Retouching Essentials in Photoshop

1. 00 Introduction to the Course : I'm super excited by the fact I'm coming to you with this amazing course. But I'm even more excited by the fact you decided to be part of this course. And I guarantee you you're not going to regret that. My name is marching arm Photoshopped, instructor with over 100 thousands of students as well as, um, for the re toucher internationally published for the re toucher, mainly on in the area off fashion and beauty return. So probably I know what I'm talking about and I'm going to give you the knowledge I have to you, and I'm going to give away the knowledge I have to you. But what's the best I know out there? There is a lot, Of course, is that last hours and you're looking for these gems for these keys that turn your good image into amazing image. But it's really difficult because there is tons of lessons talking about the things that you don't need. There is these fancy techniques that no one wants to use because they only destroy your image. And in this course I'm going to give you the steps that going to turn your bad image into good image and that going to turn your good image in the amazing image. I'm not going to talk to you about the techniques you don't need. I'm not. I'm going to give you any filters and short cats. I'm just going toe tell you how to do row conversion to make you retouch better. Then I'm going to tell you how to do Oh, your cleaning up process in the right way. Just by using basic tools, not by using fancy techniques or shortcuts. I'm going to show you how to do this. Quick. Using basic tools we found putting the mess inside your head. I'm going to tell you my favorite method that I'm using toe work with shadows and highlights to improve the contrast. Because I just want you to get better, because I don't want you to experiment with your contrast. I'm going to tell you what works best for me and give it to you. Then I'm going to tell you how to work selectively with certain colors specifically for highlights, channels and meetings and which advancement layers you're supposed to use to get the best results. Which assessment raise give you wrong results. So you want gun. You're not going to get on NASA's unnecessary knowledge. It is going to get the key points to work on your image. Once the best, I'm going to give you the actions that going to help and support your workflow. And it won't be some filter actions because you don't want this. I'm going to give you the actions that support a royal flow and lead you to good results. Also, you can use the images amusing. You kind of fall on my steps, working on the same images, and you can apply whatever you want to them. So you get fully retouching essentials with resource is toe turn you from amateur toe preface, a professional re toucher. That's what we going to do and just to support my words. Here is the raw image I started with and here is that final results. So we walk a little bit, using just simple methods. Really, it's not complicated to achieve this result. So enough talking, Let's jump it another lesson off course. You going to get all of the details about the modern photographer, so check them was just amazing. And then let's do some retouching work 2. 01 Raw Conversion in Camera Raw: as our first step in our retouching will be always Ro Khanna version If you just started a photo shop, more likely your default software for raw images will be adobe camera applying or Light room, which will be very similar, so it's not very necessary. But personally, if I would have to choose, I always choose camera. It just might more convenient for me. Maybe I've got usedto hours to show you quickly capture raw software just in case if you are using. But we'll start with camera, and I want us to be forecast with days at first, so viral images more likely as a re torture you always will be getting raw images. They have more informations. It's easier to get back the details that maybe could not exist in the J pic images. If your photographer and you also start in, remember to shoot in raw images and why you will see during this course wise. It's so important it's easier to bring back the shadows. It's easier to take down the highlights just in case one off this will be overdone. So let's start. I'm not going to open and on the bridge, and I will be working with these three images that you can see here. I feel that really perfect for this course. We have nice highlights. It's natural life. So must come on great for essentials. Andi, I'm going to start with this image. It's simple, so we will be able nicely, toe work through all of the basics. I'm going toe hit twice, and the image will be opened in camera. So what do you see? At first we see these basic panel. Over here we have few other panels. What is important, basic panel. And I wouldn't be working with temperature or anything over here, but must be about shadows, highlights and contrast. The other panel, which is important for me, will be huge saturation ruminants, because if I have been a shift in calorie from one to fix the color, I will be working with this panel. So four steps from basic 23 hue saturation ruminants. Sometimes I use the curves, but all of this can be done in the basic panel. So for your retouching essentials, at first you have to pay attention just today's toe panels to start, and that that's more like in my process and when I was started, I never really paid attention to other things because noise and things like that you will be doing later and for the shop. So what I need to do here first? I always look at us as a that shadows because all the things that are in the shadows are very difficult to read that so what? We want to go. Want to bring them a little bit for retouching. Don't worry if we see too much of the Bagram because later you will work with contrast and you will dark in this. So I'm bringing this up as much as I want other things. If there is too much highlights, you want to take them down because when you take them down, the details on the skin are more visible, so it's easier to retouch them. So this is the step I'm doing. Sometimes you can, of course, take down the contrast, but I don't really like to do this step. It's really after you. So as you can see, two basic steps similar would be working whites and darks blacks. I'm sorry, but it just not really necessary. Like backs could be common But shadows and highlights more likely will be always enough. So first step is this one other thing. You can really work a little bit with saturation and vibrance. I feel it could be really added a few of the parts, but it's it's never more than this. It's, Ah, just optional, like if you feel the general saturation or vibrance, it's not enough of the image. You can do this, and then the second step that we will be doing is hue, saturation ruminants. And why is it so important? Because you can simply change the value off each color, like you can change the hue over here. So if, for example, the leaps are orangey, but you want the more defined into the red, your girl will disrupt you into the left side. Just defined the red color a little bit more. This, um, about oranges, which is very often skin tone. If you feel it's too yellowish, you don't want to go this side, but you would go a little bit more, the oranges defining into red, which can also define your cheekbones. A little beat, etcetera, yellows. I don't really like yellows on the image, so usually with yellows. I would get them a little bit left, so I couldn't see. I just got this image a little bit more saturated. There's a little bit more life, something I like and other things. If you have blues, purples, the same correct correction off the colors over here. I don't have these colors on this image, so I would not be working. Just small definition off the yellows and oranges would be not other things that you would be interested. Is saturation similar us? In the previous step, We're setting up the human use here. We set up the saturation, So if you'll feel death skin tone is not saturated enough. You can simply just go up with oranges, go up with yellows, go up with reds. I could really to sidle evil beat for the oranges just to find this a little bit more on. I'm going to see how the Reds works, like because I once a little bit more on the lips, and that would be it A. So you can see very simple steps. There's nothing complicated, no brain. Washington's this simple steps and how I opened this in photo shop as I'm person achieved. So first you can press open image. But I prefer to press shaved on my keyboard and this little icon change in tow. Open object instead off open image. I will explain you the difference. Also, you can just sweet days over here and select the button openly. Photoshopped. As a smart object, I prefer just press shift and why I am opening object. Let's let the days and the image is open in photo shop. If we would open this as an image, there is no step back getting back in tow camera. But by the fact that we opened this as a smart object, you can just double hit and look what is happening. You are back in Camero and you can Fikse a little bit more If you open this in fourth shop and you feel well, I need to do a little bit more. There is maybe a little bit more in the highlights so you can change it and press OK and this changes will be applied into the smart object. If you want to do something separate, you can do even more. Look at this. I'm going toe press control and right hit on the meat and I can do new smart object via copy. You cannot just copy smart object, but you want to copy. You cannot copy this in natural way like by President Commanding and J, because you then will be changing all of the values. But if you copy smart object, what will happen? You copied all of the values and you can change these values on the separate layer. So just a quick explanation. How does it work if you have some colors to Fikse? Let's see. I have a secrecy. I want certain areas to be more saturated. This is just presenting. I wouldn't be doing this. I'm going to hit, okay. And these changes are only visible in this layer. So I could Krieg layer mask, maybe inverted days, because when layer mask is why everything is visible when his black is invisible and then paint with color white. If I want certain areas to be more saturated, they're small. Change that. That's how it works. So I didn't really want that. That was the short presentation. I finished my broken version. I'm going to call this as a role and that would be my first step in preparing image for retouch 3. 02 Capture One Raw Conversion: if you already have bean in for the retention air, er, maybe just image processing area. I'm sure you heard about capture one. This is extremely powerful software, and it present you the images exactly the way you see them in your camera. For many people, it's better software than camera or light room. Because there are adobe products. This is not a Dhabi product, and people are usually fascinated by the colors that capture one produce. And I also got a cab by this are in love working with capture one. So I want to present you Row process in in capture one just in case you're using capture on as well, just in case you don't want to use for the shop. You don't want to use camera if you don't use capture one. You can skip this lesson if you're not interested at all, but also I would recommend you to try a trial version for 30 days in country one. Maybe you will like it. It's very nice to compare these two software's so I will work with the same image and the thing. I want to show you how capture one sees the colors so This is the image that wasn't processed and let me open the image we're working with, and you clearly can see the difference on Don't Be products. 10 toe present the image slightly de saturated. So these things as we saturated my little beat in the row processing and camera to make the colors a little bit stronger and come true on naturally have different colors. Eso the row processing. I feel it's a little different and a little easier in cop show. Um, but let's jump to the steps that I'm doing. And I'm starting with this, um, explore over panel over here, simply starting with high dynamic Ram. So it's the same US income camera. I want to work with highlights. The highlights are a little strong, so I'm going toe, get them down a little bit, but just dragging it up so like you can see small difference. So I'm dragging this lamp and the same about the shadows. I'm just brightening this up, so I'm just flatten in and the image to make it easier for the retouching. What also, sometimes I happened to do it is working with the brightness Justin and I think the images too bright. I could get it down, maybe explore a little bit because I feel the furious is overexposed. So this panel also it's quite useful for working with this. We can also take down a little bit off the Contras just for the preparation for editing. So simple steps and actually quite similar to the one we were taken in basic panel income in Camero. The other powerful thing that capture one offers is dense local adjustment plan. I love to work and open cholera Editor Chlor editor can be also found over here with their with the colors so it can go to color editor and I usually start working with advantaged How I do. I usually choose the colors that are different. So in this case, chloral for the brand ground and in case I want to just work a little bit with the card changed the hue, the separate color that will be extremely powerful because we will work exactly with the color that we have chosen so before. After, as you can see, affected the face a little bit in the way I didn't really like, But if you have specific color, let's say as this image, and I'm going to choose the rats. You can see the changing the Hughes never bean so easy and the same work you know, with the saturation off specific color. So if you have specific colors, that will be extremely powerful for you, the feature that I especially like is the skin tone. I love working with the skin tone, basically because it will recognize the the skin tones so it doesn't affect the other colors that much as it will affect the skin. And if I'm not happy with the here, if I feel like once again the images to yellow wage, I can just change the hue a little. So, like nothing more simple. If I feel the skin should be a little bit more, does saturated? I just can't bring up some of the saturation for the for the skin tones. And there's also option, like uniform meeting, which I don't really like because, for example, if you want to uniform the Hughes just a flat in the colors of the image, as you can see, so it's not really useful for the retouching because you don't want the toe flat and the deeps and skin tones the same about the saturation can see. Just flatten, that the saturation values are Hugh values, whatever you going to choose. So my process income Theron is very simple. Sometimes when you have good images can persist is in capturing without changing anything if you want to have a natural look, and that would be the other thing that I really like to work is the color balance, because I can my c work with the color that is desire for the highlights and shadows. So for the highlights, I would usually go with warm color with such an outer remain chance. You can see I go a little bit stronger to make it visible and for the shadows. In this case, I would just go with something called because this this green background wasn't really looking that nice, so on to get something this way. But I don't want to affect this too strongly because I don't want to change their differ that much. So just just really little touch off this and that would be something. Come, I'm a little bit more happy than the thing I started with. What if the mansion is this local adjustment. We were We're doing this over here, as you can see, but local adjustments offers you creation off new layers. So something us we created a smart object and then duplicate smart object. You can do this, weaken capture one by creating new layer hit in this plants. And I'm just going to call this one and what you can do, you can mask this so you can choose the brush. And they say I want to change the background so I would mask this This part of the background i you I would usually go with all Bangla, But I just want to present you. I'm not going to change that myself. But I want to show you how last work and I'm opinion color editor. And as you can see, there is no layer because it separately choosing the color. And as you can see, if I'm going toe work with this, I'm changing the values on it off this part not this part where it was masked, but if you can see this. So that's why I capture on is so powerful. First of all, in and letting you have full control off the off the colors and full control of the layers you can create. The layers usually don't work much with local adjustments. If I have to be honest, if you have some specific color, some specific area you want to work with, that would be good. After this, I'm going into the output and I'm ready to process. Let me find them area that I want to said. So we have destination. I'm choosing destination. I'm choosing that folder where as my images course creation. And that would be here. So I'm sitting us. Output further is D M. For months. I keep image name usually because I know later if I share with other people, which image exactly was this? I don't like to change the name and it's important probably toe which to which for month you would like to put this so um, matures in the former chief. You can also choose Piers Dean for for the shop. I believe TIF is a little better, so it would be 16. Beat eso. It's un compressed big fire. So still it has more information than just Jay Peak, which is a deadbeat, and everything is fine here. Maximum 100% quality resolution 300 pixels per inch. When everything is ready here, I choose the location. I choose the maximum the biggest format thief 16 beat I can process and then I will have thief file image that I can open later in photo shop and work with only one problem. It's not synchronized with photo shop, so we cannot open as a smart object in photo shoot, for example. But you have to save this as a separate file and then work in photo shop, so we are ready to start. 4. 03 Cleaning up Skin: and the first step we do in a photo shop is cleaning up for cleanup. I'm using on Lee to tools. Mostly, I'm not using any plug ins and a filters and a specific techniques. I keep it very simple. So how we start at first after we do everything creating your layer, I'm going to call this clean up. Let's zoom this article into the middle and what we consider as an imperfections cause, simply speaking as a cleaning up, we just need to remove all of the imperfections. This is sometimes overuse, because one thing that's his imperfection is people, some white spots, something that's supposed to not belong to the face of this model. If she could have the best day ever, so I probably shouldn't have this spots. But of course she would have freckles because that's her nature. That's how she looks like So you don't want toe remove freckles or any other things. You just want to remove the things that would not exist on her face. It should have a really good day for her skin, so that would be this. As you can see, people's over here. Some Weitz points may be few off the hair over here because maybe shouldn't have time for Teoh. Take out her so we could remove you off them like this tiny shadow over here. This some little wrinkle. Most of the wrinkles. If there's more, you'd have liked to keep them because you want to make this look natural. So let's start first toe. Amusing is healing brush toe. How does it work? Let me explain. We press out corruption next to this spot that we want to remove and what is happening right now. When we do in this, we are copying the texture. Will not copping the color on a detector. Then we cover. The spot that we want to remove doesn't work now. Sometimes it's like in, but we pretty much covered so it covered a spot, and the color is unjust it from the area around. So only textures copied. But color is suggested. Let's try here. She can see doing this, and I'm copying texture from this area. Cola Reese adjusted from the area around and the same over here and over here. So, like this is quite time taking process. I understand what it wasn't cover. I have blending mothers a darkened. So okay, Now it should work better once again coping the texture next to the spot and cover in the spot and the colors adjusted. Also, Quite often I'm using spot healing brush, which were very similar. It's more intuitive. When I have very small sports. It will be okay. It doesn't work for a little bit more complicated sports. But for the simple ones like this one small ones, it will work just perfect what it's happened. It's not just the texture from the area around and color, so it's more intuitive. But it's not so precise. That's why I prefer to use just hill in battle. The other tool amusing is crown stop. But let me explain how close Trump works. I'm going toe. Make this brush hard. So what is happening? Let me press out or option once again, and I'm copying the texture and the color so the hill and brush could be only textured. The close time copy, texture and color, and when we are, just order around. As you can see, sometimes it looks unnatural. Dance white. For this part, we prefer to use Hyland bashful, but it doesn't mean I'm not using Cranston because I'm using this and quite much, but amusing this a little bit different way, the way that many people would say It's wrong. But it's not really, um, using soft headed brush. And when I see the rough area, like with rough texture, I'm just copying and really softly painting over just to soften the Ruskin. See on if you do this gently enough defect will be just amazing. So we not losing the texture. We're not blurring out the texture. We just trying to even out some areas a little bit. So that's what I'm going to do, as you can see over here this close temple work just perfect, just smart in this out. So I'm blending this to tools toe, get the perfect result, and at me do this squeak. And I'm going to zoom this over here because we have this not very pleasant area and many people asking what we do with this small spots. Well, there is one way we can resolve this for the dark spots inside the bright area. I would go with the blending more lighten, and I'm just going to clean the dark spots and they just going to be brightened up. We cannot sort out the dark spots, though, as you can see. So in this case, I'm changing inter darken and the white spots on the darker skill skin color. Um, solving this week. Pretty simple, I believe. It also can be done with clone stamp. Quite soft, like just toe. Make this transition over here quite soft and natural looking. Not too harsh. I would use close time. So this turtles are amusing for off the skin. On this wrinkle, you could use really two methods. Maybe would be great to use light. And because it's a little dark and just paint over, we couldn't solve this fully. So let's try with normal works a little better that that's how I do simple methods on nothing complicated. Bill. Over here we have some of this white spots softly covering. So if you were taught that there was some fancy methods and some futures, forget about this because if you use basic tools, everything can be cleaned much better. And with some other techniques that people shout you, you can only make your work more difficult, and you can overdo the skinny can make this artificial look. You don't want this. You want to clean, just as I do. So right now. Give me a few minutes. I'm going to clean the skin. I'm going to speed up this video so you can see hard work. I'm going to make sure that the skin will be clean so we can process to the next lesson. 5. 04 Dodge Burn Intorduction: and now you should really pay attention. Maybe you heard about dodging and burning. It's simply painting with right or painting with darks. So you have these two options. You see, the skin is not the flat texture. So even if you clean this up, it doesn't look perfect. With the help comes dodging and burn. Let me do something toe explain you, but I'm going toe create black and white layer. So I'm just going to trust you saturation on. I'm going to do separate that and I'm going to change Brent Minto color so it will preserve better the colors and will show just luminosity values. And I'm going to increase the contrast to make it even seen. Better zoom in this image, and right now you can see all of the details. It isn't a distinguished freckles, though. There's many other things that doesn't suit this face that's supposed to not exist. And there will be few things like this black every over here what, us once again, this black area, for example, over here you can see this black and over here it should be a little bit more even out these shadows over here. This massive shadow over here and many others like here. Smaller things. It's really plenty of that. So all of this has to be even out. So we weather paint with light mostly or with darks. So let me turn this off right now and let me turn off this black and white layers. Us. Well, what I do The techniques amusing for dodging and burning is curves. Amusing curves, you see. So I'm going to go back to this cleanup player. I'm going to create one can player, which I'm going to call Dutch. So I'm going to paint with light and also the other layer that will be burned. Okay, Not born off course, but burn. And that will be darkening player. So for Dutch, I'm goingto bring this curve layer a little beat up. So it's brightening, just not matched just a little bit. And for burn, it'll be done. Okay, I don't want this effect to be applied now at all. So I'm just going to invert this layers command or control, and I and here command or controlled, I I'm going to put this into the group, which I'm going to call Debbie like Dutch on birth. Let's start with Dutch. What does it do if we paint with white color on this black layer mask? Because black is invisible, wife is visible. Begin to bright on the image. So as you can see something like this happening if we're going to burn it, which is going to darken eso really forgive me this Auntie paintings. Maybe I'm just going to make a little bit nicer one. So this is dodging and this is burning. That's how it looks like the one issue. Imagine burning. It should be all right for this face. But in many cases it will happen that for Dutch, when we going toe bright and designed, the area will become more saturated. It isn't resolved that because we can just go to hue saturation. Um, just number one. Let's say on I'm going to hit control and plea this mask to the touch so I would take down some of their separation she couldn't see. That would be a little bit more suitable because this was a little over saturated and this is absolutely death saturating one. So I would go with you saturation number two and create clipping mask. And this dark Haas to be saturated like I run that. So if you will have this shift appearing just create hue, saturation layers. There is one easier method the way I like to do. Let me do this. He present this for you. I'm just going to do a lot of setbacks before painting. So instead of doing days and clipping masks, what I'm going to do, I'm going to inverters once again in tow, Color white and did this one, and I'm going to put them into the groups. So the hue saturation and that will be deep saturate. I'm not doing anything yet. I'm putting this to enter the group, going to name this Dutch and here I'm going to create layer mask. So now everything is in the group. I know there's a lot of information. It might be very confusing, but it's nothing new. This is just that layer, but not inverted into the group. And this is other layer into the group. So we don't have to keep this this sort to Rachel layer into the Dutch layer. But we put them into the group and we inverted there later in the group. Thank they so what would happen. I'm going toe right in this arm. And if I'm going to think these areas are oversaturated, I'm just going to the saturated I believe now it's a little more clear, just a little bit. The shoots are very soft here, so that's how it would work. I'm going to now press other option to see the mask cause I want this to be color blank. OK, we're back and the same thing come going to do with Bird. I'm going to create a few saturation. This will be day. These had saturate off course because the Burn intend to de saturate. And now for the group and Ben and I'm going to create layer, mask and inverted. So we already That's how I prepare my layers for that retouching. A few more things. The things like off course. We will not be bending with 100% flow, but more about 5% flow you need to have control on. So when you're going toe paint in some area, as you can see, you actually have to spend some time to Brighton this up and it gives you right smooth effect. It allows you to keep control or their thing is off course. Uh, supporting layer. So darkening so we can see everything better. I don't want to paint with the color layer. I'm painting with the black and white layer and I will be doing like that. So that's our preparation. I'm going toe Remove this all. This is my data and band group and for black and white, I'm going to use my action. I will give you the section black and white supporting layer. So it's exactly the same. The saturation, this layers darkening. And this is conference just all with curves. You can create this on your own. Create one layer, which is the separation and the other layer that curves that will darken this a little and another one that actually bring up some of their contrast. And you can off course money plate, then for the image just to make sure that their values are perfect for women. So now I can see the images perfectly Contrast that I see all of the perfection and I will be ready toe work in the next lesson. We going to do this work after preparation. I believe everything was clear. I understand That was a lot of information with preparing this layers. So if anyone did confused leave, drop me the message. I tried to be as clear as possible, so dodging, brightening up, burning, darkening off the image, and we'll try to event this out in the next lesson. 6. 05 Dodge Burn Work: I can see there will be quite a few fixes, and I'm going to start with the forehead. It's a little dark, so I'm just going to go up with the contrast, aren't just clear, bright contrast stronger around that and opened my Dodge and burn group. And I'm going to start with Dutch and look, be very clear what I'm doing. I'm just painting softly in the dark areas. I want them Brighton. I want to even this out so softly painting around these dark veins, we could say they look like Avengers, but they're just like, ah, little holes in the skin, some of the tiny scars on the skin in other things that could not exist. So if you wonder why your images doesn't look that well, um, and have this weird skin imperfections, it's more likely because you were not doing that in Bern induction burners like most important, if it's about the skin retouch. So, uh, that's why you should always do this. If you work with portrait, it's and beat images. This is the most important step. This step is not that important. If you work with fashion images, for example, because then you are not forecast on such details, So Okay, I just was painting a little before you concede the skin is slowly changing. Um, it will be a little bit work we have to spend on this, maybe even 20 minutes. Maybe even have an hour. In some cases, if I will be talking, of course, that will take longer. And, of course, remember, this is the portrait. Uh, you don't have to make it like, perfect. You just want to make a little bit better because you want this image to look natural. So you don't want to overdo this. I believe you will all understand what I mean when I say you don't want to overdo this, Let's go down. Sure. We have a little off this dark spot. Of course I want to work under this. I over here because she looks at it will be tired, and that's what we do. So I don't want to make you bored by looking on my slow cleaning process. But I'm just going to speed them this video once again, of course. And you will see all of the process in the faster version. The same if you see two bright areas. You're just going to sweet into another layer and paint with the color white on another layer, just like I'm doing now. For simple few things also that are important to notice that I'm going to mention just now this triangle on the lips. You want to make it visible. Feel free to paint on it. Not too much, of course, but just really small improvement just to add some dynamic to the two day meeting. I know I'm talking, probably as it's like Nothing. Best matter, but it really doesn't matter. Um, I'm going a lot off with my own feeling, but I've been doing this a while, and, uh, I feel quite confident about the work. Here will be a little bit on the other thing that is worth to mention. If you want to improve your freckles, just use the burn and and paint over them to make a little stronger. Freckles are actually a good thing. Sometimes it's desired. Maybe your type of photography desire than feel free to use thatch to improve them. There's no need to create separately it for that because there's no need to make a mess with your layers So, as I said before, I am going to speed up this video a little beat without my talkin, and we'll talk in the next less on. And that will be great because this is the last lesson where we do this manual. Detailed work. Okay, finally, we finished dungeon and burning, and you can see result before and after. The change is very dedicate, but you have to say the image looks so much better. So it was all about even in out of the shadows. But of course, here crumbs. Today just it's not fully perfect still, because you don't want to get there like you want to make it. Just look in rain, ice and point We found over doing this. So now let's move. So the next listen to do some other work. 7. 06 Enhancing Contrasts: we finally finished with cleaning up the skin, so want to move to the next part and this is probably my favorite part and it's working with contrasts. I love contrasts. I love strong contrast IQ image. So this will be just perfect. I will show you fantastic technique how to have full control on your contrast without many other techniques. I just want to show you the one thing that I mostly use and that works great. So we have to create toe curve adjustment layers. One will be responsible for highlights. So let's call this highlight and the other one will be responsible for shadows. OK, so we have shy lines and of course, highlights and shadows, and we need to change blending mode from normal to luminosity. Why? I'm going to show you this this example when I'm pulling this up, as you can see and the thing that I was telling you before we have the separation issue. So when we change this in tow, luminosity once again that wasn't working well, we that do not affecting the colors anymore. Off course, a little bit better results probably could be achieved by the man while unjust ments like few self through saturation. But I was working always that way, and this gives you really good results. So let's go back. And here also luminosity. So let's start with our highlights What I do. I'm going to select and color range in Colorado. We have possibility off choosing specific color defined on your image. So, for example, if I go into reds, probably the leaps were be more white. And what happened in here? This is the mosque that it's creating over here, so we created a mask. If I go with yellows, probably there will be more off the face to find. Also in the color range. We have option of choosing highlights, meet tones and shadows. Of course, I'm choosing high lines over here and the range very important to keep it as a maximum and then fuzziness. I go up with this. I go up with fuzziness till the point. It nicely define the highlights, so that could be maybe on this 87 quite high. As you can see, it's very different when we work with student images. Usually the fuzziness is slower because we have the line, so it's easier to define highlights. But right now I would call around this part. I think it's quite quite solid on. That was something I want to get on the face. Let's hit okay, and then I'm going to make the selection off. This highlights. So I'm going to press command or control heat on this and put on the shadows as an inverted layer. So that will be our shadows defined. Let's have a look. Shadows highlights. That's what it is going to looks like one thing over here that I might be not happy. Well, the Herc loads getting too bright, but let's see how it's going to looks. And if it's going to look strong, then we're just going to mask it. So I'm opening my curve. I'm just going up with this, and once happening, we only affect the highlights. That's how amazing it works. And, truth be told, I'm not against the clothes. They're not too bright, so I don't want to change them. For now, Uh, if you want to mask the clothes, what do you do? You press outer option hit on the mask so you can see how the must looks like Choose the brush and black color of the brush a little bigger and sorry press seeks toe, actually to switch between colors. Presti toe, reset them and to switch. Just press X on your keyboard and then with black color out mind of the clothes. So then the effect would be not visible, as you can see in this area. But I don't want this. I think it looks decent, so I'm going to keep it as it is now, going to shadows and with shadows. Be really careful because the mask foreshadows is much wider with the white color, so you can have this information that the shadows will be much stronger, much more visible. So I'm going toe open the curve and just a little bit down like really tiny bit. And I'm goingto go up here on the middle to not make this so that's our shadows. It's quite strong, so if you feel it's strong, can always just change the opacity. Test a little bit toe. 80% 70% really, depending on your needs. So that's how it looks like strong highlights and strong shadows. The things I learned the most contrasts Let's see, and that's before and after I really love to define the shadows on highlights, that strong way I like when the image pops out, and this was something I wanted Toto achieve so on. That's how I do this off course. You can change your effect. It doesn't have to be that strong. You can always make it so often. You don't have to put that much. You can define your highlights in different way. You can also define your highlights with fuzziness that 100%. So the effect will be more smooth, which could work better even for some outdoor images on. That gives you really a lot of control. So let's move now into the next lesson. 8. 07 Image Toning: after contrasts. There's time for working with tons, and good news is that I keep this process very simple on many people create like five address mint layers. Try to play with it. No, this is not the way you want to work. You have to have a plan off colors. Before that, you have to know where your tones are going, like shadows and highlights. Dance how you plan your tone, so shadows are usually darker, maybe down in colder times. So you should know that the idea is to go with the blue colors for the shadows, maybe red colors. Maybe magenta is maybe green. You have to see the image, what suits for the image and then for highlights. The work is a little more easier because more likely, you will go with opposite color that you applied for shadows. So let's start with this image. I'm going to create two adjustment layers once again, and that will be color balance. So first I'm going to call as the shadows, and this time blending mode will not be luminosity or normal. But once again, we don't want toe affect this time contrasts before we don't want to affect the colors now . We don't want to affect the contrast. So no lights, just a color blending mode in the color and I'm going to duplicate this and other layer will be for highlights. Okay, let's put this to the group Control or command G. After selecting off this, too, I'm going to call this tones That will be our tones. Andi, you can do the selection for shadows and highlights using color range the same as before, from my own experience for us to the images for shadow life. I'm sorry for fashion, strong images that will be good, but I want to show you other technique that sometimes works better for images that are rather soft on, that will be defined in shadows and highlights for the image and then apply image are more likely. The settings will be exactly the same as they are, as our layer will be merged because it's just taking information from all the right layers and defines the shadows or highlights just have half not precise, but like it defines its quite well and soft. And here's the legal box. It creates your mask. So if the box will not be tricked us an invert that it will be highlights if inverted, it will be shadows. So then heat. Okay, I have shadows, defines and that's how it looks like as you can see it soften than before when to press control or command and the heat on this layer mask to make selection and can't command or control. And I to invert this into a new layer. Okay, so we have our two masks prepared for our turning, and I'm going to start now from shadows and we could work with meetings because we already defined our shadows. But for even better effect, I will go with shadows. And here I have defined shadows. So I'm sure that the color I'm going to apply on Lee will be applied in tow, the areas where the shadows exist. So I'm going with the blue color. I feel it should be really called here that, uh, skin tones are always in the tones that are like orangy, no matter what their color. But the times we always be orangey, so you can be sure that the background if it will be in tablet tins, we'll look good with the skin tones. Maybe on this. I don't want to go too far, really, because this image is beautiful and natural, so I don't want to go far with this. And also I darkened on. The leaps are legal because it's a little bit in shadows and cheekbones, so I would go a little bit with reds or Magenta is, but not to man. Just let's have a look how both off this looks like, um, my gentles over here looks really interesting in getting into this 20 purples. How we threat. I don't really feel like my agendas will be good. Or actually, it's it's not really that bad. She could go with one point for imagine tha you can try with a little bit more low on The effect is really strong right now. Like could be a little overdone, so I would just go down for passage because I like the color. But I'm not sure about this trend off it, and now I feel it's there. It's the in the place. I want 70% on the shadows, exactly as I wanted it to, um, it could be just blow if you think it would be better. And then let's go toe highlights, and I'm choosing highlights this time and for highlights. I ended a lot off blow. So this time Yellows, Uh, quite much on nine. And also the science. Just do not make this too yellowish. It really nicely breakdown over highlights in tow. Um, already good and strong the color without making it look artificial. Maybe on seven for each. And that looks the way I truly like. As you can see, it was kind off read before. And now we have a nice and natural colors. We could play a little bit more on just toe. Find the perfect, um, number for us public. Always eight over here. And that would be eat if it's about the terms. Very simple. Not complicated process, as you could think. I keep it simple. I know where I went. Work. Want to go? I know how the image looks good. So I work with this colors that I already have. And of course, you can try to work a little bit more with selective calmer, for example. Also blending more changing inter color toe defined the rights. We have a lot off red. So like if you feel you could fix this a little bit you want Toe said the tons. Uh, more. You can off course go with it. That would be a little too much. Maybe, but this gives you opportunity. I love toe Do my work after in selective color If I want to fix sometimes. But it would be rather optional. Uh, I just wanted to show you how I work with colors after turning a little bit too adjusted even better. So this is before turning. This is after and we heading towards final steps. Let me know what you think of this off this way off work in. I believe it's easy. I believe it's super powerful. Uh, to me, color balance is very most powerful. Um, about colors in the photo shop. I love to work with this. There is my name adjustment layers that don't give you match our results. Like I believe Grady int moms give you sort of artificial look are artificial colors, so I don't use them at all. 9. 08 Color Adjustements with Selective Color: after doing these simple steps with color balance. Sometimes I like to work a little bit with selective colors to make sure the color looked away. I really want this is rather optional. I'm not always using this. I would not go with this. Maybe here, because it looks just the way I want. But I want to show you if you would work with this. I'm just going toe place number 14 days as a correction Number one. And of course I'm changing. Blending mount toe color. So this I would like to work probably a little bit with reds. Maybe if that would be necessary. Like always, I work with reds because their skin color. So I trying to fix them a little bit off course you can go maybe with blues, just to adjust them a little bit more and I would take down some of the rights. This is like quite strong crowd, so I would go up of Sion. But also I would like to get some magenta on the image just to make it stronger just to make give it a little bit more fire. And also I'd like to just pop out a little bit more yellows on just as an optional. It was looking good, but this small change, I think, just make it the way I really like. And of course, you could work with other colors as well, like blows. So, like as you can see, if I go with blows and try to take down yellows from the blues color, I'm darkening and getting some of the more blue color for the background. And if I would go of magenta, the background would go more into magenta color, so this would be the way I would work. Um, it's not really necessary, As I said, the background for super good. But now, when I'm looking at this, um, I'm help you of the small change. Actually, I did. I wasn't in a little bit of magenta before. So going down with this, it's not that great idea. Even though it looks looks good. I really like this cold color over here on going up and gives it a little bit more fire. So this small changes you can apply just to make sure your image looks exactly the way you like in terms off tones. So as you can see the workflow is very basic. I love to work with color balance. The tool that I don't work is great in month because I believe it gives me sort of artificial colors. I don't really like this, so I keep it simple, and I think you should keep it simple as well. 10. 09 Liquifying the Image: we are heading into the final steps, and I want to show you a few things that I wouldn't necessarily do here are, But some of you might want toe change a little shape. I'm not telling about amount, saying about changing the shape fully, just some kind of changes that maybe sometimes you would like to apply into your image, and it doesn't matter what's your final steps? But there's one thing I'm doing for sure after I'm making sure everything is right. That's the image I want. I'm creating the Stamberg, so to create a stamp press command option shift and e our control out shift and e. If you work in on PC, let's call the stump and then I'm going to press control and heat on this layer and then convert to smart object. I was standing about smart object, and it's about all filters. If you want, Apply filters during Twitter's liquefy camera filter. You should convert your layer into smart object because then you can work non destructively and effect will be applied in tow your layer without affecting this like actual layers so you can you step back. You can modify and first step is just in case you want to work with the shape, go to filter and liquefy. I'm going to explain you what's over here. So we have these tiny hand on the top for work till we have a park. It'll and these bloat toe even never paid attention to the names, actually, and I don't think you will. And this street ALS you can use this one, uh, extended the size of your thinking. Don't really want, uh, hooker, too making smaller. So this one, sometimes you can use I don't want to use these tools, but if you have this tiny beach, you can work with this A little but most powerful tool for shaping will be just forward toe eso often like off course. I would never change a tiny beat on her face. It's perfect. Uh, it's Pacifique. It's unusual. It's the way I wanted to look, so I don't don't do these things, but sometimes maybe you want to make the neck just our little steamer. Uh, just give it a little touch, and you can do this. It's You are allowed to do this. Really? I'm going to do a steps back because It wasn't a perfect type than perfect way that I want it. It's got a little too much on the face, so that's what that you could do. I'm doing such a tiny touch. Ah, because I only wants to show you this as a presentation. But I have to do the step backs because I see that before affected her nose for what? I want to apologize. So I was thinking tiny touch on the neck and nothing more and don't want to do anything more on this image. It's just to show you an option. What, what you can do on not to show you how to ruin the images, it just showing you the option. That's what you can do with your images. Hit, Okay, and as you can see, this liquefy is applied as a separate part off your layer. That's why working with smart object is so powerful you can just turn it off and then it's OK. It's not whole layer, so that's why you always choose. They're working with the smart objects and let's process to some other final steps we can do 11. 10 Final Touches in Camera Raw Filter : the other final step, which is most important for me if in terms off final steps off course, there's no more and less important things because everything is important. But this is the step that recently I always do so we can say it's quite important and I also will be using the same layer that is over here, which is a smart object. So how I do I work with camera. It's super powerful tool, super powerful fielder. If it's about your final steps, so what I'm going to do, I'm going to filter and then Camero filter, let me press. Okay, Doesn't first to present what is happening. As you can see on the new filters we going to apply, they just going to be made as a smart object below, which is super powerful, and you can change it anytime. So I'm just going toe double heat on this on the camera future and I'm back in tow. Camero. And what I do here in camera, I do very similar steps. Us I do. If Roe conversion just a little opposite in real conversion, we want to rather and lying down the shadows. But here you just want to maybe push it a little bit more and the single file lines he want , maybe to make it even more contrast. E. Of course, you don't have to do this. It's all after you, because if your image has enough contrasts on, there was no need to push anything more. If that it doesn't, you can. You can do this. I'm not working with any other tools. This is just about like pushing up a little bit more contrast, and the other step is working on Justin. Hugh. If I see some in corrections, as you can see, we can work with, Let's say purples like we can manipulate purpose. There's not many off them, so we kind of see this. Maybe blues will be more, and this is great example. You can see we can manipulate the huge. A similar story did. Maybe with selective color we can manipulate is the way we want. So, like if you don't like yellows, can Dracula's a little bit more into oranges to make this may be better push. If you think it's too orangey, you can oranges make more in tow yellows. So the small changes Dodd Manx Day image. Ah, look the way you'd like it. I felt it was really a little Toraji. So I want to do just make it nice and balanced. I'm not going to work of saturation. This image is nicely saturated, so that would be eat. So I did this very tiny corrections there to make sure my image is perfect. And after that, I'm going toe hit, Okay? And that's about the working with smart filters. I do just one step, which is camera filter, or sometimes additional if it's needed liquefy, but only if it's needed. But this is the camera filter on. I'm always using smart objects to do this. 12. 11 Adding Noise: you want your image to have nice texture. I'm not saying about skin texture, but you want your image toe. Have this nice Matt Look, sometimes there's something that will be printable. So what I do at the end, I'm creating new layer and I'm going to name it as a noise. So you know what I'm doing. I'm going to imply the noise. So what we have to do to apply the noise is at first we have to apply the color gray 50% gray. And once we applying this and we change planet moto overlay or soft light, it becomes invisible. So we have this great layer. So we have something where we can apply the noise because you cannot apply the noise to the actual layer like this image or two. Then layer with color so we can whether you image which you don't want because it will be destructive and doesn't give you this control or you want to use layer with color that you can change any time. So you have to choose color gray because when you tell this to sell flight, it becoming invisible. So let's zone this a little bit. So we will see how the noise present on the image itself. And I'm going to filter and then noise. So from this distance, I will see the amount of noise done suits for this image. The mine is very visible, so I would go out. It will be top. And here it's more visible already. I'm using Goshen, not any form. The garden is a little stronger in this case, so I didn't expect this image will require that much noise, but usually depends on fashion. I had known 9%. Uh, for some I at 12 on this is quite big size, so we could go with 15. Uh, but I want to make sure it will not be too much. I think it will be just okay for this image are we could go with 12 and tried, duplicated. Let's have a look how it's going to look like, um but I feel it will be way too much, so I don't want this step back to step banks. Okay, So future blur. Guardian blow. Sorry. Of course. Filter and noise. And sorry for this mistake. And I will go with noise. 15. So what it does to your image, it breaking out the colors nicely. It's breaking up the image, but it's actually make this nice, smooth transitions to the colors. That's why I love to use noise and the next thing coming going to yours because you want this nice to look a little bit more natural. I'm going to use Blower and guardian lower, and 0.2 pixel might be too little. I'll go with 0.4 Tobler out. This tiny peak cells, maybe even 0.5. Let's have a look should be enough. So because of these, the noise will be looking a little more natural. And then, if it's too much, you can, of course, change the opacity down toe 60. And it really helps. It gives you your image more printable log. It makes nice transitions between colors, so at first, if it even look wrong, consider adding just a little bit off. Nice to your image to make the better transitions for print. O. R. Whatever you're going to do later with your image. Uh, we finished, so maybe we can see the result before and after. Of course, this is already after roll processing, and this is after this is image after I believe we're really God. Nice. We really made this image on point. So Well, let me know what you think about this. And thank you for watching off course. Make sure there's some bonus lessons just to repeat the informations that I deliver to you with some another example. Thank you. And to hear you very soon, once again. 13. 12 Cleaning up Bonus: welcome in this other part, and we will have quick walk through all of the process what I'm going to do to this image. As always, the first step will be creating empty layer above, and I'm going to call this clean up and then I'm going toe clean up. This image isn't exactly the same techniques I was using before, just to remind you Remember, will be working with healing brush tool. You can press J on your keyboard to choose healing brush tool or as on your keyboard to just crossed up and once again with feeling rational, amusing this heart surgeon brush and as a sample current below, over here and as a clone stamp soft edged brush and also sample current below. So let's start. I'm working with healing brush, removing all of this parts that I don't want. Eventually, it could be some of the hair that I don't really like. They heard that actually bothers me and doesn't bring anything to the image in the positive way. Remember to not overdo the image and to not remove two men off the hurt. You can see the result a lot off this tiny spots and Obviously, we have to take care of this. Just keep doing for a few minutes. Remember toe zoom in and zoom out image to look. How does it looks from a little bit off different perspective. It's very more important to zoom in and zoom out the image when you work, because when you keep working and just on your image being full resumed unfortunates e you mind destroyed the image. You might overdo the certain parts, and you will not even notice that you're over doing this just because you are so zoomed in . So as you can see, the process is very simple and very similar to the one below. Before, I just wanted to remind you the techniques that I'm using and you can clearly see I'm not doing anything different than working with this two basic tools. So please let me speed out this video and I'm going toe. You're going to watch everything in fast forward and then we going to do the other part off our cleaning, which will be dodging and burning after you finish this criminal process. The next step will be dodging and burning. If you don't want toe, make Dodge and burn, complicated and create your own layers. There is very simple way off doing this. You can just download my actions and then, after you add them into your photo shop, can just open your actions, find my Dodge and burn actions. Just Dutch Burn and black and white help player. To do this, just hit play on that first heat, play on burn and, of course, black and white. Help player. Make sure you adjust your black and white layer to your own needs, so whether you need the image to be more dark and you open darken layer and adjust the level off darkness on the image. If you need to work with contrasts, you can adjust the contrast for your own needs and what's more important for your own eyes because this is all about and after you did it all. After your eyes can recognize the lines in the right way, we are ready to start working just to remind we working on this layer mask for dodge and burn. Remember toe. Choose a brush and the flow around 5% to make it soft toe. Reset your colors over here. You just have to press the and to switch between black and white Press X on your keyboard. I'm going toward with work with color white and paint on this black layer masks. So I'm going to start with bed and I'm going to burn in there. Yes, that are a little heat to bride. So I'm just painting over and it's going to take a while. I'm going to stick with you, maybe for minute or two, and then I'm going to fast forward the video. I hope you can recognize which areas has to be dodge and which areas has to be burned. Remember once again to not paint over the freckles. You don't want toe. Destroy the natural beauty of the image. You don't want to change the nature that the model is eso. Make sure you're just going to take away all of the bad things, But don't take away the good things. It's not about changing the image, but it's about just fixing the very bad things. And one very important advice. Remember, less is always more so. If you think you shouldn't do something for you have dams, just don't don't do it. You want image to be natural. So as you can see, I'm already started painting and it's going very fast. This is under image on, and you will see once you get used to work. For once you get used to imagine it burning, the process will become much faster for you. As you can see, the image is already changing even in this out and venal. Often when I changed the areas, I also manipulate with my contrasts just to make sure I see everything right. If you change the area and it's not very visible, feel our sofrito, duplicate your contrast. Copy. Understand what you can see right now is very strong. But if you feel comfortable with that, why not? But one important thing. The contrast doesn't represent exactly how the image is, so it's easier for you to overdo this. That's why you have to keep control and remember toe, zoom out to sea and zoom in when you work. So I'm going to speed up this video and off course. We're going to talk once again after this short dajun burn process, - and here we are. We finished the dodge and burn process, and the skin looks totally different. Even though it was very short process. We were able toe remove the small transitions that we didn't want, so we're ready to process in tow a little bit more, please, and work for some just working with contrasts and then with colors afterwards, of course. 14. 13 Colors and Contrasts Bonus: and now we are moving towards their other things. That has to be done on this image. Of course, I'm talking about contrast at first, and then we're going to take her off. The tons and colors which may be, can be It'll be challenging for this image. Let's start of contrasts and we're going to do the same steps us I was doing before, So I'm going to start with curves. One curve lay. I'm going toe call h us highlights. I'm going to change blending mode to luminosity. And then I'm going to duplicate this and I'm going toe put letter s us shadows. Let me put this into the group. So I'm selecting both command or control and G and I'm going to call this contrasts. Okay, so let's open this and let's start making our masks. I'm going to start with highlights, and I'm going to use color ranch the same as before. Select color wrench. And the highlights should be already chosen. It was not so wrench maximum. And let's find the right fuzziness for this image. Um, and going to see a little bit more now and it will be lower than before. I will go with this around 74. The highlights not nicely defined. I don't want to go too far. It will not look well. So, like, on this level, I keep the highlights on hit. Okay. And the difference will be I want to keep a little bit different for the for the shadows because the shadows would be too wide with this. Well, I don't know why I cannot close this. Okay? So select color entrance again and let me defined is so it will be a little higher or I could even try as it will be different My thought because I see this is very strong. So I will go with apply image in the invert. Sometimes we have to do different stamps toe achieve optimal results for our image. And this should be working a little better. Let's have a look. I'm going to increase the highlights. So just pulling his arm strongly because the highlights As you can see, there is not much information. So I'm just going to go strong with this and for the shadows. Very soft down, way too strong now. So I would change about city down 60 or maybe even 50%. So this image was absolutely dominated by the shadows. A second. See, we have to two really decent work with the highlights. Chanos could be even smaller 40. And that's how I looked before. After I feel now it's something I was looking for. The highlights strong and standing out. And also the shadows are keeping this quite right. Maybe a little smaller highlights over here and now I feel that would be around the area. I want to do okay once you already let's take her off the colors. I'm going toe create two layers. Once again, it will be color balance the same us before one will be foreshadows s stand for shadows and change management to color. I'm going to duplicate this and this will be a judge standing for highlight. I'm going to put this into the group shift. Select this above command or Control and G and I'm going to call this tones. Let's open and let's start working with image and apply image quickly creating the masks. We have one for shadows and I'm going to press commander control heat on this makes election than highlights command or control. And I'd to invert this into the layer. Okay, let's start working with shadows. First, change the tone into the shadows. And what information's I have over here? Well, in the shadows I have a lot of blue tones and some of the red stones that tells me a leave about. Let's see how it's going to look going to go with some of the blue and really a little bit off rats. Not too much, because I don't want to really overdue the red tones for this image. We could try a little bit of magenta uh, which gives us quite interesting effect, because I didn't like it's just standing simply, uh, read so it could make it stronger. And I do really like it. I do like the effect we got. He could try even higher in the blues. Let's see how it looks like. So indeed I like it. But maybe I'll feel much and then highlights changing, to highlight and for highlights, of course, yellows. Quite much. I feel it's very suitable for these and a little bit off Sion this time a little less of science. I didn't feel it. Suits that munch so in proportion there will be more yellows then SIA something about that and this is the way I really like it. One more thing is about the meetings. As you can see, we got into them. It's nice down, but we didn't take her off the meetings. What I would do. We can create another color balance, though. Yeah, and I would call this AM standing for me. Tons. Well, not do anything over here. I'm just trying toe change planning about the color, and let's see if we can do a little bit off work for the meat earns. I'd like to add a little bit off the red for me tons and a little bit off yellow to make it nice and balanced orange color. Off course. It's way too much. We don't want to affect all of this area, so I would just go down with capacity. So this is the one way off working with this. We affected a little bit off the background, but it does look better. You can also try to define me terms the way we were working with color Range also can choose the meetings, but that will be a little bit more complicated. We need to set the wrench for the mittens. Off course. We need to escape that shadows and the highlight. So we need to choose the right wrench and really tried to find the right fuzziness, which would be maybe on these and then sheet. Okay, so that could be a little bit more precise for our work, I believe. But yes, that would be maybe a little risky and, as you can see, not requires a little bit off skill. So that would be my thorns work. And I have to say I'm a little proud of it. Just have a look at the meetings. Once again, it's a little harsh. So maybe one thing I would like to dough I like to skilled her. And blood is a little bit to make nicer transitions. Just stuff. Blow me down. Seeks. Oh, are you can hire? They may try as big size, so the transitions will be ready, smooth and nice. What else? We could off course working with selective color toe. Unjust. It even better The same way I was doing this before. So what? We threads it too strong are not strong. Now we can really and justice the way we want. Well, I don't feel there is a lot of work we can do with here because I feel I really got to the point when I'm happy about the tons I am having, so I'll stick with this. This is before I set out the terms and this is after I feel the colors that we got right now really suits into this image. 15. 14 Final Touches Bonus: I'm really excited now because we're heading towards finishing up this image. So let's go straight to the point. First of all, rethink for watching and was again Remember to share your work. Show me, Ask me questions. I feel this images were great. It is great adventure we got in. Each lesson, I believe, was just getting to the point what you need to do to make your image look good without in a fancy techniques, just what's right for the image. And I believe this course presented these to you. I'm going to create a stamp. Us always final starches. Remember stump and convert days toe smart object, of course, so I can do some of this. Final corrections in camera filter, which is very powerful though I don't find is the best for the row. Conversion I find is the best for the final touches. Let's go to filter camera future. So now I want to work a little bit with the shadows are little between the highlights. Just toe get more contrast, maybe darker shadows, Let's see. And I feel that would be on this maybe a little too much. So small changes. There was not much to do and also yellows need to check if I want to turn, the more it oranges. Uh, what I can not is there is not much yellows on this image. There's bury any yellow, so that's all right. There's a lot of oranges. No. So I don't want them to like to told them more matching Tourette's because it's going to get connected to the background. We don't want this, and I don't want to get that much in this area. So goingto try to get yellows just once exist to sit oranges and maybe just a groovy. Sure, so as you can see the rights not so strongly defined, but they're more like, you know, so even less. Three. A lot off oranges on this image, I don't know should be up all evil eye, Sir Separation. I would like to add just a little read off the saturation for oranges like Pretty and now I feel happy with this. I think I have could do people before for shadows that sorry for checking out so long, but it's really important thing for me to make. This image was just perfect. If it's about blues, I want to just get them defined into a different way of equal bead. And probably I'm going to take down the saturation from the loose because the color is too strong. I don't really like this. So just small work on the blues and this is somewhere I'm so happy about. Ask things to see. I'm not going toe improve highlights much because I feel the highlights were doing too much and that would be around that. Let's make it OK. Final touches as the last step, of course. Nice to make the times breaking them, like really having nice crosses and make it printable and ended. Feel the soft life is already said, and the noise I'm going to set high because other image was high and the images are being so They're not that strong and then filter and blurred because you just want toe. Make this noise like not that hard. She just want toe. Keep some control on this. Of course, I'm going toe lower the opacity because that was a little bit too much and that's it. Let's see our end. It course control or command to after selecting it all and adding this to the group. I'm going to call this ended. That was after row conversion. And this is after retouching. Truly Thank you for watching. Let me know. How did you like the cars? Did it help you? Sure European. And I believe it's not our last meeting. Thank you for watching.