot work fluently with that where the mouse off course And people could say no. But with the mouse, I work with the same speed. It's not slower. So I'm going to you, going you to use the mouse. But the thing about the mountain is even if the speed well, the equal for you and the end of the day, the result will not be equal. So that's about it. Just few words about the difference between mouths and tablet and why, If you think about really good retouching, why you need the tablet pressure, sensitivity speed are the crucial think that tablets allow you to do in retouching 10. Cleaning up Background: in the first lice on. I am going to show you how you can easily can arm the background, for example, us here in the top right corner as well as how to clean up the mess it for on the Bagram. So, first of all, when we will be working, no matter what will be cleaning or if it will be skin later or now the background, we want to work with the empty layer. So I am creating the empty layer, which I'm going to call clean off, and the tool that will work perfect for such a thinks us. The background in this case will be clone stamp. Let me quickly present how this crown stamp works by the fact that we work non destructively on the empty layer because we always want toe workmen distractedly. That's why we create empty layer. If we do some mistake, we can always go back. If you work on the actual layer, you can't go back. That's why, for example, if you decide to work with Patch toe, which only works on the actual layer, I recommend you to copy your bank on player by pressing command or control and J to copy and then you can work with we found affecting the original layer. As I said, I am working on empty layer, so I need to make sure about few things I choose closed. Um, it's soft edged brush because I work with quite sensitive areas that require soft transitions. Also, as the sample very important is to keep it current below. If you keep it current layer, you country affect anything on the image. And if you keep all layers, you will also be affecting layers on both later on. If you have more layers, you want to clean up, you want to go back, you will be affecting this. So current below is the best choice you could make right now and easiest way as simply, I'm going to press al direction, take a sample and clean this up, though it not always give you the control you would like Toa have. So there's really nice method to do this selectively and I like to use mental for example, if I wouldn't feel confident. So if you're a beginner, you don't feel confident You two spent all you make this selection around the area that you want to clean just like this. Then you're going to press control and heat on this and make selection. The federation's so transition is on four pixels in this case for me, Absolute enough. And then I am going to press s on keyboard for Cranston. I am going to truce sample here, some pressing out corruption to take the clown and apply to the other areas where it's easy to between, and that how I am cleaning this very simple. I'm doing this because, as you can see, we cannot go feather be on selection. So it's very impersonal, impossible to make and a mistake once it's done, have a look. All looks good and a little bit more challenging in this case would be for sure, some of the straight her on the background, I feel confident, so I would probably if I want to tidy up some of the hair. Probably just do it manually like this. But doing the selection by parental could be also really helpful for someone who start. If you don't feel confident, you just do some selection above the hairline, and you can tie the AB the hairline off course when it comes to the hair some off the other images naturally have Messi her and then we don't really want to strengthen up the hairline to match. So let's do some hair over here. Once again, I am going to use mental in this case to present you how to do it. And as you can see, I'm trying to go just on both the headline. Not too close, because I wanted to have a natural natural transition. So I'm doing the selection around. I'm prison control. A heat on these makes election okay. And using crown stamp, so s and keep boat. I can easily clean this up without worried that I could affect anything beyond that because I have selection so quickly. It's done. As you can see, we tidy this up if you need to do this on the other side. You also the selection. Let me. That is just manually here. I feel quite confident, as you can see. So, like, you don't really have to do selection. If you feel confident, you can easily use clone stamp and tidy up the background. It's really all after you, how your skill is and how confident you feel working in photo shop. So this is the easy method I could use if I need to clean up the background. I feel maybe a little bit more here because we didn't do it perfect. I can see. And Okay, so this is the method I use for easy cleanup of the background and this trait her on the background. If you have ever will have any problem with it, that's how you can easily do it. 11. Cleaning up Skin: you already know a little bit about Clone Stamp, and now we are going to go to skin retouching. So let me zoom in so we can see clearly what needs to be done here. But first of all, which tools we need to use for skin retouching and many people could tell you some sort of shortcuts, probably on you tube. There is a lot of videos telling you about the shortcuts, but the truth about the basic skin retouching there is no short cuts, and there is to treat ALS that you can use to do really good skin retouching. There is no secret. First of all, is the one that we already talk about. And this is clan stump, and the other tool is healing brush tool. So if here and brush to us, you can see I keep the heart agit brush and also sample Karen below. So as we were working with the crown stamp, you can see how does it work? Clone stamp and its nature copy the color and the texture, and that's why it was so good for cleaning up the Bagram. Because once we take the sample, I'm going to press out corruption. Now take the sample and applied here. As you can see, I change the texture, but I also change the color into the different one, so we need the tool that can copy the wrong texture. But that could help us toe and just the color to the color that exists around. And this stool is healing. Brush tool J on your keyboard. If you press J, you can find the healing brush tool. How does it work? I press al corruption What it's happening now. I'm copying the texture, and when I apply in wrong area while this happened in the color is unjust it to the color that's around. So we apply the good texture and the color is unjust. ID extremely simple and working with tablet. As you can see, we can go really fast cleaning of the skin. We copy the texture and color is automatically adjusted. Very simple. Tool to Hyland Brussel is spot healing brush tool, which is exactly the same, but it's more automatic, so as healing brush tool, we take the sample off the texture and color suggested with sample spot healing brush tal. The sample is taken automatically texture and color is adjusted here. As you can see, we don't really take anything. But both of the things are adjusted, which is okay for the simple spots like your. As you can see, we can just quickly go through all of the face and clean it. I personally prefer healing brush, tool, standard old fashioned just because it gives you more control and I don't like switching. But if we go for the face and try to clean up all of the small things, that will not be a problem. The problem might be when we go closer to the edge. This might not really work that well, but as long as we work on the quite flat surface, this will not be the issue. So that's what I'm doing. And you could ask, When am I using Cranston? First of all, I'm using this, of course, on the background on the hair. And also I use clone stamp, for example, and I need toe break down some of the poorest. For example, if I think it's not equal here, I think the makeup is not really uneven. So then I'm choosing the clone stamp and with the constant I'm tryingto and even the big pores. As you can see, I'm not pressing very strong, but I apply very soft layer off the constant. I'm taking the samples and I'm trying on even the poorest. Let's have a look before and after. As you can see, that's really easy way to deal with this. So it's not that clone stamp issues this. Now I am using this, but for a little bit different things and for cleaning up the simple spots off course healing brush. So I will have to pay attention a few more things here. I assume this image also a little bit, but you need to remember Don't seem too close and often also zoom in and zoom out to have a look. If you don't really do mistakes, right, because you don't want to overdo it. Also, when it comes to Crown Stamp and working with the head close to the edge, I'm making it smaller and just to clean up the tiny straight just like this. Not too much theory and just basic things to really do a lot of work. So in the skin we don't really have too much. As I mentioned to you before. I need to compare the images how the sports are distributed. As you can see. Not all of them are bright enough. Yeah, So instead of making it stronger, I will decide to remove it off course. Nothing wrong about this spot. Just in this case, I decided to get rid of this. So here we're also after the somethinin. Okay, heads from in. And I'm going to fix this spot and two other sports I am going to keep. They look beautiful. I probably even going to dark and them a little bit. Also, when it comes closer to the skin retouching, I need to sort out this her going to the forehead, not too much. And in this case, I am trying to meeks toe different tools. So I'm trying to mix healing brush tool as well. Ask Ron Stamp too. So if the requirement would be to clean this up completely, that would be really difficult. And then we for sure, have to go a little bit with the clone stamp tool And what is happening now as well. We are losing some of the texture. Don't worry about this because the texture is also really easy to restore, and I am going to show you days. But first of all, you need to try to clean this up as good as possible. Little here. It's going to be too far and seems doing just fine using using hidden brush. Okay, it'll be more here. Okay, Now the perfect. Now I'm going to switch in tow, Clone stamp. And we need to equalize and uneven the color over here a little bit more. As I said, we lost some texture and will be restoring this. So it's a great way to show you how you can restore the texture on the certain elements on the skin. Yeah, and we have really nice headline now, very nicely fixed. So these are the tools that I use for cleaning up the skin. Skin is many sorted. One thing that me to pay attention. I always look up around the nails. This is extremely important area as well. So we are zooming around the nails, and if we have some elements, that doesn't look good. I'm trying to clean this up using healing brush as much as I can. If my healing brush doesn't let me to do everything. I will switch in the crown stamp, of course, her on this side and below the fingers and around the nails. This is the area that it's really strongly visible, and it's really important to have a look into this. If we miss that, unfortunately someone else can see it. And we don't really want toe let anyone else to see. So we're trying to make the nails perfect. That's like this off course. Pay attention, toe rest of the body. I don't really see too many spots that needs to be cleaned here except this line so quickly . A few corrections, and we can move to another lesson in which I'm going to show you how to clean up cross hair . 12. Retouching Cross Hair: in this lesson, I will show you the best way to clean up across her on beauty images. So let me zoom in a little bit on the head. And the one thing that we need to know what, how to clean this arm, how to do it actually is to equalize with all of the order her and the tool that allows you to do is is off course clone stamp. And I'm choosing my a soft added branch. Of course, the bright that I'm sharing with this course and I'm making this brush way smaller. I want this brush to be nearly the size of the hair and one system. What I'm doing, I'm taking the sample from the hair that are next to the head that I want to fix and softly trying to cover it by painting in the same direction us, the order her. And this is the best way how we can deal with their cross hat. So have a look. Few her is fixed just with this simple move, if it doesn't really work well. And there was one more fink to help yourself. And the thing is to switching the blending month off this brush from normal to darken. So now will be darkening the bright her. And it could give you probably a little beat, more off the control. And, of course, if the hair are dark, then you can go with the mod lighten. So that's what I'm going to do. I like to keep my image still. But of course, if you use the tablet, you can easily flee pure image around if this is easier. But this is the thing that is simply how we get usedto. I never fleet my image, so that's why I got used to work in the way I did. I don't need to sleep it. I feel comfortable doing so as I'm doing right now keeping it still. So I just tried to cover the bright hair. Let's see from the distance, as you can see, a few things and three, actually already tight now her a little bit. I will be going down this direction here, and that's what I'm gonna do. Discover this bright spots here a little more. Engage in cross head a little bit here on. Don't you could be here. Some of the cross got here and as you can see most of the cross hair, no matter which hair color, you have the cross for our visible because they're brighter So that think ISS that we always will have to dark. And then so we try toe cover them with hair next to them that are darker, so we're not really removing them. But we actually covering them with the darker hair, and that's why they become invisible. You don't really have to make it perfect. So what I mean by that? You don't really need to polish that for countless hours. But just off the few moves off, the brush just too dark and this a little bit just as the one here a little bit here, not equal here as well. Perfect. And then this direction, we have more off this hand. So our little bit of darkening also here, Let's have a look from the distance. How does it looks like? I think I am going toe dark in this area here as well, even though these ones are slightly more natural, but I think it will look better when we are going to cover it. You have some of the hair around the face that I can see right now. Of course, this also is something that will be taken care off. But now we're being focused on these specific part here, A little bit of dark in here on a lot of this bothering places around here just with the direction Let's have a look. Still a few more hair to do. Off course I'm zooming out because this is important to see if there are visible. When we zoom out this image a little bit if they're not visible anymore. When you zoom this out, this is all right. Even though when, after zooming in, you still can see some of them. This will not be massive issue for you because no one really check the image feminine except recapture, but so that it will be here. Let's have a look right now. Looks way better. The her doesn't look so messy. They do Look, they do have this natural mess, but they don't really drop. Draw too much of the attention, the unwanted attention towards them. Of course, we don't really want to spend because this is not also retouching for him yet. If you have the Harry touch and you know how to do it. Saving spending, just way more time on it. And this is probably the least that the thing that gives you the least pleasure the skin retouching is actually much faster. Then doing her a few of them here. Okay, I'm going to do a few spots here. I can see so bright spots fancy often in this area. Just that the core will have this few shiny hair. Okay, so also the other image off course. Here it's easier. The hair are not so messy. But we have a few of the spots, and it's easier for us because they are really they have very solid direction here. So we don't really have to tried toe justice right to the direction so much because it's so much easier in this case, people here. All right. Okay. I can even make slightly bigger size of the brush covered. This one. This one doesn't really look nice. Let's have a look. Okay. And a little bit here also, I don't really want toe overdo it to not lose too much off the texture, which is really important for the image you can go slightly to the bottom and taker off this hair. It's I don't think I need to remove this hair, but this was too bright and was drinking too much attention. So this is natural hair. I want to keep it, But I don't want to take this to take so much attention as it was taking. So I just want to injustice to the rest. Okay, this now. So much better. And this is how I retouch cross hair in photo shop. 13. Difficult Stray Hair - How to Clean Them: in this lesson. I want to present to you how to clean up straight her that are difficult to retouch. Let me zoom on this image So you will know what am I talking about? And of course I'm talking about these her coming here nearly to the I and of course, fruit, that eyebrow and all of the elements. This is really difficult to retouch and will have to be really precise doing so. But I'm not using and weird techniques for that. But I am trying to solve this also as the basic cleaning up. So for doing such a sensitive elements, difficult elements, we really need to zoom in closely. So unlike the other and General Keenan up, we really need toe, see everything clothes and then I am trying to clean this up with him and brash first, wherever I can do it. When I'm going like this close to the edge, I press as to switch into crown stamp and then rest to equalize days. The win with concept, of course, with crown stamp, you can also tighten up the eyebrows a little bead because you will see some sparkle sometimes especially for the beauty images. So this is the thing I would like to pay attention. I would like you to pay attention as well. So a little bit more with healing brush, of course, trying to be careful with it, and wherever we can in this areas, I can sort this out by here and brush. So as you can see, there is still some more difficult elements that I will try to sort out at the very end. Don't really worry about some this proportion with the light, because they this proportion will with the light will be sorted out a little bit later, of course, with dodging and burning. But what's most important to do this really carefully and do not loose texture? And as the main issue, we really have to be precise to not lose texture. So here, let have a look before after it's not really too bad. That's probably really one of the best we can bring back. If you feel using some losing some texture, there's is way to sort off, build up a new hat, and it's copy the existing eyebrow and applying next to it another one. So from this distance, we can't really see that we read any texture, and that's the key you country make. It's see when you zoom out so it can't be visible when you zoom this out. Off course will have such a harsh elements here and, of course, getting closer, zooming in even more. And wherever there was flat texture. We can do it with hidden brush inside here as well. Healing brush as much as possible. So you see it first. It looks challenging, but it's not as bad as it seems and close to the edge when I'm next to the edge. I tried to sort this out with nonstop a little bit more here and that might state have a look. Actually, I think we might take care of this. A swell. So looking from the distance and again here, healing brush and some off the crown stop. Of course, she can see once again healing brush inside and close dump on the head over here, hidden in brush. Your clone stamp on that. We'll have some area that will have to build back some of the texture that you have lost, and I'm going to show you really great methods about the texture but ofcourse the case. Even though we rebuild in texture, there's always the limits. So you need toe. Remember that You need to try to do this as carefully as possible. Probably even trying to doesn't mean I'm doing this the best possible. So there was always way to do it. Probably better. But looking from this distance, you can see with it. Pretty good job. I want to do a little bit more here, and I will extend with clone stamp some of the eyebrow. It might be a need to be white. Please. No, because I brought was going this way. I'm gonna candidates in here on the top. Also, I'm gonna cut out of these here. And this is how I'm cleaning this up off course. If you have something in the inside, I That will be much easier, because simply inside I I am using killing brush. If we have simply Aibel, if it goes closer to the edge, we might try to polish this a little bit more Where the crown stump. But this is the basic. The This is basically the way how I clean up such a difficult areas and difficult straight her on the image. No tricks, Just basic retouching tools 14. How to Work with Frequency Separation: Now it's time to talk about very important subject in photo shop and for portrait retouching. We are going to talk about the technique that is called frequency separation if you are interest action. If you're Inter photo shop, you probably heard about this technique. And there's two groups of people. One group of people say frequency separation is bad. Don't use it. Other people is will say this is the greatest technique. Use it. The second group is probably wrong, but it doesn't mean the first group is right. A few questions answered. Is frequency separation the best for the shop technique for retouching the images? Of course, answer is no, absolutely not. And it's often overused and used in the wrong. Quite so In this lesson, my mission is to show you how to use frequency separation if you decide to use it in the right way and also dance where the other question would be East frequency separation. One off the professional techniques. The truth is, on the one professional technique that is set his dodge and burn. It doesn't really mean we cannot use and other techniques, so I don't really like to use the term professional and 40 shop. The technique. This technique, the best technique for clean map is Dutch and burn, but this is something very different that frequency separation, so it's difficult to compare frequency. Separation can be used in 40 shop. Nothing wrong. What's really important to use this in the correct way to not destroy the image, to not make the skin look infiltrated? And I am going to show you this. So what is frequency separation? Basically, we split the image into two different layer. We can call it two different frequencies. One layer contains many color. The other layer contents many the texture not 100% because the layer that contains the texture it contains a lot of color as well. So you will see that actually, let's jump right in tow work. So, first of all, to create this tool different layers with two different informations, we need to create a stamp on the top. So to do this basically layer on the top, we need to have selected the star player and then press command option shift and E. When we work on mine book on windows that will be control out shaped and to eat very similar. Now I'm going to rename this as the low, so we have lovelier. Now we need another layer so we can just simply duplicate this layer by pressing command or control, and J. And this will be the high layer. Have two layers the lower layer. Let's make it for the color. That's sort of the rule. It's not necessarily the color, but want to blow out the texture here and half only the color information. So we are going to do this. Of course, Cem probably percentage off texture is still going to be there. The thing is, we need to blur out this layer so we cannot see the fine details anymore. That's why I zoom in this image. Zoom in by pressing Zet on the keyboard and sliding on my tablet. So I'm going toe off course. Remember, this layer needs to be selected, and then I am going toe blower and garden go. And first of all, I need to define the blue level to the do the point. I can't see the details. Also in this course you're getting my actions. If you've been following me, you probably know I always provide my actions and the actions also frequency separation action, so you will not have to be bothered to do the steps I'm showing you right now in the future , but you can simply play my action. But it's very important for those who don't know what's frequency separation and how to do this is very important to do the steps right now. So in the first step we did find a blower. Every images different. Remember, so the smaller image will have less radios. The bigger image will have more radius. You don't look and the orders you don't look at me. You look at your image when you blew out the fine details. Once you feel it's enough, he's okay. And then we're going to make the top layer visible. We're going to this high layer, and we will try to extract some texture. To do this, we're going to image and apply image, and this is actually how it looks like already waas doing this before, so all of the information's are already applied. That would be probably different than top player would be. Marriage and the blending mud also would be something different when you start this at swell on, but what's what's very important as the source, we going to truce? Layer the love. So the lower layer that we have here, This is a very important step to do, and then as the blending. Whatever you have here, the blending will be aren't and then scale will be too and offset. Zero and this box invert need to be checked, so you'll have to have the layer looking like this. And also on this is the settings for 16 beat because always when we work from the road conversion, we're going with 16 beat ive. Somehow you work in a may be bit image. The settings here are a little different. Basically, the Blanik will be subtract, scared to offset 1 to 8 and this one be tracked. So you just have to have this image. So I'm going with this. Settings invert, and also I come answering the question. Let's hit. Okay, if you were thinking that this layer on Lee contents the texture and no color, you can clearly see that's not true because I can see some color on this layer. So probably this wasn't the true. I can even turn off other layers. The color is still here. So as you can see, the some color that's exist on this layer, not too much. The other step is we need toe change, the blend mode and the blending month will be from normal to lean your life. This is certain there will we changing way doing so leading our light And now we have the same images before. The reason is because we have two layers start connected together are our image. So I'm going to put this to the group that I am going to name F as as frequency separation before and after. As you can see, we extracted the information from the image between two layers with split them. And now the question how to work with frequency separation. First of all, we don't re blew out, but I do recommend you to stay and work with the tools that you already have in front of shop. So, for example, when we go start working from the lower layer, you want to use the retouching tools you have here and also as you work on the actual layer , we finally can use the tool that this patch toe so I am going with days and present you how it works. Basically, patch till we made this selection. And I am going to make the selection are in this area because this area has some a rough discolorations here. I make selection. And I tried to equalize this with other area off the image. That's how Look before and after. And we really nicely dealt with this shadow. Over here we have some more shadows like this. I'm going to use patch tool for this a little bit. Here, here. As you can see, we can clearly get some improvements working like this on this image also. Well, we have some I box. Maybe a little bit here. Just a little beat. Ready. So I looked before after Pretty good, I think. Don't go too far with it. Off course you want on the small changes said it will be too big. We have small I back here. So simple way for sorting out such a things. Nothing really complicated. Sorting out the shadows. What else? It could be used. Where else on this image? Pretty good. Not many changes. Maybe a little bit more here. But this is how I work on the lower layer off course, you can go with soft Android clone stamp and tried to even out some of this even out a little bit of the color. But you always need to be really careful, and then we have the top layer, and the top layer is basically responsible for the cleaning up. So how to clean up on top player? We can use all different tools because we work on the actual layer once again. So if we're going to juice, Crown Stamp and and clean up that I think Ron Stamp is best for fruit clean map on using frequency separation sample. Always here, Karen Below. That's also important prevention because we actually work on the actual layer. So Karen below and with hard edged brush this time, as you could see and sorry, not Karen below current layer off course. That was my mistake, because we work on the current layer. We can't do anything below that and hard edged brush, and you can clean up the image if you decided to not really work on the empty layer before . But you clean up in this way frequency separation. Really dance. Allow you to work easily to clean up everything easily. So if you still have some spots, we can easily sort this out and the other way off working. We can also switch this to soft agit Brash. Once again, I'm going to switch hardness to zero, and we can also clean up the hair this way. So it's not really answer. What technique is the best? I do think the technique that gives you most nondestructive result in some way probably will be working with empty layer. But if you find it difficult if you don't really feel great with the tablet yet, and you have difficulties to work on the empty layer, I don't think you really should have the things stopping you from using some other filters . Some other techniques to help you work a little bit better with a clean up damage. The important thing is do not overdo it and do not blew out and off the slayers on because it will give you really bad results. So this is first how first introduction, and now I am going to show you example in the different image, and we're going to use my action that you also have within discourse. So I'm going to play frequency separation 16 beat action, let's played. And also you are provided with all of the information, so you will not do any mistake. For example, now engage in Lourdes dialogue tress traitors that blows out the skin texture. Remember that the rages will be different for each image Continue. I'm finding the value that it's right for this image. I believe around 12 pixels for this image seems to be doing pretty good heat. Okay, And now our 16 beat frequency separation is done and I have one more layer which is basically just empty layer in between. And I will show you how you can use this layer. First, I am going to start with this lower layer and Pashto because I see some bad shadows here, and I I just want to quickly sort this out. And right now it's just perfect example because you can see this is the way situation in which you can really use on this technique. This frequency separation a little bit here. Not perfect. A little bit more so really simple steps. One more here and one more here. So pretty good Anita beat here on a little bit here as well. And that was pretty good. And I now also you can use this layer in between, for example, by using clone stamp. So you will be working the same way as you work on the empty layer off course, being careful. So you need to switch from current layer to current below off course, a little bit bigger. And also you can even out some weird colors here. Right? So this is exactly how clone stamp works. How so? This is just exactly how Crown Stump work on the empty layer. But now we will not be really strongly affecting the texture us we used to affect. So this this gives you the comfort off, not do win that many mistakes as you would do if you start with retouching. And if you would work on empty layer, I'm going toe work a little bit on the eye bags here as well. And this is it. That's what I wanted to show you to make sure how toe work on non destructively with frequency separation or destructively, on the very small level off course, you can also use the top player in this carriages and do something more. For example, sort out the her on the face here. And when it comes to the head, I'm also going to show you amazing technique how to deal with the body hair. But now this is how you work with frequency separation. So if you decided to use this, use my lesson. Use my knowledge how I work with frequency separation to not do mistakes that destroy your images. 15. Remove Fine Body Hair: in this lesson, I'm going to show you the best technique to remove really fine body her from the image and at the same time, this technique is extremely simple. So what am I talking about? When resume this image and always zoom around the hands. This is not a big issue with this model, but we still can find some of the fine her on this area. They're not so visible, but still I want to show you the technique and also here on the face, we have some off this tiny head. So if you want to remove these, there is already one filter in foot shop that can help you work with this fast and effective for this, we need to create and another stamp on the top jazz the same way as we're doing before. So I am present command out eruption shift and E to create a stamp. And I am going to name this, Remove fine details or find hair. It doesn't really matter. And we can turn this into a smart object if you want to work non destructively. But if we're going to work very careful and very selective. The smart object will not be really needed. Let's do a smart object in this case because we have few different areas, So then we can unjust this a little bit better. So I am going to convert this smart object. But with the things like this, if your computer is not strong enough to be really careful with a simple Paschen smart object. Smart objects, of course, are absolutely amazing when it comes to the filters like camera etcetera, because we can feeds the things, but with small things, it's not always needed. And then I am going to filter and I am going toe noise, and I am going to choose dust and scratches. This is the fink that is going to solve my problems with this fine hat. So what we need to do here? First of all, we need to set up radios, so we need to set up the amount of the pixels where we want to sort off, blur out this dust and scratches one pixels. Not enough, because, as you can see, there are still visible. So I'm going up with the register. Little bead on tricking tree pixels still seat two pixels three and three peaks since actually sort into sound very well. If I goto four, that will be absolutely sorted. So for as a little high for this image, I think three for would be okay for is the high limit. And then we have fresh old, which is the difference. So now on the effect is fully applied because it applies to absolutely everything. But when we increase the fresh hold, it will be applied only with the things with the bigger difference. So kind off. Reverse the effect right? When I put fresh hold at 47 it read, The effect is back. We still can see the head. So we going toe, bring it to the level when we start seeing the her back. Right? So it will be around 10. Probably zero not visible. And then when I'm drinking, a tap on this level should be okay. I want 10 maybe 11. I will give one point more to it. Let's eat. Okay. And what's really good about the smart objects here that we can if we are think we didn't set this up in the right way? We can open this filter and we can adjust this even better. So if you don't feel confident once again using smart object, it's really good way of doing because you can easily Fikse the mistake. You don't have to remove or layer, but you can just go to the filter and fix it. It's okay. We remove the head. I want to see if we affected the hair around the face as well. Some off the fine hair is really sorted now. As you can see, we have some off other, but this doesn't really bother us. Jazz, the shiny one, the big one. We also did the pores here, so I think it's a little too much. Of course, the pores on this is not something what I want to do. So I want to affect on Lee the areas with this fine hair. So I am going to create the layer mask. You need to heat it a small icon on the bottom that says at layer mask, once it's created it, just this white square other here, so white square represented that their effect or layer is visible. So now everything that we applied is visible in the images you can see we got rid off the shine on the leaves on under the ice, and we don't want to get rid of this because it would be very bad. So right now in the square is white. But once we invent inverted this to the black, this effect will not be visible. So I'm present command or control and I to invert this and the effect is absolutely not visible. So how can I remove the hair now? Simple. I'm going to zoom in into the areas that I wanted to work with, and I am going to juice brash white color off the brush, so I'm going toe presby like the brush. Then you can press D to reset this and X to switch the color and with white color off the brush, I'm going to paint over the areas that I wanted to fix. I think this amount is a little too high. So what I am going to do, I'm going to reduce peak cells down to tree and fresh hold, going to take one point down. It wouldn't be a strong, but it's better to do less than more, so let's have a look before, after really nice, simple way to deal with the things like this a little bit here and then I would go up to the face. And also But I will try to do just paint softy in these areas trying to remove this. Find her. If there is big difference between hair, for example of the hair around the face, we have very different size. You need to understand that you will need to probably create another layer the same way. For example, if it doesn't matter because you don't want to destroy the texture too much. So if you will have this problem that this this settings, the first setting doesn't match at first. Then off course, you create another layer, and that would be it. So this is my simple method that I use if I want to sword out the fine body her If I think that too visible, this is the easiest way to deal with this 16. Bring Back Skin Texture: in this lesson, I am going to show you how to restore the texture off the skin in the areas where we lost such a texture. So we know about few parts, and this is the major part because we have a lot of her in this area and you can clearly see there is no texture. And when we look from the distance, it's difficult to see there is no texture. But when resume this in, you can clearly see there is something wrong that there was very not very nice cleaning up around this area. So in this lesson, I'm going to show you how to restore such a texture. First of all, we again need to create another stamp, another layer on the top, and this is what I am going to dough by pressing command option shift and off course and windows that's control. I'll shift any and I'm going to name this texture, and the filter that will help you to bring back some texture is actually high pass. I don't feel we need to go with the smart object. This is too easy for this, so I'm going to filter and then high plus so what you want to do? You want to set the radius to the level that you will see the texture will be natural. So don't want to go that low, because there is not so much texture. We don't want to go that high because that's way over done. So what you want to find? You want to find the level that present you natural texture. I think maybe around this it's a really decent amount. Maybe, and it will be small around 10. For this image, we can see a real texture that I'm going to hit. Okay, and what we want to do. We want to sweet blending mode, of course, from normal to depend. It can be soft. Lighting can be overlay. It can be hard lied some off. This contrast e blending mode. So you see overlay stronger softly, a soft light. It's not a strong hard light is even stronger than overlay, and then we also have vivid light. So there's a few different ways, but I'm I'm gonna find it the one that is suitable for me over late, probably working really well, and then I'm going to choose this move toe and Graham this layer, I'm gonna move it. I'm gonna move it and unjust the area that has good texture. So let me turn it off. Let's see or is good texture. I think this texture here is very similar to what men's to be here. So that's why I'm actually going in this direction. So I need to see 12. What was it? And I'm going to drag it around this. It looks decent, so that's OK. And then I'm going to create layer, mask this small icon again, and I'm going to invert this into black color. So can command or control, and I and this is inverted. And now I'm going to choose be like the brush white color and paint over with the white color off the brush in the area where I want to. And I'm going to paint with white color brush in the area where I need to restore the texture. So I'm trying to be careful in some areas just close to the hair. Let's have a look before and after. I think we did pretty good. As you can see, looking from the distance before and after, and the texture is really well restored. Here we have two months, so if you get too far, just use black color brush and makes dollar. If you think the texture is too strong, you can just simply lower down capacity. If you think it's not enough, switch to the hard light, etcetera. So that's how I restore the texture. I can see there will be some things actually to fix over here, so I'm going to clean this up because it does bother us a little bit. So let's do another example off restoring the texture on this image. We also lost a little bit off the texture here, and we'll have to restore this, of course. So I'm going to create another layer. I'm going to name this texture high pass that will be quickly now, hand plus fielder. Okay, now I'm going toe drag this just a little bit change branding month, of course, and drank it up. Just a little beat, right? Invert and paint with color white to aunt. More texture to this area. So we just brought it up and I think it suits better then on the previous image may be higher and here we brought too much we can lower down capacity a little bit, I think. What? For the first image. Have a look before after Now we have the texture for this image. I'm not sure if we did unjust the texture in the right way, but we can much. It may be a little bit better. So let me actually do some step back. So impressing command option shift. And that too does the bank. And I want to just adjust. This takes show once again because I think the better way will be this direction. It will come more naturally, more like this. Probably I'm going to go with hardline to make it talk Or maybe overlays actually suitable . And I'm going to paint again and I think we can both agree that now the matching of this texture is much better to the surrounding area before and after this Probably the easiest way to restore the texture. Of course, you need to be selective. We might have a few more areas where we need to restore this texture. But this is how I do. I use high pass filter. I apply high pass filter, I move my layer switching to blend Egmont usually overlay, and I'm trying to use the mask to paint over the area that loves the texture to bring back the texture from the high pass filter. 17. Enhance Eyelashes: Now I will show you how to pain certain things on the image such as eyelashes. And I can say this is something he will do every single time. But this knowledge might be quite useful. In case you will need to do something like this over example. We have the image and you have really short eyelashes and ice or surrounding areas. Makeup is very important part for the image. You might be asked to do something with the eyelashes, and this lesson will show you how you can easily improve eyelashes on the image. So alleges, um, a little bit. I'm going to press Zet and just move on my tablet until the point. I will see everything very clear. So we have Maybe not still not the perfect area around eyelashes. We have some of the white dots, but what You can see that rather long and well done. But they're not truly dark. And I think maybe they could be a little bit darker and also maybe would like to extend some of them and make them truly impressive. So what we need to do just ask for the cleaning up. We need to create no layers. I'm going to press this small icon in the bottom. Andi, I am going to name this eyelashes. You could name it and a different you could name it paint or whatever you would like. And the best way for painting anything will be simply using brush. But what is really important for use in brush and painting is toe have the good brush. So, for example, if you're going to paint something like, you need to make sure that your brush is well customized for the shape that will be very similar for to the head. So off course, you'll have to have the tablet that will have to be soft agit brush like the one that I am actually providing you've of this course, which is called DB brush like that and burned brushes. I am using this often for Dutch in Bern, but also I am using this as Klum, some very often so it's not under Ford action burn, but it does work well for a lot of things. If you will not like this brush, but I can't see the reason off you not like in the brush, you can simply use some other soft edged brush is. But what do you really need to know? You have to customize this. You have to make it soft and simply suitable to paint the hair. So off course, I'm going to use my Dutch in Bern brush at the moment I'm going toe mend this a little bit smaller. I'm making this smaller to the size off the hair around here and have a look. What am I doing? First of all, we need to become the color that will be natural for their eyelashes. So I'm going toe press out corruption, which turns into unwto eyedropper and then pick the sample of the color. I'm pretty sure the color is quite a green, actually, Chow's it's rather already, but what I want to do at this moment we want to darken this a little bit because we will darken eyelashes as well. So thanks to darkening them a little bit, they will look more impressive. But also we keep small amount off the color because we also want to keep it natural. So then I'm going to hit okay. And with the small size, I'm trying toe paint with the direction or the eyelashes. so I'm not even extending them that much. But I am painting over them something like this. So some of them that are actually thinner we will make the size off the brush a little smaller and then pained with much smaller brush. So some dizzy until the level you feel really comfortable. And once it does suit your needs, I mean, once it makes it, it's really comfortable for you to pain. You could really continue. I can Duncan with a little bit bigger brush here, inside and all of the others slightly extent. I'm not doing really massive changes now because I think this eyelashes look pretty good and I don't feel this image needs something more than that. So I'm just making this very national. And let's have a look before after leads amount before after, as you can see the thicker and more visible at the moment, you could have the question how to paint a new one. So we already have the color, and I would paint it exactly single away. But first I will not press strongly, and once I'm going to the bottom, I'm actually trying to press it a little stronger so fin and stronger Finn and stronger. And then we tried toe extend it. Once we go to the bottom, just something like this, you can see it's not the perfect location. So I would go back and try to choose a little bit better location. You can start from the bottom if you want to start from feet pressing, and then here can just simply soft paint from the top. Just something like this can make it sina to make the final top, and we have completely your eyelash. Now you had some break here. As you can see, pretty good result. We could make a few more over here. I don't really feel like we need to create them. They look really good, but example for you how to make those things that is done. And now I'm going to do very similar on the other one. I just want to basically feeds the shape and dark and then just a little bit, maybe extend in few areas again. Six. A color here, freaking this a little bit here, off course. As you can see I'm doing, said Banks. It's nothing wrong to do. Step bags and a few of them here. Very thin one. Let's try to paint over them just to make them slightly nice n And maybe let's create some shorter one. Over here, we have some missing part here and something like this. Pretty natural one. Finn and top. That would be it. I think it should be a little bit more curvy. So few steps back and more like this so we can do similar. Think on the bottom. So I am going to present you days. But when it comes to the bottom, of course, the bottom ones are a little feeling and there is more of them. So we don't really have to create anything new, but just trying to slightly paint over them. And it will just create the impression like there's actually really a lot of them because there were very fine. They were not re dark, so it was very difficult to spot. And all of them, No, let's have a look much more visible and the same on the other side. A few months. Once again, I prefer to keep it natural. And also, I'm gonna say this is not move that you have to do this is not something I would probably do on this specific image. I can't imagine being asked off doing this, but it's more off the lesson that would present you how you can do certain things because sometimes we just have to work a little bit on such a details. Even though this is really read, I think to happen. So this is how you can simply sort out your eyelashes or some other things, maybe her if there is a need to do so. 18. Creating Natural Nail Reflections: in this lesson, I am going to show you how to create natural looking nail reflections. So this is where we going to start. And as you can see, the no reflections are far from the perfections. We can even zoom this in on. It will be more toe seed better. And they don't really have this nice and smooth shape. So I decided to retouch this on. It'll beat and come out with this result. And now I am going to teach you how you can create similar effect on your images. So I'm going toe remove this group where I created their effect and we going to start everything from the beginning. So first of all, we will create empty layer because first, we need to clean up the nails. And I'm not cleaning up on the same layer because I want to use this layer that I am going to do cleaning up also as the hell player for direction off my future reflections. You're going to understand what I'm talking about once we start working. So I'm going to create new layer by pressing this small icon here, and I am going to name this clean up nails. And what are we going to do? Oh, I am going toe press J on my keyboard and then quickly clean up the nails. This is healing brush. In this case is the best choice for this reflections off course. It always depends on how the reflections on the next looks like maybe you don't have any reflections. So then you don't really have to do this sort of clean up. Sometimes the reflections that you have maybe are closer to the edge. And in such a case, off course, maybe the better choice would be cleaning them up with Clone Stamp. But in this case, off course, the best way to clean this up is just healing brush. And it'll be more here. We don't really have big reflections here, but we're going to create some small and nice reflection. Slater So a little bit more here as well the snail house. Especially not good reflection. I might use a little beat on the clone stamp as well. To smooth this, it will be more here. Okay, first step he's done, and we're not going to not use days, but actually we're going to have a look all the time and I'm going toe start from the snail . So first turning off visibility off this layer because I want to see my original perfection . And then I am going to create new layer. You can rename this about it. Stop near really necessary. I'm gonna name this as the number one and then I am choosing brush smaller size that will be suitable for the size of reflection we have here. So I'm creating the dot on the middle, then maybe trying to do some better shape, making it a little bit smaller, another dot on the bottom and another dog on the top. I think it looks not too bad. It's not perfect, but not too bad. This is just the first step as the next step we're going toe fielder bluer and motion blur . So it going by motion blower, we can easily created the shape off this future reflection. So first off course, we need to choose the angle. And in this case, we have reflections. So our job is not so difficult because we can easily find out once the reflection off. What was the direction off the previous reflection and will be really easy to define what we have now. Distance is how strong definite should be. So small distance in this case would be enough. We don't. We have to go far depend on the reflection. You going you want to create? I'm going to stick with this distance at the moment. Okay? I think it could be actually a little bit wider, but we'll see. So this is not ready yet. This layer will have to duplicate few times because after blurring out our effect, as you can see this white color, it's not very strong. Some present Commander Control and J a few times to make the stronger reflection. Maybe I could go. One more that will do and then prison shift. And I am going to select all of this layers. Once it selected, I'm pressing control heat on all of them and merge layers. So now I have the reflection. I am going to rename this as the number one once again. And I can now activate this cleanup nail and what I am going to do now I'm going to create lay a mosque and with black color off the brush I am going toe paint a little on this layer mask to cover the effect, because if the layer mask has color white, it means everything on the actual layer or in the effect is visible. It would turn it into a color black, for example. Control comment. I we invert the effect black color represent that effect is invisible. I'm going to reverse this again, command or control, and I. And now I am going toe only pain set in areas on the layer mask with the color black jazz because I want to create some really nice shape off this reflection. So as you can see, I'm kind off painting the corners. I want to make it smooth, just the similar as the previous one. Waas. Maybe that's a little too much. So I'm changing in the color white again. And on this a mask. Little more painting. Let's have a look from the distance. I think it's still quite long and a little bit strong, so we can actually mac it down a little bit more. Little FINA. Maybe something like this. If the opacity is too strong, we can easily lower the opacity off course and the end. So the first nail. I think it's pretty much then we can see that was the reflection before. Now that is our reflection. So we moved to another nail and we are going to do a single. Thinks I'm going to activate this. Another one. Number two brush. Small size. This is quite long. And Finn, maybe on days and I'm going to create some dots here. This one will be, actually. Are people beat lower a swell. And I think we might touch there at your It's not perfect yet because this reflection Original one wasn't straight. So I think we going toe make. Actually, the straight one will be nice. And now, fielder galore Motion blur and off course, the first step, the right direction, right angle, which will be pretty much straight in this case. Maybe just the angle. Just a one degree lower. Something like this. The distance should be maybe just a little bit stronger. Okay, And now again, few copies one more and select all of them. Control hit right on this. Merge layers once again. Number two, layer mask, same as before. And with black color. I'm going to cut out where I don't want the effect. And here I'm going to try to make really nice and smooth shape. So I'm gonna activate clean a player on Let's do the nice and spoke shape. So this one, as I said already before, will be longer. Something quite this not so strung him. And we have pretty nice reflection. Made too much cleaned up here, So I'm going to bring it back then the next nail where we have smaller reflections. I want to see it now. And this one will be number three crude. They're just from one dot I'm gonna I'm going to do this a little bit faster now because we already got the idea how to do this. Okay, the dot is done. Let's do the right direction. Motion Blue. This one going a little bit different direction. We can't see the reflection, but we see that the reflections here we're actually going in the direction all there finger and the nail. So this one axity is heading slightly down. Something like this. Maybe slightly bigger distance. Probably a few more copies. Because this one is not a strong don't We want to create too many copies if you don't want to create too many copies, you can do less, then select them all mensch layers. And now this merge layer you can copy once again and just emerge it once again. I'm gonna maybe this number tree lay a mask with black color. Clean this up where it meant to be cleaned And this could be a little thicker here. I think so. But this will be rather the shot shop shape for this nail. No need to make a life invisible here. Nearly perfect. As you can see, the direction is really good. Small seen a reflection, as they said could be probably a little bit thicker. Maybe in the last one, Number four going to do some think direction, motion blur. And the direction is just perfect for this one. Just maybe just a little bit less. Maybe 11 will be better. Okay, Duplicate few times. Match. Duplicate this once again. It's quite strong. Marriage layers number four, even though after you finish anything, the reflection, it's not strong enough. You can simply just duplicate days, and you can just on justice a little bit better for your own needs. Whether you feel there's if you feel there is such a need. I can see some more clean map. It's required in our previous one. Okay, let's go to this one layer mask with black color. I am going to clean this up here and create Someone might shape So making brush bigger on creating the right shape. Cool. Too much So coming back to white color. And this is the reflections I created. We have only last nailed to Dio. I believe it will not be a problem. We can clean this up a little bit better because it doesn't have shape here. So a little bit more like this. Okay, let's have a look how it was looking number five and now I am going to paint on it. So I think I'm going to create and for something like this should be OK. I hope it's not too beak. Let's blurt this out with motion blur Different direction. Maybe more like this. Okay. Duplicate, sometimes to money. Marriage it my players. I'm going to duplicate this again and made them both number five layer musk. And now let's do some precise. I work for this candidates out from this direction and for sure, clean up here rivers. This a bit more here now can activate the cleanup player. And here's our final reflection. It for sure, requires some practice with creating this with blurring and on Justin, the strength off the color and the direction of the color. But as you can see, we're simply using enough in more than empty layer and the layer mask plants they filters in for the shop. Specifically, motion blue filter and what you could see. No tricks, no magics, just basic tools that photo shop has to offer. This is how I create the natural nail reflections. Also, after I finish this off course, we don't really want to keep this old layers here, so you can simply merge them all. But I like to keep some sort of history in case I need to do some changes here. So simply, I m going toe choose the last one press shift down to clean up nails Control hit on this and we can choose create a group or choose the key Command or Control and G. And I am going to name these nails before and after 19. Fixing Eyebrows: in this lesson, I will show you how you can Fikse. Eyebrows. So, as you can see on this image to eyebrows are different. So on the left hand side, our eyebrow has really nice and smooth shape. And the one on the right hand side doesn't really look so great. First of all, we have some more holes over here that will will be covering for sure later. But especially on the end of the eyebrow around this area, we have some issues because the tiny head they don't go in the right direction us on the other eye, bro. So the best way to do it here would be actually copying one eyebrow and trying to replace part off this because it would like if you would like to clean this up. First of all, we could lose a lot of texture in this era, and it wouldn't look so perfect. So what am I going to do? First of all, we need toe, create some stamp on the top, because we need to take the copy from the actual image. So I'm going to press command, option shift and E to create a stamp that would be control out shaped and to e. If work on windows and then I'm going to choose some tool could be maybe last settle that allows me to cut out part of that eyebrow. I can take this amount. I don't really want to take too much of this. And once it selected, I'm going to press control, hit on this and liar layer via copy. So this layer one I don't really need any more. And this layer Number two. I am going to rename Inter Eyebrow. And first of all, let's move this into this area a little bit. But all fun start at this moment. We actually need to change perspective off the eyebrow to make it suitable on the other side. So we need to flip the perspective and the best way to do it. Is there some selection tool? Then I'm going to press control and hit on my tablet, and I am going to use free transform. And now, using free transform, I'm going toe fleet this eyebrow in tow. The other side also have to make sure that this size off the eyebrow is similar and the shape toe what it wants. I think we got this pretty, pretty good. So now I'm going toe Remove the free transform. Zoom this in and what we need to do now we need toe unjust this eyebrow. Well, if you can see well right now with normal burning. But I always recommend you to switch to soft light. Maybe, and then you can see where it goes. Soft light might be too soft. You can sometimes go with overlay so you can see the hair are over here and we would have to go toe around this area. But we have some issues because, for example, on this eyebrow is a little higher than the other one. So we will have to do something more into this. Let's change it a normal gardening mode. And as you can see, this eyebrow will be going down a little bit. So this is looking good. Now I think we unjust that this well, So I am going to create a layer mask now white layer mask off course, represent that effect is visible, and I need to blend it very well. So to blend it, I will paint around with black column off the brush. So I'm choosing the brush resetting the colors with X and can sweet it to the black. Changing, of course, flow to 100%. If you don't have a passage and flow 100% change it 100. And with my soft edged brush, um, painting the surrounding areas to make sure this eyebrow suits well over here. So off course I need to blend it down here Well as well Have a look from the distance. It's still not right. As you can see, this eyebrow is much more dense right now, and it doesn't go in the same direction. I think we would have toe short and this a little bit. So what I'm doing moving this a little bit more down and also slightly up here, and, um, I I actually used less of this. So now I'm continuing painting with the black color off the brush. Don't worry about the fact that there is different amount of flight. I'm also going toe paint over here. I just want to adjust unequal beat. So also, as you can see, I'm trying to paint over this but eyebrow because it was darker, so I don't really wanted Toby us dense. So I look now it's looking better, but the shape off the eyebrow is still a little bit different. So we need to know that the eyebrows, they will not be perfectly the same. But what's most important here is to not make them look completely different as well. She can see we changed the shape, a little beat going toe, make sure the surrounding areas doesn't look bad. And this is our new I'm bro, which doesnt have this weird shape on the top. The touch ups are not finished yet because there will be a little bit more work and we are going toe make ourselves a legal beat off introduction to the that and burn process where I'm going to show you how you can sort out and polish the eyebrows and cover all of the bright holes that we have in the eye. Bro areas 20. Dodge & Burn Eyebrows: we will stick to this eyebrow a little bit more and in this lesson will be finishing up the subject off Basic cleaning up basic skin retouching and moving towards dodge and burn retouching or other name for this would be retouching with curves. So before I explain you, what is that? And burn fully and will start retouching skin with data and burn will be using curves for this most popular method. I want to start a simple s o. I will give you small introduction and presentation. How does it work? Because it also work well for things like covering up the wide holes in between her that we have here. So doctor and burn retouching is nothing more us using light for retouching the skin. So we'll be painting with light and for example, when we have some holes like this and you want to retouch the eyebrows a little bit more, the light is perfect for fixing this and the adjustment layer that allows you to use the light the perfect. The really good adjustment layer four days will be curves because we've curves. We can easily manipulate the light down or the light up. So If I want to cover this holes over here off course, I need toe dark and this. So I'm going to rename this curve adjustment layer as darken. And then, um, putting down this curve a little bit more and what I need to do, Of course, I need toe invert this white layer mask because what is visible black invisible. So we in ah, inverting to black command or control and I and then with the white color off the brush and going to make this smaller and paint a little beat in between where it's too bright as you can see toe on even all off the eyebrow. So this is probably the easiest way off the windows off course we can duplicate. We can create a little bit more off the eyebrows. But once you are sorted with those things, you can slightly dark and this for a little bit better shape, and you can see before and after. Before we had this whole this white space and after it has much better space, much better shape the color ship off course. I don't We want toe affect too much off the hair itself. So we should probably try to not paint too much on the her themselves, but paint more into the areas between her. So other side. We still have few elements small size of the brush, and I'm trying to paint in between just here to cover the whole. So, as you can see, uh, Dutch and burn, it's not really complicated. Of course, it will get more dishy cooled. But I thought this lesson is really perfect to give you sort off introduction. What's going on with this mysterious dodge and burn retouching? We can even dark and everything here paint a little bit more here because it's still a little in perfect. So imagine burn. It's also not some sort of magic but simple technique that you can use in really creative way. 21. What is Dodge & Burn: in this section, I'm going to teach you everything you need to know about retouching with curves, also called dodge and burn retouching. So, in the first lesson, I want to tell you few words about the dungeon and burning because I feel it's really important to understand what is Dutch, what is burn to actually work with this and to use this in the retouching process. First of all, let's discuss about this image. As you can see, the cleanup process is already done and the nails are done. And this is the process that you so me doing. And the last step last group I made is Dutch and burn process, and this made absolutely huge difference toe make it tidy. I mark this groups with the color, and if you want to do so, you just need to. He tried on the group interest, the color you want to do So going back to this dodge and burn group. As you can see before, this image looked really nice, but we had a lot off patches. We had a lot of imperfection on the headline. Maybe some eye banks. Things are on the leaps and in general um around her chin. And as you can see when I activate this group, everything looked absolutely smooth. And the reason for this is because I cleaned up this image using light and the best method for days for me was reduction with curves. Curves allows you to work with light and work with light is known as the dodging and burning. I'm going to show you quickly what I did here by showing you the masks with my dodge and burn. So, for example, a certain areas I brightened on this image. I'm going to press out corruption and heat on this Dutch mask and you can see it Waas really a lot of work. Several. If I will turn it off, we are back and it's not perfect. And for burn also, that certain amount off work burn is simply speaking, darkening the image so before and after. This doesn't look great, but it's simply just the curve adjustment. Liam and I put curve adjustment layer to the group. We can simply do this on curve adjustment layer, but I used my action which are grouped curve adjustment layers. So this is how dodge and burn process looks like the final result off this process and let me explain their basics about dodge and burn. When it comes to what is doctrine burn, It's absolutely not a new term. Dodging and burning is simply manipulating with exposure off your image. So, for example, if you are photographer that, like on traditional photography and you go to process your images from the film to the real form, Um, and if you will be manipulating on this negative with the light, whether you want to make certain things brighter, it will be called. Imagine if you will want to make certain things darker. It will be called burning, and this is the basic thinking off dajun burning, which is also often used a little bit different. People who don't really know retouching very well tends to bright in certain parts off the image, and they call it as a dodge and burn retouching. It was it is dodge and burn, but not necessarily retouching, so that could be the difference. And in this section I will be teaching you re touching, using dodging and burning heusen curves. So what's going on with this different exposure level? I will process show you this very simple. So let me dark in this image just for now for show toe. Make sure you will see everything and I make this sign burn. Let's not go deep. How I made this sign. I will show you this in the next life, son. And I'm going toe dark in this because it has named Burn. So what I did right now are on this area. I burned this part of the image side darkened this I dark and this and this process was called burning. Then if I want to brighten the certain part off the media, I will go up with care of adjustment layer. And what I did are in this area is called Dajun. So this is sort off theory behind behind the dodging and burning. We don't do anything more. Then we work with flight and this is the basic knowledge you need to know when it comes to the retouching, use induction burn. It will be a little bit more complicated because we'll be working on this micro level. So for example, now you can see that I detached the sign and that would be the look off the mask I bright out the sign around, but when we retouch, we actually paint or with very small size off the brush. And this is how it looks. The thing that I showed you before, which is a lot off painting technique and this process precisely will be called Rita Dajun burn retouching or retouching with curves because dodge and burn has a lot of meaning. But retouching, dodge and burn retouching has this specific meaning that we will be working on a micro level. So now you know, basics. I want to show you as some information about masks. So something I did hear how to do the masks and what's going on with the masks, how we use them, because it's also crucial. Even though you have some introduction from previous lesson, it's really crucial toe understand how to work with dodge and burn retouching. So now I am just going toe. Remove these layers because we don't want this for our work. And let me tell you few things about the masks 22. Masks and Adjustement Layers for Dodge & Burn: Now let me explain the masks in easiest and quickest possible way because it could be a long subject. But we don't want to waste too much time on this. So at first I created this empty project. Nothing is here and we'll try toe explaining on this empty project how the mask works. Let's say you want to apply to different adjustment layers or whatever you would need. For example, I want toe apply. Read. I'm just meant Liam solid color and then another one. Maybe green for we will go for them opposite color and next to these colors. Don't you can see here now the green one cover red. But next to this colors we have this tiny squares and this tiny squares are cold layer mosques and will use the layer mask in each possible way. Whether want to apply certain effect on Lee to the specific area, Whether we want to dungeon burn and anything surrounding specific area, we will be using layer masks for this. So let me show you an example. Right now I have red color visible. If I invert this white layer mask, White represents that the effect is visible into the color black. It didn't turn white, but it made it invisible. So our background player is now visible. But then I can bring back the effect if I will reverse. So if I will turn this lame as inter color white again, or if I paint with the white color of the brush or I will create the white shape on this layer mask, the effect will come back. So let's try to paint on it. I'm going to paint with white color off the brush, and I am painting here, but layer mask is selected. It means some painting on the layer mask, and I'm bringing back this read effect. Now I'm going toe, activate the green one and, for example, I want to cover certain areas. So I'm going to paint with black color on the white layer mask, and I'm bringing back there. Read that is below because it's visible. If I go further, it will be wide, because here the red is visible on the in the certain areas, and rest of this is this white background. If I'm going to invert the days right now, let's have a look. What happens. I inverted layer ask So everything around is right now because this area, this layer mask is black and where we have white area inside there, green color is visible. Where it didn't cover, the red color pops out visible from below. So this is basic thing about the layer mask. Let's go to our image and I will show you what else you can do with the layer mask. For example, I created this two signs One states, Dutch daughter States burn, and I use this in previous lesson. We can easily take this selection off the certain object. For example, when the selection off Dutch, I'm going toe press command and heat on this layer. And then I'm going to anything before I used curve adjustment layers, which we will be using for our off course for our dungeon burning. I'm going to turn off this group or is the sign and pull up Dutch. I could pull this down, but it would be opposite to what it states and with burn I could do a similar thing, makes election off the sign that was before, and drug and down says he can see on. This is what mask allows you to do so. We're choosing some specific masks, but we want to use the masks for our retouching. So I'm going to remove this old because we will not be using this. But what do you want to do? Will be painting with the line. So we'll be painting with curves and one adjustment layer. I'm going toe named Dutch and the Dutch goes up and I'm going to copy this. I am going to press command or control and J And that will be burn off course. But this will go down and of course, to start doing something similar that we have over here, You can see we have toe invert our masks so inverting Dutch and inverting burn. And now I am able to paint on this layer mass, for example. I want to brighten up something on this in need. For example, this dark shadow over here and I will paint with their flow 100 for now just to show you As you can see, we can easily brighten up this area because we painted in this area. So this is not really good example, because usually will be working with lower flow because we want days to be careful. We want to be a little bit more specific. I want to darken it here and let's have a look. If it worked for now, it did much better, as you can see. So then I'm going to do some steps back because, of course, I don't want this dash to be so harsh, and I will try again with better flow at the moment. And I think it does work much better when we have lower flow. Then I can go with Byrne and Co. Over this bright area here and here and here and have a look. Our effect. Do some really nice job. And we're not doing anything more than working on these masks here by painting off the white color off the brush on our mosque, and this is meant majority off theory behind that and burn off course. Your masks do not have to look exactly the same way because you could probably not, is that my dodge and burn here looks different, so it's not that complicated. What I did there simply, I create once again one Dutch and the other layer for burn, and then I put them into the group. So for that I please press command or control and G and I'm gonna name this dance once again for burn. I'm going to put this to the separate groups of command or control and G and we have burned . And then above that, I can open hue saturation layer. For example, if I want to correct later this shift, for example, if you paint if we brightened up something, maybe it can change the saturation value. Sometimes it does Verrilli, but sometimes it does. So once we have this layer inside us, well, we can't just the saturation a little bit later. And then on the end, we create layer mosques on these groups and invert them as before. So, as you can see, there is no difference between these two things and these two things up here. One differences with this think we can adjust saturation straight away and easily at the end. If we don't do it here, we will have to choose the selection from the mask. But you already know it's not very difficult because you just press command heat on this mask and the selection is done. So this is how layer mask works, and this is how you can build up the layers, the adjustment layers for dodging and burning or retouching with curves. And I have to say you will get this as an action because, of course I always provide the actions in all of the training programs I have for people as the additional think if someone doesn't have this, if someone still doesn't have this, it's good to get this and just speed up your retouching work. Oh, so I believe you know absolutely enough about the layer masks and how to build Dutch and bird layers. So let's start preparation for cleaning up this image with their retouching with curves. 23. Dodge & Burn Notes: one of the most common question. When it comes to dodge and burn retouching ace, which areas should be danced? Which area should be burned? How could I know that in this lesson, I will tryingto explain you in few things how you can help yourself to know which areas should be redone. First of all, it's really difficult to see which areas should be Dutch, which are a should be burned. If we don't really have visual help, look at the image. I could probably spot a few, um, a few different parts, for example. Here I can see some darker lines, probably under the eyes off course around and this area we already noticed before. But it doesn't let us not. It's more than that. Maybe a little beat here, So I come out with one action that could help you a little bit with this. So if you could actions with this course, you can't simply use black and white help layer and play this above your dash in Bern. Later, it's nothing more then hue saturation layer. So if you don't want to use that the action, you can simply use hue, saturation layer then dragged down the saturation toe minus 100 change blending mode to color. And then I created to curve adjustment layer one care of adjustment. Layer that dark and the image and the other than ants a little bit off. Contrast. Off course. You can manipulate with this layers a little bit more. For example, you need more contrast. Just add a little bit more contrast for this by manipulating this curve or the other curve . It's really after you how you want to work with this. As you can see, you can use this curve or anything. You can duplicate this layer to see things a little bit better, so this is the help that for sure, will be really useful with defining micro transitions. So right now I am going to create new layer, and I am going to name these notes or Dutch and burn notes, and we'll try toe paint on this image to select the areas that should be retouched, retouched with flights retouch with curves. I'm going to choose brush, and I'm going to do some visible color. Once again that will be color read and let's say, with color red, I am going to mark the areas that should be done etched and then with color green, I'm going to choose the area that should be and burned. So I'm not the greatest pain time, but these dark spots. As you can see, they has to get even out. And I She will have a lot of the spots, but I'm going to mark the major areas. You can see here here a lot of this lines very thin here. And I could go on and on with this areas. We have a lot off small, dark spots here as well. Around the nose, we have some of them don't carry us owned here around here, you can clearly see that. So I'm not going to mark all of them for sure will have this big area here a little bit here a little bit here. Off course. There will be more around the chin and coming to the rest of the body off course. We cannot forget about this, but here will be quite mixed because And the skin here is more even. So the one thing that I could easily define that probably some the Here we have some of this lines that will have to be just Dutch too. And of course, there will be hunts and everything more so, no, what would be with burning cure? So we're burning. Many of these areas will be covering itself because often when we have some hole that gives you some off, the darker light will have next to it. The areas that are brighter, the areas that stand out. So we'll have to work on this to actually dark and this a little bit. And around here we have the same as you can see. It's not that this area's exist in very separate, that these things exist in separate areas. But these things do exist in very similar areas. You can see here, here, it's all we have these white lines here. Off course. Um, eyebrows also will be important covering the holes with the burning a little bit. Here, next to this, we have this area here in this area here. Here we have this area and area here. Here I see some really bright spot as well. So these are the examples off the spot that we actually go into Dutch Orban. But one thing about the arm for example, is so uneven that this area could have rather equal amount. And it's not said that it needs to be certainly brighten or certainly bright darken. But more likely, this is something that will have both of these things for the best result. And, of course, that will be also the hand, the arm and everything like this. This is the thing that has equal part off. Each of this, of course, will have some tiny spots here, but more likely there's not really easy distinction for this. So that's how you see everything. What needs to be done. I usually don't remark this for myself, probably because I can't make even the perfect circle. And yet I can go pretty good dodging and burning. So this is just for you. I tried to show you a little beat. The things that I see over here, maybe even now when we turn this off, you can clearly see this sports even more. Let's have a look here. There was a lot and off course. This area has plenty of this close to the edge is here we have this are swell and off course near the leaps, so If you still don't feel confident, don't really worry because we going to do the work in the next lesson and I am going to do the work and talk about this and then, of course, we'll probably speed up a little bit off this process. But I will make sure that you will know my process, how I do it, which allows you to copy the workflow for yourself so you can have the same results as I do . 24. Dodge & Burn Process: really demanding class on our head off us, the dodging and burning off this image. I'm going to work on this and the single curve adjustment layers. Not gonna build them a secure It doesn't really matter. As I mentioned to you before, the separation shifts doesn't happen that often, and I didn't really notice on this image. Saturation shifts, so I don't really have a need to build the layers on this way. I do recommend if you don't really feel comfortable, and you want to avoid fixing later, use my actions where you already have inside this saturation layers. Before we start. I want to have a look once again on this image, and I want to present to you how looks before and after Antoine Dodge and burn dust to the image so you can see a lot off work for beauty images. We usually have more work than on the portrait's, and especially for the fashion, because on the fashion we don't necessarily have to do dodging and burning, and in this case I can't believe we will be doing this for 20 minutes, maybe even up to half an hour, and this is most demanding part off on the beauty retouching because it takes probably half of the time off whole retouching. If I'm gonna now waste half an hour on this image will take me problem around one hour to complete. So before we start a few things to remember, I am using my dodge and burn brush, and I do recommend to you use this brush as well. Have a look at the settings. Why is it so good? Because it's really soft and then on the top, we also need to make sure that opacity and flow he's correct for us. Some people work with really low opacity, I believe flow. It's much better for you because we can build up the effect. And if you asking about percentage, I will work with this brush somewhere between five or 10%. No more than this. I wouldn't go with 1%. It would be too low because this brush is ready a soft. So now let's start on doing our work, and I will record this for a while. We'll see how we progress, and then I am going toe speed up my record. Fifth thinks you don't really want toe do this retouching being so zoomed in and do every single poor. You don't want to work on this level. It's too close. And once you zoom out, you will realize it's actually overdone and flat. So you want to stay in the distance something like this, and you don't really want to get closer than that also size off the brush. As you can see, it's not really micro in my case, but I can say its size. So that's the perfect size for me. And then I simply try to paint. Not really pressing a lot on the tablet you can maybe here the moves off my tablet and you can hear there. I'm not trying to press really strong on the image because I don't really want to work distractive. And also, if we're gonna press strong, you need to know that it might actually give some separation shifts. So this is another thing tow. Avoid this easily, and once you paint softly as you can see the same us me with not too small brush just like this, you're gonna have really nice and natural results. I believe you might have some difficulties out of the beginning as well, but he needs to know The difficulties on Lee comes with lack of practice. So if you are starting, if you were not retouching for so long, that's probably the reason why it's difficult for you to do this process, and I can promise you once you will be doing this more. Once you spent a lot of time off retouching with the images. It will be one off the easiest part off retouching because dodge and burn. It's not very difficult, part off retouching, and it's only think that requires a lot of practice. It doesn't require the talent in painting, and I'm probably perfect example for days but on the practice. So now I'm going to try a little bit less and just do what I meant to do. You can have a look how it's progressing. It's going slow, but we are doing progress. If I want to see a little bit more, I will be extending the contrast here for certain areas. I can duplicate this now. I see really well for this areas and that's what I'm going to do. This area where we were removing her, for sure, the areas where you do more off. Cleaning up will require often more Dutch in Bern, especially when you remove the things with different light level or different color. So just something like this. We're going to spend some time on this, and then you will see how good result we can get here and how on even the light can be. Also, you don't want to overdo the image, so I will show you example how to clean this really well. But you don't really want to spend a few hours under 10 days. It's a common mistake of people who started. They just keep going because the truth is, the more you will be increasing the contrast, Um, the more you would be doing and you don't really want to do too much. And that's why I always recommend you to turn off this black and white help player and to look at the image if it's actually enough. And once the mutual clean, that means it's absolute enough. So do not necessarily look at the image when it's black and white, and when the contrast is increased, because it will lead you to some mistakes a little bit here, just like this. So our forehead is getting to look a little bit better. What? You can notice the lights here. I quite are quite harsh, and even when we turn this off, it doesn't look that great. So what to do something that allow us to makes smooth transitions. Also, if you see something that this as hodge us here, feel free to do a little bit more toe knocked down the really deep pores even though my layers below I'm still ableto do this a little bit. If I see it's a little bit too strong, I let myself with crime stamp to do a little bit more so it's nothing wrong to do stand back like this. If you see something that should be done and it will be more so, I'm going to close days and continue. Also, the common mistake is to do some flat space so you don't really want to go on the with dodging in central areas because then you might do flat, bright space. But once you come to the edge is what's really important here. You want to do very smooth transition between the darker part and the brighter part, so it will not become patchy. Many people who start actually get this a lot of patches. So, um, that's not a good sign, and it means your work. It's not good enough yet to already impress, so I'm slowly going down. Also, make sure you pay attention to the makeup to do smooth transitions. Here on Lee, what's required is actually working with the light. Many people would go with some more cleaning up here and trying to smooth this out. But you need to know for the smooth makeup transition I'm not. Much is required except manipulating with the light, so you don't really need to do anything else because many that would be a waste off time for you so slowly going here. And if I want to do this part, as you can see, it's a little dark. So what I'm doing just getting bright. And once they see dwell, I can't do more work what I need to say to you, because I know that dodging and burning is the main issue when, when you start so in this few lessons. Before I tried to explain to you how it works, and now we are trying to do more practice, so feel free to ask me a question. If something is not clear, you can easily send me a message on leave a question, um, under the course, and I will try to answer to you, but also pay attention to the think that many questions I tried to answer. So before we were talking, I get many questions off like I don't know which areas need to be retouched, and I tried to explain this to you in the previous lesson. Make sure you use black and wide layer, increasing the contrast and try to see what's unnatural for the face. So, for example, are spots pimples, believe the shadows. If they would not be there, imagine how the face could looks like. Imagine the face without these small, tiny micro transitions and try to get rid off these transitions. It's way easier when we can say about this, but more difficult, probably in practice. So this part of Spencey getting really nice and smooth. So now I'm more so getting nowhere because we have some area to sort out over here. What's wrong? I will try to do a little bit off work on each area, and then I will speed this up because each area might require some questions. So I don't want to do jazz the forehead and tell to you like that's how you do rest of the image. I don't want to do some small part from each part, so under dies with it. We did some forehead. Now we do in the area near the leaps here and at the end. I'm just going to polish this and do more dodging and burning by myself. Also, once we get close to the leaps, you want to improve the shape here. So what I always do doing a little bit dodge and burn around the top with the triangle on the lips. And this is, um, this will give you nice natural shape. So just the move, like this year off course, don't overdo it because everything you want to sleep keep natural and also what curves allows you. As you can see, this curves are not really that high, so you can't really overdo too much. And that's why the curves could be the best choice for the induction burning. And that's why we use the curbs because they gives you a lot of control and it's really difficult to overdo things with curves when we will be going toe more off the shadows, area us here. As you can see, increasing the light will help you to get into this part. But usually there is a little bit less work in the shadow areas you don't really want to have. The shadow are seriously, really perfect and you do want to keep it slightly natural. If I want to see the shadows here, I will go really high up and I can turn off some contrasts and now I can see this and it will be better. So as you can see, we still have few parts here that I would do so about visuals. It's all about the manipulating all the time with this curves with black and white to make sure it all looks good. But once again, don't really don't forget about turning off this black and white layer and have a look if it looks actually better and it does look better. So then I can activate, go down with Darken and moved to another part a little bit here and here will have single are areas to do, then the I and I want to go down Also on the arm. Show you How would I work with the arm? Increase the light a little bit, so here will be mixing. But we'll have some of these transitions here. So even it's not so much work doing a little bit of this year. You must know that it looks like a lot at first when we start. But it only looks like this because of the contrast we increased and it does not require that much work as it looks. And you can actually go with slightly bigger brush and did the moves as I do right now. Look before after, So I'm knocking this down. But that doesn't mean I have to mark this down fully just until the certain level, because let me show you before. After you see, it already looks as many perfect after this small work. But when we increase the contrast as you can see, it looks like far from perfection. So don't worry if it's still look wrong with the contrast. Better to do less than overdo this and have some weird spots already. Skin that will look over them. So that's how I will be doing on the arm here. That's how I will be doing here. And that's how I will be doing on the hand on the hand what I really need to do. I often try to go and increase a little bit off the natural light around the finger. Off course we do locally. I mean, locally, there is small burning. And then also I tried to go with the direction to increase the natural and beautiful light . So that's how I do off course. We'll do the same with the other hunt and last part around the neck and the chest. We will have more work. You can see we have a lot of imperfections. So right now I'm going to take her off this area, and then we will be able to move forward. So let me do this area. We're going to see what we are and how much to do. We have left some white spots here. Let's and even this I already did a little bit here. I helped myself during the cleanup process as you remember, and it's really good, because now our work simply become easier. So as I was mentioning to use, sometimes some techniques could be really available for making your work. And it will be easier for after before it more all the painting que It'll be here. So let's turn this off. Let's have a look on the top. As you can see, forehead nearly finished and one side of the face also nearly done. We will have left this side around the chin on the bottom, hands off course and still more things to do around the chest and knew the arms softly. And then that will be finished. So, Hans, half of the face a little bit here. So let me speed up this video. I am going to do my retouching faster and we're going to talk in the next lesson after the dodging and burning will be finished. - I don't 25. Light of the Eyes: in this lesson, I would like to show you how toe improve the ice, which is also part off Dutch and burn retouching. So this is the previous image I showed you, which was finished. An awesome on. This is the image that we just did using dodge and burn. And as you can see, the skin is much better and I will do the ice on both off this images. So let's zoom this in on the I. And even though it's very simple, I decided to talk a little bit about this because people actually do, ah, lot off mistakes with it. So when it comes to dies, uh, we have some light inside, but it doesn't really matter right now. We can see that we have the line distributed quiet all around. So it is not the standard light, as we have with them natural light, where we have the top area, usually in the shadow. So let me open a new layer. And when it comes to them, natural light. Usually the certain area which is aren't here on the top. It's usually the shadow, and it goes quite low around this level. So that's why with natural light. We usually only brighten up this bottom side, and that would be around here as well. But what you can see on this image, the light is going quite high and the shadow is very narrow just around here. So everything else I would actually brightened up. And the other part that you need to understand is to see how the light reflects inside. You don't really want toe bright in this up flat and give the light to everything. But you would like to paint over this and write it up all of these veins to add some more character to the ice, and this is what we are going to do. So for this, I'm going to use curve adjustment layer. You can clearly do this with your dodge and burn layers, but I decided to create new adjustment layer because I want to present this as the separate thing. So I'm going to name this ice, go up with this curve adjustment layer, or not too much because you also don't really want to go too far because it will look fake . So of course I inverted this layer mask and then with the small size and flow problem. 30 will be good for this. Trying to paint are in the areas to give some nice shine so you can see I'm actually going with the veins so it will give me nice and natural shine here we can also create some sort of selection around the eye. But simply painting over it is the best way of doing this before or after. You can see we did this in the really nice way and also the other I I think the shadows slightly deeper here. So just like this on the veins envelope we did really nice shine. And if it's too strong, you can easily manipulate a little bit off the opacity. If you don't want to go too far with this, I think with it absolutely fine. Maybe I will go and it will be tire here as well. And then we have the other image where I would do the same. I just need to see how the life is distributed. Create new curve adjustment layer going to name this eyes. But once again, I don't really do the whole circle. I want to show you what's wrong. You don't want to Brighton this off in this way, because the light is not distributed this way. So many the part on the bottom, of course. And where the light go. So stand here and now the other one, some line here and also carefully painting the older I And we asked to this really nice and natural shine, which is what you really want to do here. So thanks to this, the eyes now have now some character. They're not too flat out reduce opacity. I believe it's still article too strong and maybe around this level, that will be just perfect. 26. Correcting Saturation Shifts: I would like to talk about some saturation shapes, which is quite common issue, not necessarily Onley, because off dodging and burning. But it does happen. So first kind off saturation shifts is probably the one cost. By dodging and burning and simply how to do this, I'm going to go back to this image and I will try to see how the image waas before. So I'm trying to see if we actually did saturate some certain areas, even zoom in really deeply. And to be honest, it does happen already, really. And even if the shifts are really minimal, they would be rather impossible. Do not this for many. But if something appear I can see there could be some really tiny difference so we could add Cem saturation layer if it comes to my action and reduce some of the saturation. Of course, amount of 15 would be way too much in this game case. They would appear oversaturated and maybe five would be there right value. But once again, the difference is so small that I wouldn't feel really and deep need for that. And then we can come down to burn and see how is it with burn, and I don't really see the burn causing some deep the saturation that I would like to do here. We can't even see a little a bit higher. Once again, it's really, uh, tiny shaved. So for Burn, we can clearly aunt just few points again. But these things are extremely difficult to spot and I wouldn't go us. Some people often say that and plus 10 plus 15. I think these values could be two week and in most of the cases, nothing he's needed. I want to see again when it comes to burn because I don't really see with deeply de saturating this area, To be honest looking here, for example, I think we didn't really decide rate too much. But this is the first way off fix in this and with the same issue. If we didn't put this to the group, you can also do this a little bit different way. So if you see this kind of shifts, But once again I don't really think on Dean, really. In general correction, that is too big for all dodge and burn. It's necessarily the right move because I believe it depending on the area off the image. So, for example, if we will be doing dodging in this area were really can affect more of the saturation than we would do here. Because in this area it will be really unlikely on such a bright skin to change the saturation values. So, chicken, this as you can see here, we might actually change some of this so we can press command and heat on the layer and go to hue saturation. And then we can slightly unjust the saturation. Of course, not too much, but you can see how it comes. And it would be probably only around this areas a little bit looking here. I don't feel we change it so you can. Unjust is just a little bit but ready on these differences. I don't really see them being an issue here. So this is how you can do those things. There is also a different kind of shifts, which are more general and one of this shift I heard on the eyebrow. You see, I was actually doing some, uh, burning on the eyebrow and you can see it actually become more saturated. And you could be surprised because usually burning the saturates a certain skin. That's why I always say it depends on the part of the image, but in this case, you can clearly see we haven't really bright skin under, and it was surrounded by darker. So as we burned the skin, it had different color, then the surrounding care and zooming out from the distance. We can see that there was something wrong with this eyebrow. So what I decided to do, I decided to create new few saturation layer and take them some of the saturation and then on the mask, paint around the area toe, adjust the saturation shift, and this is something much more common than the shifts caused by the classic touch and burn that then, with dodging the skin, appears more saturated. It's not really the rule. And as I said to you, and as you can see, um, it's not really big case. We can also have some order saturation difficulties, which not necessarily would be the shift on bad, for example, appearing more because of some sort of mistake. Maybe model did something, and maybe a makeup wasn't right, and in this case I can see something wrong on the leaps, and I will do one more lesson about sorting out color things. But I think this is also on the right way to check such a small shifts that are not caused by doctrine burn. So, first of all, looking at this, it appears just slightly darker, so I could also, and a little bit more dodge. And then I will try toe also unjust. The saturation so you can see had sort of this different color and light. And even after dodging, this color is still different. So what I would do here I would go to Hue saturation once again. And I don't really think that the finding color here will be the perfect. So you can simply choose the color red or choose the color that doesn't really exist much here, for example, blues or science and try to peek but would really have to peek this smallest red think. And it might be sometimes a little bit difficult to just like this. But let's have a look if we can change it and we could do this quite well, I believe so. I would try to change the human off this area, don't worry if we change on the hume off rest of the image Because we just need to look at this area and tell you down a little bit off the saturation from this area as well. So then I'm gonna name this leaps saturation and turn it into all black layer must. So I'm going to press command or control, and I and I will try to I'm just these by painting over this area with the white color off the brush on. As you can see, we actually did. You get this pretty good can see before and after, and we match this better to the rest of the lips. And as I know, the true issue at the start was actually to find out of the model. Touch the leaps. So two down some of the lipstick. And that's why we hunt this small shift, which now I believe God fixed a little bit more here and now we can look from the distance this is before, and this is after and with this easy step, we really unjust ID leaps in the perfect way. So what, you can see with this simple toe hue saturation, we can fix a lot off color these proportions, and you can even create more off these layers. Wherever you have such a shift, you can simply create this and fix such a saturation shifts, whether it's somewhere on the forehead, whether it's leaps hand, maybe somewhere under dies on. This is really easy way to fix saturation shifts and color shifts. 27. Color Correction: in photo shopped. There is one more technique that sometimes I use as the color correction toe. But most likely I will be using this huge saturation. I think it's absolutely the best, and there is no order such a good way that allows you toe correct the color on the image, because with your situation, you can really, um, much the hue in the perfect way. But the one more technique on that I used to use probably more. It's actually painting on the image. For example, looking around this area, I can see some sort off the saturated area, and for this, but I would probably do here is create new empty layer. I would just name this as the color, and I would try toe paint on this with the color that is natural for this skin tone. So, which is the brush probably flow slightly higher, and with eye dropper, I would choose some color, maybe from this area, and then I would try to paint a little be glad spent with the normal Blanik moment At first . Don't worry, I know we are losing the texture now. I just want to cover the right area and then we switch blending mode to color. And once it's done, you can actually see the very small difference in color before and after. It has slightly more saturation, too much to the rest off the area. So this is just simply another technique that can help you with some areas. If you find it slightly disintegrated and with color blending mode, you can match this to the rest of the image. Of course, used this carefully because you need to know that this technique not necessarily always give you the same color that you mento. The color blending will change it a little bit. But also here, for example, I don't see very smooth transition. So what I would do here to smooth this out? I would choose the color next to it and Smith in this transition a little bit more between this highlight under the eye and the cheek and a little bit here also to smooth this out. So this is probably one of the easiest techniques, but those of the techniques that can lead you to some certain mistakes. That's why when we use this, we actually use this in a very small and they meet it. Wait. I don't think it could work well for the leaps for what we did before, because for this leap color, as you can see, it's a very pale. So if I would apply the lip color that it's next to the area that we're fixing, it would actually appear way to de saturated so you can see it doesn't work well for everything. But I only actually use this for the skin color if I need. So, for example, here also, it will be saturated for this to smooth out the transition. And for such an areas, it works. It works really great, but off course not for all of them, not for things like leaps and probably some other certain elements. But if you need to make better transition with the skin, this is the technique you could sometimes use 28. Few Words about Dodge & Burn: Now I would like to talk about some misconceptions that they are about dodging and burning , and once again I get a lot off questions about this matter. People watch some videos on YouTube or read some bloods that tell them that dodging and burning is about making the size of the brush beak, dodging the highlights and then burning the shadows, which, simply speaking, is increased the contrast. And I can tell you this is not the best way to increase the highlights and shadows to work with them to adjust highlights and shadows. In fact, this is the way that will, in most cases or in big part of the cases, will ruin the natural feature off the face. You see, the face has is really complex. It has a lot of bonds. It has a lot of cooperation, as you can see aren't your own the lips. It has a lot of holes, and all of these things needs to be taken. Care off really carefully and seriously. So when someone tell you that you can just create some curve and jasmine Kailua, invert this. And with big signs off the brush, increase the highlights. It might look well in some areas, but you need to know that in most of the cases it will come at the price off you losing natural features off the body off the face. That's why I prefer to show you and teach you how toe work with the highlights and shadows in the next sections on the selective level that allows you to work non destructively and that allows you to work without changing the face features. So if you really think off professional retouching Onda for magazines, for example, professional retouching for commercial campaigns or something, you need to be aware that the global dajun burned out. You could see online how the people present and painting over the highlights is not the right way of doing because, as I said, it will look on trustee and it will look of perspective banded. The face often might look weird, and if you really want to, um, improve the face features, for example for want to answer contouring, this is still will be on the micro level. To be honest, for example, look at the nose, even though we were just clean up, we also at the same point, try to go on with the direction to improve this light. So you don't really want to do beak on dodging and burning to change the face features, but with smaller brush. You want to actually do something that will make the highlights real nice and smooth. And you can see I still paint with small brush, but I improve the Contour Inc right now and then off course, I could go to the edge around the hair and try to cover the bright areas with burning, but it will still not be something that we could show before. And I'm telling you about this. Uh, not because I want to keep you board or something bad. I really received this question nearly every day. People come to me very confused about the Dodge and burn retouching. I'm teaching because they see first time and they think about what someone else told them in the past. That is dodge and burn retouching. So when you were worried about once global Dutch in Bern, where is it? Why I teach this doctrine burn on my for level. This is your answer. The digital bearing on the micro level is on the one professional way that gives you re good non destructive results without changing the face features. So off course, if you do it right because you still can change the face features if you do it different than I did eso you need to keep in mind that the face has some shadows, so we don't want to make it for example, very bright, because then she will lose the shape. But when it comes to giving perspective to the face, I will be teaching you much better techniques that allows you to work very selective. That allows you to peak, um, the highlights in the perfect way and your image will have amazing amazing contrast afterwards. 29. Adjustement Layers for Lights: best adjustment layers for working with the lights off course. You know, big part of this, You know, I always work with the curves, but I wouldn't be fair if I wouldn't explain you how the order adjustment layers to work with light works. So I'm going toe open my adjustment layers over here by hidden a small icon. If you have adjustment panels, all of your adjustments are also leased it in the panels and we can distinguish adjustment layers for a few different areas. Of course, we have solid color Gray didn't which is basically applying the color and then brightness, real evils, curves and exposure are adjustment prayers that we use to work with the lines beloved that we have color adjustment layers and some others are selective color great him up also as color adjustment layers. In this case, of course, we have also curves and levels that might be used for color grading. But in my case, you really use them curves. Three universa, I think curves most powerful adjustment layer use for a light and for the color. So I'm going to explain you quickly how brightness contrast works, how evil works, how curves works and, of course, how the exporter works. So brightness and contrast. Very underestimate, I would say, because the truth is I do use it in my work and many people think it's so basic. It cannot be used for professional work. But as you know, we actually use basic things all the time for professional workers, basic retouching tools. We use basic order tools we use everything in front of shop is basic, so why not use brightness and contrast? If your images to dark it's OK to Brighton this up, and it's okay to bring up the contrast. One think you actually might need to know to do with brightness and contrast is to change planet mode to luminosity because, as you could see, we really increased the saturation and unpleasant way. So probably it's better to keep it this way. Of course, that was be a little too dark, too bright, And as you can see, nice simple contrast is done by this to another tool will be a evils in this case, and we have similar e he stole from us in the curve adjustment layer. We have the dark slider. We have great slider and we have wide slider and reading history. Graham. We can actually see that most of this image is located in the shadow area and what comes to the sliders? Shadows meet tons highlights as the colors are. So, for example, if I want to increase the shadows, I will go with this dark slider. If I want to increase the highlights, I would go with the white slider and then on to the end. We also kind of manipulate with our great slider. If I will go to the right hand side, I increase the wrench for the shadows of the images getting darker. If I will go opposite, I will increase the rage wrench for the lights so the image will be becoming brighter. It's a really simple theory behind that, and below this we also have two sliders. We have dark slider and white slider and this line going from the black color to pure white . And this is basically the level where we want to cut out the color. So as this black slider is as the full black, we allow to the image to have fully black areas. If want to count this out, we can drag this up. And now the darkest point on the image is this level of great and the same we can do with the highlight. Now, their brightest part of the image is this level off white. So that's how it works. Once again, if you don't want toe, thank the saturation values would change it to luminosity. But I feel luminosity actually did this apparatus slightly. If we increase this to this massive level, so levels, then now exposure. I will keep the curves Andy and Exporter something that I can't say come on to use. But if you don't use camera and you want to manipulate exposure level, why not? You will have also offset, which can give you a little bit off The worst out ethic, I could say, really, actually good for the fashion images. Very underestimate for the fashion images, you might actually get this effect which would give you how to say sort off film look and also have gamma correction. So you can also corrected. I'm over here, as you can see, basically one way washing out the image similar as offset and the other one on darkened image. Not a strong US offset in this case, as you can see, but manipulating with this too maybe too much off the offset. And let's see how got myself doesn't gives you this nice and natural effect for washing out , but more likely very similar toe brightness, something to in brightness and exposure, I could say. And as you can see, if you would looking for something quest out, we could actually manipulate here with exposure a little bit and on the end off course curves. So this is the tool that I mainly use for my retouching work. And once again we have the same history Graham US levels and also with the several. We have two sliders, so we have the dunkers point and brightest point. And here, if I want to present you the basic features off the tariffs, I will grab this curve on the top. And if I want to wash out the shadows, I will bright and out of the shadows. If I want to dark in the shadows, I will go down with this and also in the opposite way. I will go down if I want to wash out the highlights and go up. If I want to increase the highlights in this case. But what's the different with curves that levels cannot offer you that we can actually manipulate with the light on every single point off this curve toe? Remove this points we can simply drag down. So, for example, if want to wash this out on equal deed but also increase the contrast. As you can see, we can really work creatively and sort of connects the feature off not only levels, but probably exposure, brightness, contrast and do most of this work on just by using curves. And this is why I really like working with curves. And that's why the curves its most powerful tool in photo shop, not only for retouching for but for many other kinds, off work. 30. Fixing Exposure of The Face: before we jump to contrast, there is one thing I want to talk about is chicken up their lights on the image. So if you have image like this one, it's really common that we might have differences between the light that goes to the face and the light that goes to the arm. So it's actually no one's falls. It doesn't mean that there was not enough light on the said, but its natural way that they're light comes to certain areas and some motherly us get a little less of this light you can see on the hand. Over here has enough off the light and the face maybe got a little bit more. But I would say enough. The thing that doesn't have maybe much of the light is the arm, but to equalize it better for improving highlights later. What I would do here, I would actually reduce the light on the face and later it will be easy to improve the highlights equally on the face. A swell us on the arm. So I'm going to go down with the exposure on the face. I'm going to use exporter. For this, you could use curves or anything you want, and I'm going toe title this face right And what I'm going to do, I'm going to reduce just a little bit off exposure here. So not too much. Maybe around minus zero points to at first. And then I'm going to invert this mask and then with white color off the brush, I'm going to bring it back. Bring back the effect on the face. So lens, um, this a little bit she can see. Um, darkening this a little bit. Not necessarily leaps. So I could try to avoid this a little bit, but forehead for sure, a little bit here and here. We'll see if we can actually get this right. So from the distance before, After that, it will be dark. And for sure, it has different saturation level right now. So we need to check blending mud and change it from normal toe luminosity in this case, residency. This more likely sort out. Most of you think I don't think we're really needs to take down the expert on this area. So, as I said before, it doesn't mean we need to really take this down from all of the face. out, say many, probably the half off the her face. But still, I think it's a little two month, so not minus zero points to, but more likely probably around my no. Zero point one. And we could also take down on the opacity. But 0.1, I think, gives us pretty good result. Um, just checking it a few times if we got this right. This image got a little bit, um, flat right now. But don't worry about this, because we will be taken care of this. I want to for sure take down this part because I don't want this part to get really dark. So I think around this level, and you can see right now the light is much better adjusted and the face lie twice is much closer to Dharam. And the old image is quite uneven. And I will be ready to start working on the contrasts 31. Basic Adjustement for Shadows and Highlights: in this lesson, I will show you how to create really nice contrast band manipulating with highlights and shadows. And of course, for this I will be using curve adjustment layer and we will be working with the masks. I will show you how to define really nice mask to have full control over the highlights and the shadows. So the standard way would be creating the curve adjustment layer and, for example, going down with the shadows and bringing up the highlights and then switching Bennett mode to luminosity to not affect the saturation values. And as you can see, this is good. We improve the highlights, but sometimes you might need a little bit more control over the image and you would have to work with the masks. So let me tell you down this points I made here on this first layer I am going to name ask the highlight and then I'm going to copy this and I'm going to name these shadows. The copy off course was command or control and J suffer the highlights. I will be choosing this from the RGB Channel so you can simply make the selection for the RGB by pressing RGB and we have selection. Now if I'm going to press command or control and I I'm going to invert this to shadow if I would create a new one that will be the highlights defined for me. And the best way for making selection from this RGB channel is just going through image apply image and is the same highlights applied layer us merged, blending multiply in this case And let's have a look how the mask looks like This is our highlights and for shadows, we can make this election and inverted this to the shadows or go the same way, apply image and then heat invert. So then it will be inverted into the shadows. I will show you the version. Let me to ask the bank. So if I would sell it the highlights now, then go to their shadows mask and press command or control. And I I can simply make really nice definition off the shadows. So how would I work here? I want to improve some highlights. For example, I'm just going to go up. Was this curve adjustment layer not so strong here because we don't really want to go that why, and really nice improvement. And for them shadows, we can do this. But I don't feel we really need so much off the shadows here. So just a people beat for more definition, I don't really want to go too far with this. Even, probably would reduce the opacity because the shadows, as you can see, there are often much stronger than the highlight. So the highlights is something that I Mahaney take care off and there would be maybe a few other elements would probably bright and up this area here. And I could do this simply manually out create another curve adjustment layer. And I would name this light and all this up just a little bit. And if I want to Brighton up specific areas off the image, what I would do with this brush, how just Brighton? This area's just to make an image uneven because we can see the faces slightly brighter so we don't We want to have two big differences, and this would be the basic method how I defined the mask. And in the next lesson, I'm going to show you a little bit more advanced think and how to be even more selective when it comes to work with shadows and highlights. 32. Contrasts with Color Range: Now we are going to work on highlights and shadows. But I'm going to show you different technique that for some off you could be a little bit more selective. Very important thing to say before we started. This technique will be available on a on photo shop. CC photo shops here six and older ones doesn't have us much opportunities. As for the shop Sisi has when using this technique. But I'm going to explain you some details once we started. So once again I will be starting the same as I was doing before. So I'm creating to curve adjustment layers one well before the highlights. So let's rename this inter highlights and the other one will be remained in the shadows. And then we need to create the masks to do the selection for the highlights first, and then I'm going to do it for the shadows. So before we're using and they're RGB channel and to create the mask and the results of different technique off doing so and this technique actually allows you to manipulate with the color as well. And I'm going to select and color wrench. So this is the part when I need to explain you what's going on with foot straps, es six if using and for for the shop. See, see, it's the thing we will be doing. So first of all, you can choose h color on the image if you want to have to work on so even chosen here on the highlights, we can pretty much do good selection, but it won't be really precise. We need to make sure that we know this. As you can see, that would be not really nice one. But we also have options like highlights, meet tones and shadows. And this is something actually like to use and accept that we also have the colors so we can be manipulate with the colors. But I'm also already going to mention that and first I'm going to choose the highlights. And for the highlights, I went on the maximum range. So probably you will going to get this very dark as long as the fuzziness is very low. And then I am just going up with the fuzziness until the level I will see down. The mask s well defined and here possibly you will have the mask that you're going to see this. If not, you might actually see on this mask, because at some certain update, there was the mask that I see here is slightly different than the one here. Which means this one this a little wider. So I'm going up and I can see on this small, um, square here that the mask might be actually right. So you just need to check for yourself if this if this mosque here is to find Well, because I think it could be something quick update, but there might be some other reason. And one wants you to find this. Make sure that your mask looks OK. So this is how my mask looks like. And I think it really nicely defined highlights. It only defines and the finest highlights which I wanted to do. You see, I don't really like to go very far with this. So really nice and sharp. And what you can also see, um, it does defines small pores, us Well, so when we will be increasing the highlights here, you can see one thing that it will sort off sharpened. The image once will be doing this. And why? Why is it happening because, as you can see at the finds, the small highlights, the reflection off the lights and the deeper pores are a little bit in hiding, especially here as well. On the hand, it's not really that perfect. So if you don't really want to get this effect, what I recommend you to do is to go to Blur and the guy gender and softly blew out. You're mask maybe till this level even, maybe a little bit higher. So right now we should not ready, get this sharpening effect. And then I can half really nice definition on the highlights. And, of course, what I'm going to do. I'm going to switch panic mode to luminosity, and that would be it. If I think it's too strong, I can simply lower down the opacity on this image. If I want to be careful, and when it comes to them shadows, we can simply invert this or you want to be a little bit more precise with what you are looking for. Once again, I would go to color wrench and, for instance, choose the shadows and for the shadows we go opposite way. So here the wrench we are going to the darkest point and also increase the fuzziness. And at this stage, as you can see once again, it's opposite. I can see the definition here is stronger. So we going up with where the shadows are and once we feel it's okay, let's see on the mask for the shadows. So pretty good. I'm going toe blurt this out a little bit as well. Maybe not as strong as before, because I don't see it was affecting us months. So maybe 20 pixels in this case. And now I am going to decrease the shadows just a little bit like this switch branding month luminosity once again to make sure that everything is right. So, for sure, this image has much more a perspective. I don't think it would be finished because I want to work a little bit more on the highlights, especially on this area. Even though I darkened before the face I feel in this area really require a little bit more off the highlights. So what I am going to do, I am going to create another curve adjustment layer and we are going to name this highlights number two. I'm going to switch blending month luminosity. And once again I will try toe define the highlights from color wrench. It's same as before. Maybe we can even slightly increase that now. Okay, And let me have a look at the mask. And here I will decide what I want to do and how I want to increase that. So this hand is rather bright. I think it's matching really well with the face not necessary. I can't say exactly the same about the rest of the body. So what I'm doing, I'm choosing the black color off the brash off course. I will switch blending about 100 I just want to paint around rest of about the areas off the image that I don't want to be affected by this effect. So I don't want to increase the highlights on the face. Let me have a look. I don't think here. I don't want to affect this hand and this hunt as well. I would keep it as this just the arm and the part of the neck here. So this is what I am going to do, covered this hand. And this is very powerful because you can use this on every single element. You can agree to find the mask and make sure that your highlights are re perfect. Eso we got to this point, I think this highlight actually even smaller here and now. I'm going toe color rent. Sorry, no color range. But of course, Blur and guard Chandler to blow this out. I don't mind. Now, 20 will be okay. Maybe a little lower. And I want to because this area, I think, could be a little bit more sharpened. So maybe even actually, I'm gonna have a look first how it looks with the original blow, and I will go to this level. And I think right now this texture that is visible, it's actually similar texture to what face has maybe a little bit more. So after it's done, I can go to this and add to this a little bit more blower if I don't like it. But I see I need to cover this part as well, and it'll be your. And now I am going to blow this out, but a little bit less than before, because I think this looks absolutely fine. But you actually kind of know how you can on a little bit more texture or sharpened this when improving the lights. So now I think we have three nice highlights on. There's some differences on the image, and this eight differences are not really on the light differences, but what I see color differences that we will be taken care off in the color lessons. But for now, let's put this to the group, and I'm gonna name this contrast. Let's have a look before and after and clearly already amazing lights. Amazing perspective on this image on I'm truly satisfied by this. 33. Working with Light on Specyfic Color: What do you need to understand is that the some colors doesn't reflect the light the same way a some other color. So, for example, we have the red leaps very deep, dark red, and you can create nothing's that this color doesn't really reflect the light that well, if the lips would have the lipstick would have, for example, yellow color, it could get much more light into itself. So what happened when we're doing contrast? As you can see, we actually darkened. Some of the leaps on this thing has to be corrected. So the one way for correcting that would be masking out this shadow layer. But I'm not sure if we could actually mask it in a very precise way. So I'm also going to show you other way. So first you can unmask it, or you can improve the light later. So how I do this, I create another curve adjustment layer, and I'm going to name this are sleeps, and I will be using the color range for days. So I'm going to call a wrench, and now I will see if the red color is visible. But what you can see if we choose the red color from color range. It doesn't necessarily peak ab just leaps, and later it still would be very difficult to a mask it. So instead of this, I'm going to trust sampled colors and I will try to choose the color off the leaps by myself. But we really need to be precise. I should probably medicine, but actually, we we you can get this quiet about fried. So I zoomed in too much. Maybe a little b class. So I'm going to do I'm going toe, pick up some of this red and also make that wasn't the perfect one. Let's pick up some of the red color and we couldn't get this all perfect so we can get this plaice and get a little bit more off the highlights here. But the highlights actually doesn't go well with this. So we're going to give up on this highlights, and you need to understand this is not a problem, because we are going to work on this. So I'm going to go just with this at first hit. Okay, we have the leaps. We also made selection off some other areas, so of course what we are doing with the other areas. We are masking this with the color black going to do this quickly, much easier than the previous one. We don't really have so many areas affected by this. Also closer to the leaps around the leaps. We got some areas to be very precise and with the smaller brush. Yeah, and what I'm going to do now I am going to blow this out, of course. So I'm going to blur. Go. Gendler is standing enough, maybe even a little bit less. Let's see how the aid will do, maybe seven. After that, I'm also going to cover this highlight with the color white here because that's how the light is distributed here. We can't just toe keep this highlights because the lips would get a little bit flat. So maybe around this level and now I'm just going to go up off the curve adjustment layer. Not too much. It's actually just to the level it was before. And you can change the blend mode to luminosity so you keep this color. Let's see before and after, and this is natural color, and if you want to have a little bit more saturated color. Probably you would go with no normal anymore. I really want to keep the natural one, maybe a little bit more light. Let's have a look. And now not only we didn't reduce the light on the leaps, but we also improved this in a really nice way. And it has some very nice shine on one thing I see here. We still have some imperfection around edges, so as long as it's not too late, we can always go back. Two doctrine burn or keen up and do some extra fixes, for example, if we see something dark, of course, not going into this with such a high capacity, but we still have time to take care of few elements to make them a little bit better. And the question could be how to retouch on the lips and the truth. ISS. You re touch them exactly the same way as everything else with the basic tools. The problem is, leaps are often over retouched, but you want the leaps look natural. So that's why I'm not using anything else, because I don't want to make the leaps look fake, and we always be going with on the natural tools to give them recognizing no trouble results. And you can remember how I was actually cleaning up the background and I was making selection. And if something going out off the lips, you can make yourself a selection with the with the pencil and clean this around with selection, that would be probably the easiest way. And if you feel calm, confident as me, you can just do something as I am doing right now, as you can see with Cranston just trying to make sure the shape is okay, So very small changes. So this is how I work with the leaps. This is how I work with the lines on the leaps to make sure they look absolutely perfect. 34. Personal Advice About Lights: we are finishing section about the lights, and at this moment I would like to tell you few things about the subject and few things that could be taken as an advice from someone who's a little bit more experienced. And I was getting advice in the past as well. And one of the advice I remember is you need to find creative photographers and this is for dogs who on do photography, who do retouching as well. You need to be creative. So when you go with contrasts, of course, we did some contrast at the moment, and this image look really good. It has great contrast. But don't forget that there is many Rita, Cher's online and many photographers online and in the recent years, teaching off retouch God very popular. And because of this, there is many images that is very similar to each other, and you always need to search for your own style. So once you do the contrast, I always try to encourage people. You need to know what you're looking for. Maybe your style will be creating more off our traditional photography effect off film effect or something that you have for yourself. maybe some certain color grading. You can't forget about those things. You don't want to be photographer that create the images for others. So this was the lesson about creating a very basic contrast. But there's some things that can go a little bead feather with the light, and you are always free to get your own style. When it comes to the contrast, I'm going to show you a few things that I might apply at the very end. But once we are at the subject of flights, it's very important to mention. For example, I could go with this image, and that would be perfect image as the advertising or for photographer. But you can go with some different style off the image. That's why it's always important to consult with the photographer or if your photographer, you, of course, will be deciding by yourself. So I want to show you, for example, very common style, which is washed out image and creating sort off film. Look, I'm going to create curve adjustment layer and in curve adjustment layer. I was mentioning to you days before we can easily washed out image by dragging out up the curve off the shadows and dragging down the care for the highlights. So right now we actually knocked down the contrast. Don't worry. We can easily get it back by bringing back curve to the certain level. And as you can see and just with this simple steps, we change the effect of the image. I wouldn't change for these blending mode to luminosity on, because that's way to saturate it. But if you're looking for something different, I just want to show you that there are other opportunities that you can do in photo shop. So that was the first example. What you can do with curves. You can, of course, to the same with levels. Or you can do the certain thing. Also using explosion. I was telling you about offset, which creates this sort off film look really perfect, old fashioned photography. And this is actually something out and you're using. So, for example, I would want soft offset and now it's like in off the contrast, so I would bring it back by the level. So in here on the export, I wouldn't change blending mode to luminosity because they scare over here would get very saturated but on contrast, off course I would change toe a luminosity and I would get back the contrast I lost and bring him some of the highlights. So I think maybe I could go even a little feather toe Oneto eight. And as you can see, with its just something different on not very big step but because of this simple think all right, image already got very different character. So this is not something I'm going to do in this moment. But this is something I might consider on the very ends to do in some final adjustments. And as you can see, this image doesn't look worst because of what we did. But it just looked a little bit different. And that was very important for me to tell you Don't forget off different ways off working . And don't forget that your image might have different looks. Don't stay the same. Be creative, experiment and understand how far the shop works off course experimenting house. It's only meets because you always have to go with things looking good so we cannot do the things that has a result will look just bad. Unacceptable that will have weird color or some unexplainable light. But as long as it's in the wrench off beauty and in the range of good taste, you are free to develop your own style by using different adjustment players and the knowledge that I teach you for this cars. 35. Changing Background Color: in this section. I'm going to teach you everything you need to know about colors. And in the first lesson, I am going to show you how to change background, color, toe, any color you want. And I am going to show you two different methods. One method allows you to actually really natural results. But sometimes it might be a little bit more difficult toe achieved every color you wish and other method allows you to achieve absolute e every color you could wish but could give you slightly less natural result. But you will decide. So why am showing this lesson why I am starting from this? Because in the next lesson, I'm going to show you everything about the adjustment Layers were going toe talk about how to color great damage and do some toning. And it doesn't mean that on this image I want to change the background color bad that this is very often ask questions by the people how to change the background color. And that's why I am going to show you how to do this just in case if you need to change the background color on your images. So the first method will be with the use off hue, saturation and jasmine player. What is important toe understand here? How does hue and saturation works? So you allow you to change the hue from plus 180 to minus 180? So simply speaking, 380 degrees, you can manipulate the color off the image and saturation is simply density off this color . So I am going back toe values is Iran, and first thing that we are going to do, we're going to the mask and defined the mask off the background. So I am going to select color wrench. And as you already know, with the sampled color, we will be able to choose the color that actually exist on the background. And I think the selection we got is not too bad. So let's hit okay. And of course, to have really well selected background, we need to do some masks. So we need to paint over inside the face and close to the edges, and you must know this example off. The image is actually very difficult. So and why is it difficult? Because the background has very similar color to the face to the hair, so we had to actually distinguish the color that is very similar to everything else. And, for example, that would be the white color off the background or the background could have red color green blue. This task and the selection that we could get would be much better. So this is actually something difficult you could get, and I believe that many off your images will be much easier to do. So let me speak on this process because this is just painting. So I will try to do this as fast as possible. You really need to be close to the edge. This is very important in this case. On the better you paint inside, the more natural result you will get because you don't really want toe affect anything insight as well as you don't really want to get this effort off. Really cut out Person from the image. Let me see Awesome over here. How's the hair? As you can see here, it's a little bit trouble, some in this case, but we'll try to get this as good as possible, so we will see how we got this Could be for sure. A little bit better over here. Step back. And I think we did a pretty good masking a little bit more on the bottom, and now is the fun part. So I'm going to press our direction. Hit on this because I don't see to need to see animal. And here in the next to the master, you have this hand, and this hand allows you to define. Actually, which color is on the background. And as you can see this, recognize the color US rights. And if you want to be, maybe even a little bit more precise and get the separate color that it finds here. You can also choose this eyedropper on the bottom and choose the color that you don't see on the image. So, for example, I don't really see blue, and I could hit them background, and I will have this recognized not as threats, but red's, too. If we don't really want toe affect the original one so two ways you can choose the hand and grab it so it will recognize from the custom colors, or hit the eyedropper and heat on the background, and it will recognize the color and replace it with the color that you chose here. Once it's done, you can manipulate with the hue to change the huge toe any other color you want. And the best recommendation from me in this case would be off course to choose the color that is close to your original color. Because sometimes when you ego really far as you can see, we could probably get just a little bit off banding. We could easily sort this out by blowing out, and I'm still quite satisfied with what we get here. And also, as you can see, you can change any color we can go even to read or the purple. I think the purple could actually match to this image because we have some warm, orangey tones, maybe a blue color that always look good with the portrait. But I will talk about days to you a little bit later. If I would choose here, probably would go with some color that it's similar. I feel this stone is really good for the image, and I'm not huge fan off changing it. Also, you can tell Brendan mode to color, so then you will make sure that you will get even more natural result because you will not be changing the contrast and then you will avoid also this weird banding. So let's have a look really nice and natural ethic and now the other method don't. It's probably equally as effective and also maybe a little more troublesome to do so because we actually need to create actual image. So the first method is for sure, my favorite method here. And the other method is we need to create actual stamp for this. So I'm going to create on the top off the contrasts command option shift and e. And now my images created on the top. I don't really want to have color here, and then I can create the layer mask. Or I can just take the selection and create the layer mask first and then let me create the color on the bottom so we will see what is happening and off course. We need to invert this layer mask because the white color the affect is visible, so we have actual layer black invisible. When I invert this, my background now will not be visible here. So if I am going to add any color under this layer, you can see that we simply replacing the color in the background, and now you can actually choose everything you want here. There's no limitations at all. If I would like to choose something very different and soft out, probably go maybe with bluish gray over here, something that doesn't really dominate over the image. Maybe the green colors could also on do the job. As you can see, this looks really beautiful. Let's see, with some other colors a song as we don't get crazy. We can really much most of the colors here, So let me to something soft like this. And also and that might create some difficulties if you use normal blending mud with really getting the luminosity values right, So it's okay to change it to color, and then we don't really affect anymore and any light values, but just the color. So the contrast are exactly the same as before, so it pretty much gives you exactly the same result you could achieve by the hue saturation here. So you still can manipulate, of course, with saturation and the color. But of course, on the end, you not affecting the light the light stay equal as it was before. So for natural result, you should probably always work with the normal blending month. And this is two methods I wanted to show you and great mantles and easy ones for changing the background. So if you have problem and you need to change the background now, this wouldn't be a problem for you anymore because you know too easy ways how to change the color off the background on your images. So I am going to remove this now and then we are going toe talk about color more and discover something about color grading and turning off the image. 36. Match Skin Tones: before we start color. Great. The image we need to make sure that the skin colors on the image are the same and not try how you see it. But for me, this hand over here has different color than the arm here and in the face. So for sure, we need to take care of this. And we can even compare the hue values. So if you have some problems with recognizing things, you can create the new layer. Choose that eyedropper and then check the color in the certain area. So I'm taking the hand here. 27 26 29 26. The hue over here 28 now and checking down here. As you can say, it's more like 24 25 27 23 down to 19 in the shadow areas, of course. But in the medicine in the shadow areas here, we still don't have a slow us here. So we have these few Hugh points difference, and on the face of 26 24 quite uneven and still slightly less than earned the arm and hand here. So we for sure need to change the hue on people beat and I'm going to show you how to do it easily. So I am going to remove this empty layer and then I am going toe hue saturation, and I am going to name this much skin tones, this really easy task. And in most of the cases it could be even better because, as you can see, this arm discovered a little bit, so making the selection could be a little bit difficult. But first I'm going to try to do this with quick selection toe. So also, plus here so quick selection toe will allow you to quickly and select the object and recognize the edges. So the difficulty might be on the fact that, as you can see, the edges are similar to the surrounding Karius. So we need to be really careful and make sure we don't get over the edges, for example, to the bank around here. And here is not a peak issue and also not here. And then I will be continuing. So this selection here comes, well, a little bit more here, and I think we did well us here as well. So a little bit more here and now I'm going to correct. Once again, the edges are not fully perfect, you know, areas I want. For example, here we covered some of the shadow, and for sure, we might actually paint it manually in few areas. But for now, this election is just fine. And what we're going to do, we're going to press command or control. And I So I already did this and you can see I inverted the selection, so I don't want this selection and more. I'm going to heat on days and I am going to check if this election is right and we are going to remove all of the small things that's supposed to not be here, for example here, as I said before, not really perfect selection, but it will do the job. I'm going to blurt this out just a little bit to make it smooth, to make the smooth transition, because that might be a little bit harsh. So I'm going to set the blur us eight pixels on the moment not to match. Also, you can go too far because the effect will not be as nice and of course, runs the effort to be visible in the hand right now, their hand and arm is in the color black. So I want to press command or control and I to invert this so their hand and arm will be color. Right? So the effect will be visible on this. And then I am going to open hue saturation and first of all, we can manipulate with General Hugh on the master and for example, taking down two points more likely will solve the issue easily. With this arm, you can see the difference is already visible before and after. Really simple. But we don't really have to use the master because we have. We can use a little bit more selective process over here. So, for example, I'm going to choose this hand and see once the color is here and it's recognised us rights . So then we can slightly change the hue. Two points, maybe three points, because it's on Lee the Reds. And now everything is sorted. As you can see now, these arm it's much in the rest. I can see some mistakes because I can see, for example, the fingers here got out. It'll be threat. So what's to do in this situation? I am going to choose the white color off the brush and on the mask. I'm going to paint on this with the color black because I can see that this part doesn't really need and Justin off saturation. So I don't really want this area to be affected and everything else now match to each other . Face arm here, arm here is looking really good. So we will be ready. Toe color graded the image off course. You need to check these things on. Each image on this is actually portrait, but it often comes with hands compared to the face or the legs compared to the rest of the body. So with the portrait, it doesn't happen that often, but it does happen. And if you work on different kind of images, it might really happen, especially on the full body shots. 37. Color Harmonies: Some of you probably heard something about color harmonies about color theory, and this is one I want to talk about in this lesson. So why is it important? It's probably not, um, part off the color grading itself, not the major part. But understanding off the colors of the image is super important to do. Correct color grading. So what? This color harmonies is a different composition of colors on your image that you have to understand to do the right color. Work later, and I always recommend toe open the website color skin designer because it has pretty good color wheel off course, you can find the color will. In Google. You can find the color will in photo shop, but color skin designer has pretty good one, and it has well explained different color harmonies. So the most common color harmony that exists probably the easiest to understand is complementary color harmony and you might remember previously were changing the background on this image, and I come out with some sort of blue solved blue cyan color, and if we would have this blue bang ground, the color harmony off the image would be complementary. I believe this was color around this, and the orange is skin tone because skin tone is always in orange tones, so on. That would be complementary color, harmony and the most basic one. We have also try and the color harmony, which is something like a complementary one. For example, we have Bill background or something, or orange skin tone. As you can see, we have two colors opposite to this, but it's pleats. So it's something like split complementary, the triumph harmony, something like a split complementary. We have one primary color and to split secondary colors. So this toe very singular. Techtronic Not really don't common in the beauty because we have four different colors. One might be slightly more dominant, but it's often used toe. If you have many different elements, you use different colors to make sure they pop out from the image and are visible. So this is not something very common, and now something that we actually have on our images, and it's Anna logic, color, harmony. Look at this image. You could think, Wow, I don't know which harmony it is because whole image as pretty much the same. It has this creamy, orangey tones. Maybe accept them some makeup here, but it still would be off course color, harmony, an allergic, warm colors. And this is exactly what it is. We could have some accent, which would be the makeup and the lips, but it's still in the knowledge, color, harmony and the color. Harmony, as we remember the hue was somewhere are probably 25. So does their, like dominant tone. And then, um, the other colors that exist goes maybe somewhere to the reds as well, and somewhere toe the yellows, depending on the area off the image. So understanding the colors understand the color harmonies. It's super important. And once you have the color harmony, you know what the color harmony is. You might actually understand the palette of the color. These colors are not so soft on that quite saturated, so we have warm times off saturated colors, and that would be our color palette. Maybe somewhere between this three lines, as you can see here, that would be something closer to our color palette. Of course, we found this purples, so that would be a very narrow and having this information, we are going toe work on these images were trying to do some colors first. Of course, we understand the adjustment layers and how toe work with them to get the colors who want. 38. Color Adjustement Layers: in this lesson. I am going to tell you everything you need to know about adjustment layers that we use to work with colors, so all the adjustments will be visible for you over here. If you're adjustments panel is open. I don't really You like to use it here. I prefer to go down and use this icon on the bottom so quickly explaining, I already tell the you told you before that some of them adjustment layers are used for exposure. Lights, shadows, contrast, and this is brightness, contrast level skirts and exposure off course. It doesn't mean some of them cannot be used for the colors because curves, for example, and leave ALS also can be used for color grading. We have three different channels, and this is the crucial parts. The channels is crucial part. Then we have the color adjustment layers, which is vibrance, hue, saturation, color balance, black and white. It's if we work with black and white image of want to convert this image to black and white off course samples. A photo filter on. We have channel mix, seller and color Look up is many for lattes, so it's not really part off color grading and on the bottom. We also have selective color and Gregan map that we also use for color grading. So I am going. I opened some of them the major layer stand we are using, not all of them. You would be using eso from them. Lights, I choose curves levels were adversity more and curves. It's a little bit more advanced, and I think it's in top tree off mind when it comes to the color grading. I'm not using this don't often, but I do really like this as well. And I know many people use curves I as a major, too. So in curves you can work with three different channels with red, green or blue. So how does it work? For example, if I'm going to choose the Red Channel and drag up this curve, as you can see, I am increasing the red cologne, and if I go down, I simply and decrease the red color the fingers on the left hand side. We have the shadows on the right hand side. We have the highlights. So, for example, if I'm going to increase this curve up here and go down on the bottom. What will happen? We will be the Christian, the red color in the shadow area and increasing the red column in the highlight area. And exactly the same will be with anything. Girls, for example, decreasing here. I decrease the blue so opposite yellow and increase the blue. So that's how it works. And this is not really perfect color grading, but off course. By manipulating with this curve, you can get good results depending on what you want to achieve, not forgetting that this image is Anna logic. So you would have to go with similar colors that you have and try to increase once the best on this image. So once the curse is done, we are going feather, and this is the vibrance. So this is very similar to the hue saturation layer, with the difference that we have no Hugh available. We have no lights available, and we have no other colors available, so you can only manipulate with vibrance and saturation, which is very similar to the tools you have in camera vibrance. Simply very similar allies like saturation. But it preserved the orange is much better. So, for example, even now, if I increase the vibrance up to 100 you can see this image is not so fully saturated because vibrance preserved oranges. And if I go down, this image is not really fully de saturated because oranges, reds and all of the skin colors are well preserved. And with the saturation, if I'm going to increase this to 100 as you can see now, we can really see the saturation is much stronger and think with the saturation. It does affect every single color on the equal lever, so this is a vibrant saturation. Next on hue saturation, amazing saturation was already explained. We also have lightness so we can manipulate with the light, and we can increase the line they crystal light. We not really using this for the color work, but we also have few, and it allows us toe change the hue off each and certain colors to fruit 360 degrees and what's really great Over here on, we can change the colors and we can be really selective to each and specific color. So, for example, choosing the Reds and manipulating with here we on the effect the Reds off course all image will be, in this case affected because threats exist strongly in the oranges. So do we have another column made? Yellows will not be that much. Also very similar yellow threads. So this is how it works. And you can manipulate with this with every single color you have here. And this hue saturation toe is really powerful when it comes to the color correction. Next for the future, simply just filter. Don't you want to apply on the image with one color? So, for example, you on toe have warmer color. You might choose one off the futures that exist here and our custom, or you can choose the color and choose in the color you want toe put, apply to this image and then density off this color. So if we increase the density as he can not this we increase the filter. If with the Christians density to 1% it will be barely visible to 100 really strongly visible, very rarely used photo filter. But in many cases it might be actually quite useful channel mixer, something I barely use. But still, I believe it's quite underrated. So here we can manipulate with tree different channels red, green and blue. And by manipulating off the amount off the light in this each and specific channel, we can manipulate the color. So, for example, we reduce that red light in the red Channel and increase the green. And because of this, we can manipulate the outcome off our RGB off the image. We can also switch to monochrome toe, manipulate with black and white image and get the right channels here. So this is a little bit more complicated. Adjustment layer, as I said, not completely useless. I don't find it very useful for me, but I think many people could actually work with this. And then we have also selective color, which is for sure one of my favorite tools in photo shop because it allows you to choose different colors on the image. So you have the colors from reds, yellows, greens, science, bluesman agendas and then we can also work on the white so very similar to highlight no trials which will be basically meet tons and blacks, which will be shadows So, for example, want unjust the reds a little beat we want to make them cooler will increase the science on the Reds or maybe want to make the Reds even stronger. We will decrease the Sion. We might increase the man gentle on the reds or decrease magenta. We can increase the yellows on the reds and the black color on the reds. As you can see, this is extremely powerful adjustment layer you can have and you can do this with every single color. This is really important to mention that we can actually do this with yellow, green, blue, whatever you have on the image and then also working with white. So, for example, if you want to increase some of the Siam on the white, you know, Chris, and as you can see, these areas that have some white will get some off the science color, the crease, some yellow also, for example, and then for the blanks. You would like to do something couples it and you would get as you can see you to increase the color in the area. Starter black. We have the blending month normal dance. Why this weird washed out effect? But if you would change it later on toe color, off course outcome would be different. So selective color really powerful when it comes to manipulating with very specific colors , and I do find it extremely useful, another tool. And but for this tool for the great and map, we have to have a different blending month. So in great and map, you choose the color for the shadows on the left hand side and for the highlights on the right hand side. So, for example, in the left hand side, which was this creamy one and for highlights, let's choose something no so dominant. And then you could change it. Toe color blending, not reduce a pass ity, and we change the color a little bit. I wouldn't say it's something that I like, but I do use great in my really, But I do soft light. We would increase. The contrast, also here says You can see a little bit difficult to manage, I would say, because of its nature, and if I have to choose a few purpose selective color curves and last my favorite tool well with the color balance that allows you to do really a lot selectively on the shadows, meet tones and highlights. So, for example, you can choose the tone shadows and you can color great the image really being selective to each area off the image. So for the shadows, you can increase the reds and yellows for the highlights. You could increase the blues and science a little bit. As you can see, this image changed outcome completely. If you don't want toe affect the lights, you will just change blending mode from normal to color. And often I do color grading just using this one tool. But for me, it was important toe present you this complete, um, set off adjustment layers that we useful color so you can experiment yourself and find what do you find really comfortable? So I am going to remove this layers and in the common lesson, we actually going to do solid color grading are using the tools that we will find useful for this image. And we will try to be selective, do something soft and natural 39. Color Grading with Color Balance: let's start our color grading process, and I will start from the tool that, for me is probably easiest. I am going toe set up the general tones off the image using color balance, and I am going to show you how to create their masks off course. We did practice this before, and the truth is, you can use the mass that you use for contrast as well for your color grading to be selective for your work. So, for example, if you want to color great just the shadows, then you can create the mask toe color. Great. The shadows and I'm going toe start from color balance, and I'm going to create toe color balance layers. One will be foreshadows, and the other one I'm going to press command or control and J and other will be highlights . So what do you need to know in the color balance? We can choose off course and meet tones, shadows or highlights in some other tools. We can't really use this so often when I use color balance. I don't actually split them, and I don't create the masks, but often you might use curves, for example, which doesn't allow you for such an amazing control. So then you have the deep how you can work even more selectively, and I'm going to start with shadows. So I'm going to image apply image and everything the same as before. I wanted to do this very soft mask later merged and Bennett multiply and the books inverted for the shadows and for highlights. Eat would not be inverted. So now I'm going to hit okay and I am going toe shadows. So if you know it's that I noticed by looking at this image before, I think it might be a little bit too orangey. And because of the fact that most of the orange is around the shadows area, I will try to sort this out. So I will try to aunt a little beat off the blue color toe, read us the Yellow Stones, and also I am going to answer off the Sion to read us some off the Red Stones and have a look. As you can see, the effect is a little bit Coleman and we are also affecting their shadows. We also affecting the contrast not only color wise but luminosity wise. So we'll change it from normal to color. And to be honest, because of this, I actually find out that we might be lacking some contrast. So I am going to improve this. But also I think I am going toe Add just a little bit off the magenta to this image. This is on the effect I like. It might be a little bit strong, bad. It always takes some time to get used to to the image to see if you didn't go overboard with this. So I was working with contrast What I want to do here on to go to shadows and see and let myself to go a little bit feather because I felt it might be looking a little bit better with slightly more contrast. So the shadows are done. Now I can simply invert this mask. So I'm going to press commander control heat on this shadow layer and then command or control and I And now my highlights are defined. So for the highlights, I will try to to something different. We'll see highlights and I am going probably toe warm this up just a little bit. So actually our image will get slightly more equal, and I think that's work well. So I'm going to change planning more to color and now shift Selig, both of them Commander Control, N G. I'm going to name this color balance. Let's have a look before and after. As you can see, it's less orangey, and I think it does actually suit really well to this. We will be doing probably a little bit more what I recommend you let yourself rest, and it will be to make sure it does look well. Also, I think we might take down one point a few for the hand. It still wasn't enough, and now I think it's much better. Now Let's go to this other image. I'm going toe, create color balance, so that will be shadows. I'm going to copy this now. We'll be highlights once again, I said you don't really have to do two layers if use color balance. But right now I want to match the effect to bump off the images. So off course, I am going with the same way image applied image on this will be inverted, and I'm quickly going to do the mosque for the highlights as well So I am selecting this and inverting so hitting on this control command hit on this 10 control or command and I So both of them has to have color blending month and let's have a look what we did here. So for shadows, we had minus four, minus one and plus five. I wasn't really using meet tons. I really use it, so we will try to do the same, but it doesn't mean it will be same result because the images always are slightly different . But it's a good starting point to apply the same settings. And then if they don't really match to each other, you meant to fix this. And then I'm going to highlight most, agreeing to go with same plus two and ministry so just a little bit off red and yellow for the highlights. And we can put this to the group command or control G color balance. Let's have a look before, after and before after. I think this image is slightly stronger and this is the answer for how I want to color. Great if I want to munch as it's stronger, a little bit more off the blue here and also, I think slightly more off magenta. I think it's a little bit more red, so actually, I like this image a little bit more. So here I am going to read us dish a little beat or this one is more red. This is one. It's less okay. So down service I and going to make it a slightly more red and here increase the Siam a little bit to cool it down. They're still a little bit of the difference. So the think with adjusting it thus retake the most. A little bit more sion. And now I feel the images are much better. Maybe one more, one less. Here, let's have a look. This image and this image both off them color wise are matching each other, so you to make sure that they look similar. If it's the same set and at the end you can actually check if the color values on the image are the same. Easy way to check this is through them. I drop so I'm just in the brush out corruption hit on the background because through the background we can see in the background 24 26 on the bottom 27 24 here and we can go toe other image and see the values here a swell. So it's 25 24 26 very similar values over here, and then we can also take the skin. So I'm going to check the shadow here on the shadow. I half 17 on the other side, 20 on the highlight 27 off course. We have also saturation values that we need to pay attention to, and on this image shadows slightly less, as you can see. So but not big difference. It's actually 17 nearly on point and in the highlights, also a very one point. So this is most important and match the images to each other. The small differences might actually exist because every image has small differences, but in general, you need to make sure that the images does look very similar as long as they're from the same set 40. Adjusting Color and Saturation: in this lesson, we will go a little bit further with the colors and we will be doing small adjustments off hue and saturation toe. Make sure that image have the saturation value that we are happy with, and also that the colors are much in perfectly and I will be using to adjustment layers for this one. Adjustment layers to work with the color hume. The adjustment layer that is really great for this is selective color to work with the hue , to adjust the hue off each color and for saturation values off course working with hue saturation. So I am going to selective Colorado first, and I am going to name it Hugh. So I'll be working with you off the colors, and I have two colors off these image that I want to take care of. Looking at this image, I can see it has slightly on different hues, and then this image. So I will be working with yellows and reds. What I want to do for reds the rather strong. So I think I'm going to take down some of the sion and I am going toe. Add some off the yellow color for this. So this image become a little bit yellowish right now. Maybe it's, ah legal too much, but we will see what we can do with the yellows here and from the yellows, for instance. As you can see, the shadows were really strong red so and yellows are rather inside. So I felt that the shadows are little to read and highlights our little to yellow. So for the yellows, I'm actually going to take down some of the yellow color and also take down some of the science. And let's have a look. Now you can see that our shadows don't really have this weird, very strong red and all image is rather marine from So I need to hit a few times on this, you layer to make sure that I did everything right because it takes time. It takes time to the eyes to get usedto most of looking at the leaps because I don't really want to change the leaps. I really like the colors of them. So first of all, I'm changing management to color. Also, I'm going to zoom in and I will mask with the color black around the leaps because I don't really want toe affect the leaps with this unjust men's here because I was happy with the color there Waas and we took down some of the red and we indeed want to take it from some certain areas. But we don't really want to take it from the lips. So my opacity, my flow was actually a little too solved. Some painting once again carefully. Summer Look. Now I will paint inside, so I will make sure the effect will not be visible. Once it's done, I'm going to go to Hue saturation because I still want to work a little bit more with the saturation. I want to have last look for this and I feel for rats. Possibly we went a little too far. So maybe on this, and I think this is much better. So now we are going to hue saturation, and I want to de saturate some areas a little beat. I prefer the images that don't really have that much of a saturation. Or at least I want this for this image. Some trees in this hand to define on the color on the stronger color somewhere here, and it's recognized as the red. So what I want to do I want to take a little bit off the saturation down from the red, as you can see on that's quite a lot. Let's see a little less maybe three points or even two points, not too much. And I believe that would be absolutely enough. We can see if in Christian yellows, maybe. No, there is not big need the problem waas with I felt the images and it'll be too saturated, so I don't really want this. Strong colors dominate so much. And of course, um, I don't want to disintegrate the leaps, So I am going to makes election. Hugh, I should do this before invert days. So we have the lips must know I'm going to invert hue saturation layer so the lips are masked. I'm going to name this saturation and what I'm going to do. Then I'm going to go to Hue saturation, and I'm going to name the sleeps and make the selection from this layer again. Invert is here, and I want to increase a little bit of the saturation of the lips. Of course, not too much, because we don't really want to get crazy. So just few points increasing the saturation. And let's put two this this to the group. I'm going to name this. You sat as hue, saturation before and after. As you can see, this image simply has a little bit less saturation. And I'm going toe Apply some settings to this image, which you could see on. This image previously was more saturated. This was a little bit less so we are going toe match this and it'll be more. I'm just checking if this image doesn't have too much red because it makes me feel that we might actually have Ah, a little bit too much off our red, actually. So I'm reducing what I did here. And of course, what I am going to do. We are going toe match this image. So we are going to apply the settings over here. Ah, little bit less because now this images are more similar. Bad with the same tools I'm going toe, apply some settings to this image, probably halfway, and I believe the images will be much into each other. 41. Final Lights - Washed Out Film Look: and we are nearly done with our retouching, and it's time for final adjustment. I'm going to show you some really good final effects. Final adjustments is something quite connection off. Working with flights and colors on a little bit smaller scale where we correct the colors, we fix the saturation where we want to improve. Their contrast maybe declined to contrast. We want to do some different effect with the lights, and I am going to start with some light effect die that I mentioned to you before. I want to create on this image, some sort of feel more look more off the effect that was taken by the film camera by the traditional camera. Something deeper, something more with character. So I am going toe wash out this image, and for days I'm going to use exposure and offset. So I'm going to increase the offset toe 0.1 to 8. Not Strunk. Actually, now it's a really nice ethic that we are getting here. And as you can see, we also decreased the saturation off this image That looks pretty good, but we're going to change the blending mode to luminosity after because you will see how we change the saturation, but it always depends to you. Sometimes you might do something and think, Well, this dis operate that look a so much better that what I plan to dio. So then there's no need to change planet month from normal toe luminosity and then I'm going to levels because I want to increase the contrast that I lost. So I'm going to try to preserve the effect that I have here. But also I want to. I don't want to lose the contrast. So I'm going to manipulate maybe just a little bit with the mittens off course. I want to increase the highlights and also increase the shadows. And now we need toe change management to luminosity. So this is how it looks and the effort is really slightly de saturated. I feel maybe it's too dark, so I'm actually going toe, not go so far. With the meetings here and maybe something on this result there contrast is really deep off course. There's a few different methods. I think levels in this case work really amazing for work. With the contrast off course, something easier in this case would be for example, going toe brightness and contrast and increasing the contrast If you want to go just with simple contrast, of course switches blending moto luminosity and then you can easily manipulate with the brightness as well. So there's a few different metals. Let me activate this levels here, and let's have a look again. I'm going to have a look. Maybe I might go slightly Feder with this. Let's have a look. And now I am going toe rename this toe wash out the 1st 1 and the other one contrast. So let me put this to the group. I'm person shift, selecting these two layers and then command or control and G and final lines. That's how I'm going to name this. So look before and after what you can see this image good, really de saturated at the moment we have this washed out effect, but the saturation of values different, and I do really think it looks amazing. But even for better control, if you are not sure yet, switch blending mode to luminosity and better, said ump, the this sort of things like saturation. A little bit later, I want to coastal anti for them. Uh, with doctors here. And so as you can see, I'm actually changing a little bit off my adjustments before and after. I want to have really deep shadows here. But of course, all of this what we do here has to have really good violence. So we don't want to lose the shadows. We don't want to lose the shot highlights. Everything has to be really nicely sort out. I wonder if I can go somewhere slightly in between on this level, and that will be probably a little bit better. So the first image is more like it sorted. I really like the contrast that death we have here. It's absolutely amazing and similar. Think I will do my other image. So I'm going to exposure. I'm going to name its wash out and that was zero 1 14 It's quite strong. I sect and then two levels contrast, and we'll try to get the contrast right. So, looking at this, we have, like, 17 here. I'm checking again. How's my shadows? Looks like, so we have 17 to 37 We will get to similar Level 17 arm to 40 here, and this is actually darker image, so I'm not changing meetings here. That would be a little bit too dark, so I'm rather staying careful here. Maybe around this liver level, I don't want image to get too dark. And also blending month luminosity. And also this washout effect. Luminosity. So this is the result. I actually think still some change here, and it'll be more of a contrast. And on this, let's put this to the group. I'm gonna name this final lights a small one. Have a look before and after. And look what we really achieved. The beautiful highlight around the model hunts and death, all the shadows. It's absolutely beautiful. What we were able toe achieve here and the shadows are not still on, not fully dark. And we got this really nice deep film look that I am looking for. So as you can see on the end, you can still manipulate a lot with lights and achieve the effects that you really desire. The efforts that give some extract character to your images 42. Camera Raw Filter - Final Adjustements: one of my favorite things to do and the end off retouching issues Camera filter in fourth shop which allows you toe on just the saturation values, color, values and contrasts in photo shop on your image. And this is why Auntie and after everything here is that of course, you can adjust your saturation values by some other tools. I feel at the end using camera filter. It's really amazing, but to do this first, we need to create this stamp on the top. So I keep selected the last group or the latest layer, and I press command option shift and eat to create a stamp. We need to do this at the end and I am going to name it final. We can name it stamp, we can name it, layer. We can name it image, whatever you prefer. And then, of course, you want to work non destructively. This is why this final I convert into smart object because once we convert this into smart object, we can go to filter. We can apply the filter. If we are not satisfied with result, we can change it anytime, so this really allows you to work selectively and nondestructive E. Once it's done, I go to filter and camera raw filter where doing the final color saturation and light adjustments. So mainly I work with this basic panel, for example, for one toe increase a little bit more. Contrast. As you can see, it doesn't really help you to increase some contrast. So I might go a little bit more with this contrast, and I want that blacks off this image be a little darker and why it's I better be careful because we already have really strong highlights. So I really want to have strong contrast here before, after this is actually huge difference on little less maybe and a little bit less contrast something on this. It's a little bit stronger, but it does get more saturated. 20 work of contrast. And when you change the values here, it does change the alteration because we can't really change it into the luminosity blending month right now. So I always pay attention and I don't treat this and the same as the layer. But this is the image I look at, and I think what I want to be the final result that I want more contrast are one more highlights that want to have deeper shadows and I go with this and what is the saturation that I want to see? If I see the saturation being too strong, I just simply go toe saturation slider and I decrease the saturation. And I think this would be something I'm looking for. I'm going low because I don't really want this image to be has yellow. So I'm decreasing the saturation and I was to try to look as you can see it, slightly less saturated. There's before we could probably go with a little bit more here. But there is other think we can also use east to use hue, saturation ruminants, which will be also very powerful whether it comes to saturation or not. We mainly have oranges here, So, for example, we want the Kristan oranges. We can simply take down a few points off. This orange is here as well. I really like the look and the Hugh. Whether you want to manipulate this into more reds or into more orange is something on this . I think it us look really perfect. And of course, do we have any other colors? I have some of the green, so I will see if I can affect the green. I can see this is mainly the yellow that we have here. But this is also quite risky because there's some yellow around the skin. Swell. So be careful with this yellow. Let me see if we can brighten this up a little bit. I want to have bright yellows. Wouldn't go down like this because it's simply you can see it. Thus flatten image if we decrease the yellows. So a little bit up here who look before and after really amazing and strong contrasts here . So these are the things paying attention to eso highlights contrast Hughes and saturation values. And I will spend probably a little beat checking of. It's all correct. I can really guarantee this is exactly what I want Here. I will be looking for a little bit more If this is what I look, it will take me a few minutes. Probably. I'm gonna close for the shop, Have a look if everything is correct, if I come back and I feel well, I want a little bit less off highlights. I'm gonna decrease the highlights if I will think I want to have less off a contrast, I'm gonna decrease the contrast. So this is my method off trying, and that's likely this. I simply try. I see if this is really final results that I want to have and when I'm happy with this, I'm going to hit. Okay. But yes, that's hit. Okay. And what you can do, if you have a lot of images and you do this, I will show you something. Come, you have your settings done. And if you want to start with the same settings for other image, you can save the settings that you did in here in the camera, which is simply speaking, saving up president. So if you Onley increase the contrast here and highlights, I wouldn't recommend you to do this. But if you do more things, you can actually do this so you can save the settings safe, and you can I recommend you to save it wherever you work. So I'm gonna save it in the same folder that my images are. And I'm going to name this final steps Number one, and then I'm going toe apply the settings on the other image So once again, final, final stamp, command option shift and e or control out shift and e. Then convert this, Of course the name and convert to a smart object. So looking at the sea Mutual already now, with green, we will not be necessarily needing increasing the green or the yellow that we did because we don't really have this color here. But we have seen our cars off the other ones and we will try to apply singler settings. So I'm gonna heat load settings and what I want to find. I need to find the same settings that I just saved for the image. And then I will apply the same setting. So as once again, if that would be not too much, so you can remember what you did. You don't really need to do this. But if there is more often maybe worth Toe and some settings, I think this is, um this looks actually more saturated to me than the other image. What I would do here, maybe even little less here. But I feel this image a slightly darker. So also in this image, I'm increasing just a little beat off the oranges That's how I looked before and after really nice and crispy. What we can do as well increase a little bit off the reds if if you can, because sometimes you have a lot off threats in the skin. So this is something difficult to do. But I can see here with it rather well. And then I can heat okay, comfort the images, this one to this one one more. And I think we really nailed the color and saturation values. And this is one off the favorite things I do at the end. This is one of the favorite tools, using camera to a chief, the colors and lights that I want to be at the end off the retouching that I want the image to have these colors, the saturation and this lights camera allows you to be really precise with this 43. Liquify Filter: and in this lesson, I'm going to show you how to liquefy small elements on the image. I do this at the very end because sometimes we might be not sure about the thing. So if we have something to liquefy, the best is to do this Auntie Vera end and the same as you can see I do on the same layer us our use camera. Raw filter on. This will be the final stamp on the top because liquefies also the filter. So whether you do camera first and then liquefy or liquefy first and then Camero, it's fine. So once it's sorted, I'm going toe filter and liquefy. So let me zoom in a little bit so we can see there elements a little bit better. And mainly we will be working with this first tool that is called for Old Tool, which is basically, um, brush that allows us to manipulate elements on the image and on the run hide side. We have brush toe options. So first of all, we have size of the branch, which you can switch using your short on the keyboard. So if you don't know short kiss, there is the lesson on the beginning with major short keys that you might need to use in for the shop. Or you can adjust the size by this lighter. Also, then density, which is how dense you want your brother. So I keep it at 50. And as you can see, it's not really strongly close to the edge. But those are not just on the center. It's a quite in between the density off this brush and also the pressure. So if the pressures 100 as you can see, it's, um, we affect strongly the element. And if pressure is at one, we barely will be affecting. As you can see, I barely come off anything here. So these are the basic things that you need to know about liquefy. I just keep it in between and let's mean and with use of this tool, I'm going to liquefy the fingers just a little bit because, well, fingers often are tricky and they're quite exposed on these images. And there's some images that really not not only this images, but many other images that expose fingers some. Why not to do small correction if it can go on to you much better outcome off the final product. So this is one of the things that I must say. I liquefy often. Not many things I do liquefy. But when it comes to the fingers, hunts and such an elements, this is quite common for me. And as you can see, I don't really just a small changes here. Also on the top. I want to liquefy this elemental little bit, so you might be surprised that we do really small changes because I never go with really big changes with liquefy. And, of course, you could do few morphing. So if the hairline is not exactly us, you like liquefy can help you to fix the hairline a little bit. So if you have something that bothers you on the image, for example, the neck is too thick. You can always liquefy the neck a little bit. So everything here it's really basic. You just need to get the shape that is natural and that you want off course. We have some other tools. I will show you packer tool and blow to as well, and because it's simply the 1st 1 which is pack, it'll it gets things inside. So if you want to make something smaller, as you can see that what it does and blow tow opposite to this. So if you want to make something bigger which we don't really need to use on in this case and let me see if there would be something so Froome ask freeze mask if you need to liquefy the element that is close to other element. So for example, close to the edge, you can use the freeze mask and then when you will be liquefied, you will not be affecting the area that you've that you freeze. So it can be really useful if you want to be careful and if you want Oh, work selectively. So this is what I do here using liquefy and this is how you work with liquefy on your images as well. To do this small changes just to make sure that everything looked perfect 44. How to Add Noise: last step I do for my images is added noise. So in this lesson, I am going to show you how toe add noise to your image in nondestructive way and in simple way. First of all, we need toe create empty layer and I'm going to name this layer noise because of the fact that the noise can be added on Lee to an actual image. So, for example, we could add to the noise to the stamp or maybe in camera but on empty layer. It's not possible. We need to feel this layer with some color and make this invisible so on. The one thing that would be visible would be nice and the possibility for these give us the great color. So I am going toe, add it feel and I feel this layer with 50% gray was its field off course. We need to make this gray layer invisible. So I'm changing the blending month from normal to soft light and also right now I want to zoom in till the point. I will see the face clear so I can easily judge the right amount off the noise added. Then I'm going to filter noise and that noise. And I think this is the right distance to judge the noise and really amount of the noise depends on the size off the image, so you can see for beauty. Images on the size of the portrait always will be huge. So 12 pixels added, in this case, it's not, um, making really beak of a different. And also we have two different options. We have garden noise with a slightly stronger because it's very uneven and you have uniforms, so the noises really settled. I prefer to use uniforms. I like this settled nice. And because of the fact and beak image, I let myself to add a little bit more off a noise. But of course it always depend to you. And some people don't aunt noise at all because they don't really think it's something they need for the images. So I think I could really go high with this. I can experiment, get in really strong amounts to see how the strong amounts looks like, But, of course I'm not going to go with something over 20 but you can see, actually, even 25 wouldn't be such a bad decision for this image, I'm going to add something very soft. The reason for this is I prefer to keep it images really soft. They need to have natural effects so on they cannot get as much noise as fashion images. 15% is still a lot for but image. But for this images big size as just on point. So I'm going to hit, okay. And also the next step is I like to break down the noise a little bit and the good way to break down the noise is to blow this out a little bit. So I have my rule for 12% off radius. I would add 0.2 for 15. I can go with 0.3 and then the noise is a little bit soften off course. You can always duplicate the noise if you want the effort to be a little bit stronger If you don't want is a strong you can always manipulate with capacity for this image. The amount of noise with capacity 100% is just on point for me and the reason why I have noise because where never will left, we're still with some imperfections it really nicely break down the cross between, for example, the hairline and rest of the skin. It really nicely break down the cross through the colors and for the shadows, and this is the reason why I think it's really worth toe. Add just a little bit off noise at the end to your images. 45. Thank You for Watching: Thank you for watching this course. Thank you for the big trust you gave me as your teacher. I strongly believe your work will be much better right now. If you did strangle with retouching, I believe this will be no longer an issue. Cleaning up the skin will not be issued The dodge and burn technique, color, grading and everything else that you need to make sure that your images look perfect on the And also I want to say Don't be shy and ask me any question you want. You can send me samples off your work. You can send me your portfolio and ask me, what do I think about this? And I promise you I will be brutally honest with you. So if you want the honest person to judge your work to tell you what's wrong with your work , what need to be fixed? Or maybe that I'm truly impressed and it's better than my work. You asked me and I will tell you if all honesty what I think about your work to find some inspiration and find out what I'm up to. Just check out my website marching because that come where I keep my portfolio. You can also find my portfolio on be hens or at at marching retouch and on the instagram. So if you like my work, feel free to follow Ask me the questions that are asked me the questions here And I believe this is not our last meeting. This is not our last time that we have the conversation, so thank you once again until the next time.