All language subtitles for 1-3. Portrait Retouching Part 1.mp4

Okay.

So in this next lesson,
we're going to learn portrait retouching.

So we're going to clean up
the spots on our skin.

We're going to enhance her
eyes and hands, her lips a little bit.

And we're going to do what's referred
to as frequency separation.

And frequency separation is a method

used by photographers to clean up skin.

And I'm going to teach you how to do it.

Okay.

For this tutorial, I want to dove
into retouching of portraits.

So let's go to 11 portrait retouching
You're going to see a document

called the Model Layla

And here we have a photo of a model

And the camera defaults

actually look really nice.

Not going to do much with those.

And I'm also not going to do much
clean up inside

camera
because I want to do it in Photoshop.

So let's get right
into it and hit open objects

All right.

So the first thing I want to do
is crop the image.

So this is the crop tool in Photoshop.

It's somewhat similar to the one in camera

and that you can click and drag
to make your crop.

However,
I do much prefer this one For starters,

it's got the straight and tools
built into the crop.

Also, you can change the grid overlay So,
for example,

if you're doing a rule of thirds,
which is always a good default, but

you can also do
the golden ratio of the golden spiral.

And as you're cropping, you'll see those
so if you know,

I wanted to do this

you know, let's cycle
the orientation here.

Now, let's say
I wanted to do this and I want

so shift
cycles the orientation, by the way,

so that

maybe have arrived there, that would be

a nice way of using that.

I am going to use rule of thirds for this.

And what I want to do is
I want to crop it in

relatively close here.

And I want this

I to be in my third crosshair.

There

So I think that looks pretty nice.

Cheated over here

and maybe a little higher.

Get a little more of our hair there.

All right.

So let's head. Okay.

And because this is a smart object,
I do always have

the rest of the information there.

I can drag this around inside the window.

But we're going to start
making corrections

So let's make a copy of this layer.

Right. Mouse click and rest dries it.

Let's zoom in.

Now, one thing I should note, actually,

is if you want to make corrections
on a smart object,

you can create a blank layer.

And on your correction correction tools

like the Healing Brush Tool,

you can sample current and below.

And what it'll do
is it'll make the corrections,

it'll make the corrections
on this new layer.

And then if you turn it on and off,
you can see it.

The problem I've run into with

that is you have to be careful
if you make a bunch of corrections.

So let's just go through here.

Simple layers

you know,
let's make some corrections here.

Doing this real quick,

and I then decide, hey,

I want to correct the color on this.

So I go back here
and I want to add a little more contrast.

Oh, no.

So that's the problem I have with that.

Obviously, there's ways around that,
you know, like dragging this up, but

I don't see really the value of it

because if you're going to go back
into the camera,

you're going to have to redo
all these corrections and that's the whole

in the whole purpose of that smart object

is so that you can go back into camera
if you need to.

So in this case, I'm

just going to make a copy of it
and rest rise to layer.

All right.

So when you're doing model correction
there's kind of two layers of correction.

The first one is spots and clean up.

And then the second one is what's referred
to as frequency separation.

And we're going to cover how to do that
in this material.

But first, we want to clean up
any glaring spots just so that

we have smooth skin as much as possible
before going into frequency separation.

So the best tool here
is the spot removal tool.

Let's just zoom in and

start cleaning up the spots

And obviously,

you can decide, you know,
this is a birthmark she has.

Do you want to get rid of that or not?

In this case, I want to.

But if it's something
that your model likes

or that you like about your model,
I you can keep it all

you want.

And always try to keep this brush

as small as you need it.

And this model has relatively good skin.

I mean, honestly, the more
the more photos you take the models,

the more you realize how much
every single photograph in the world

of any celebrity or model,
how much it's been retouched

because she's someone
who has really good skin.

And even her

I'm doing quite a bit of cleanup

on that little spot,
just not want to go away.

There you go.

She does have some damage on her arm
there.

And I don't know if I want to.

Let's try the patch tool for that

It's really important

to line up this line on your source.

There

Yeah, it's pretty darn close.

Maybe I can cheat this line here
like this.

All right,

let's command Z all the way back
and try this one more time.

The problem is, the angle changes

Let's try content to wear,

see if that does any better.

No, All right.

So in this case,
I may want to use the healing brush tool,

and this is where I'm going to sample here

to make my brush significantly bigger.

And then I can paint.

And here

and dry.

And it's doing a little bit
of a better job. I would say

good All right.

So we pretty much cleaned up

all the big issues here.

Things go back on our spot

and with children and men

and women with extreme and good skin,

this is the tool that you primarily
are going to use for portrait retouching.

Frequency separation is going to give you
that more fashion model luck.

But we are going to get into that next.

So frequency separation

basically separates
your image into low frequency, meaning,

you know, the change
between here, here and here.

Whereas high frequency is the

the changes between this strand of hair
and the next one.

By separating those, you can

blur or kind of

clean up the low frequency
while still keeping the high frequency

so you don't lose skin
texture and other details

So let's get into frequency separation.

So the first thing you're going to do
is make two copies of your layer

just to command J.

They're going to call this one
that low frequency.

We're going to call this one
high frequency

we're going to turn off high frequency
and go to our low frequency

in here.

We're going to go to Filter, Blur,
got and Blur.

And I'm going to

pick an area of our skin here to look at

what I want to do is just increase this

until her skin texture

melts or is blurry, I should say

so right around four pixels.

And if your original photo is lower
resolution, this radius is going to be

smaller.

So I've had some images
where I've had this as low as two pixels.

But for a really high resolution, image
like this for pixels is great.

So let's set. Okay.

Next, we're going to go

to our high frequency layer
and we're going to go to image

apply image

and our layer is a high frequency

actually.

We're going to use low frequency as our

source layer.

We're going to change this

to add

actually subtract, sorry, subtract,

and we want this on to an offset one 28.

So these are the important settings
blending mode subtract

opacity hundred scale to an offset one 28.

And if you're not getting these results,

it may be that you're using a 16 bit

image, in which case go backwards
in this material

and get your image to eight bit
in the next tutorial.

After this one I will show you how to do
frequency separation in 16 bits.

But for this one
you want the image to be eight.

That's all right.

So layer
low frequency, the one you just blurred

and there you have it.

Let's head.

Okay, now we're going to take this layer
and put it on linear

light Now, if I take both of these layers
and do command G

to put them in their own group,
I can call this group frequency separation

and if I turn this on and off, there
should be no difference between the two.

Now, there is a slight difference,
and that's because four pixels

is kind of pushing the boundaries
of what you can do.

If you if you blur this too much, you're

the high frequency using the linear light

will not be able
to push those pixels back into place.

Because essentially, if you zoom and

zoom in to this,
let's put it back on normal.

If you zoom into this, you can see that
this is the high frequency

of the step of the image.

And by putting it on linear light

it's forcing the pixels
in the blurred image back into place.

I don't know if there's

a better way of explaining that,
but that's essentially what it's doing.

And if you blur this too much
and the distance

between your blurred pixels
and your high frequency are too far apart

and there yeah, Photoshop
isn't going to be able to handle it.

So I would say
3.5 to four pixels is your limit.

You can see here,
there's very little difference between

our high frequency to high frequency

layers and our original image.

Okay.

Having done that, I'm going to make a copy
of the low frequency layer with command.

And now what we're going to do
is take our lasso tool.

I want to increase the feather to about 25

then we're going to select an area here.

We want to make sure we don't in or select
an area like, such as the eye.

You definitely want to select an area that

you can blur
without getting rid of important detail.

So for example, I wouldn't
go in here, in here, the nice draw

if I were doing the nose,
I would try to just select this area.

You want to select areas
that don't have detail in them.

So that's pretty good.

And if you had Q you can get a preview
of that selection to Q again.

Now we're going to go to
Filter Blur, Gaussian, Blur

and this

to see is

you can see kind of the

noise, the big noise inside here.

And as I move this to the right,
you can see that disappearing.

I don't want to go overboard,
but let's say 15 pixels for this.

And then what we're going to do is we're
going to do that across the whole image.

So if I select this now, I want to repeat

the previous blur that I did, and I
don't want to go back up here every time.

So if I do control command f,

it's going to repeat my last filter.

Okay.

So that's control command F

Control Commander

Now, I've heard

a lot of arguments about whether

people should use frequency

separation or not.

But I am our practical test.

If it works, use it

and it definitely works

Of course,

the problem with frequency
separation is you get that plastic look,

which is one of the reasons
I put both layers

into their own group.

Because I'll show you after I finish here.

That's

probably good enough

is I can take this entire group

and put it on 50%

and now you can see if I turn it on
and off,

it's cleaning up our skin

but I'm also letting the original image
kind of shine through a little bit.

There

I'm pretty happy with that.

Maybe
even go a little bit down down there.

It looks pretty nice.

Okay.

The next thing I want to do
is punch up our eyes.

And we did this in camera.

Rob, I'm going to show you
how to do it in Photoshop.

First, let's go ahead and

actually let's start from the pupil.

Hold the option.

And with my elliptical maki

just going to select the eye area here.

I can move that

right about there.

And then if I hit cue,

I can go be for brush,

make my brush significantly smaller

and I can paint out the part

that I don't want here like so.

Q Again,

I also want to feather this a bit
so let's feather

our selection by, let's say, ten.

That looks pretty nice.

Then I'm going to add a curved layer

and bring up the curve.

Give it a nice curve like
so I want to punch up that highlight too.

So that looks pretty nice.

And let's do the same to this. I

there select

other

and then Q for a quick mask B for brush

that away.

Take that away there.

Q Again, to get back
and to selection, select

the mask
and then fill with white option delete

of so that punches up the eyes.

Now, one other trick
I really like with eyes that's super

simple is go on a brush, make sure it's a

you know, a zero hardness brush

that's about the size of underneath

the pupil
so between the pupil and the outer edge

and then just paint a little half moon

and then put this on overlay

and then just take the opacity down

until it doesn't look
like she's a vampire.

Also,

if you want to add some color to the eye,
this is a great way of doing it.

So for example, if I want to change this

white layer to maybe

having a tinge of green in it,

so what I want to do is
I want to fill the layer

with this green, but
I don't want it to fill the whole layer.

I just wanted to fill the parts
that are there.

I can lock the transparency
and then do option delete.

And what it's going to do is

if I isolate that layer
and turn up the opacity

I can see it's put the green on there

option, click this again,
take down the opacity again,

but that's also a nice way

of giving a hint of color there.

All right.

Next, I want to make her lips
a little more interesting.

So what I'm going to do here

is first

make a quick selection around her lips

just using the lasso tool for this

depending on

how detailed you want to get,
you may want to.

Oh, goddammit,

that's one thing I hate about this feather
is I always forget that I have it on.

And then when I don't want it, it's there.

So just be where the

to check on your feather

after you've used the lasso tool

There you go.

And then I'm going to hold down shift
and then just add the bottom

lip as well.

There you go.

I'm going to go on her
and go select and mask and then use

some of our smart radius here to just
pull it and more closely to the lip at.

Okay,

go back up here.

How do curves layer

when I

want to do here is again
punch up that white

in the rest of the curve
back to where it was

and gives
this little more of a kind of a wet look

maybe go to the green
I a little bit of magenta

when I go over into this

and then maybe just bring

the bottom of the curve down
just a little bit

on the lips.

I've found that it's

even a little bit

it makes a drastic different like that's
almost too much lipstick for me.

Oops.

So I might go back up here

and maybe instead of adding magenta,

I might just bring up the red tiny bit.

Yeah, that's nicer.

In the curve when you're adjusting colors.

I realize here this is something

that might be useful.

So if I turn on this color wheel here,

you can see

that the opposite of red

is cyan,

the opposite of green is magenta
and the opposite of blue.

Is yellow.

And if you want to make something red

while also making it lighter,
then you're going to add red.

But if you want to make something red
while making it darker,

you're going to have to add
yellow and magenta, right?

So think of your paint classes

if you want to make red,
you're going to do yellow and cyan.

So in this case, I would

pull down the green

and then pull down the yellow,
and that's going to give me a red.

Now, I don't want to do that.

If I want the color to be a little bit

lighter and also tend toward red,
then I can just add red.

But trying to add red to make
it red is not going to work

Now it's about just a tiny bit.

There

that looks pretty nice.

Now, I could also go

and do a similar thing here to maybe add

some makeup around her eye.

I don't really enjoy adding makeup
to photos personally.

I like the more

natural look, but if that's something

you want to do, it's pretty similar
to what we did there with the lips.

You're
going to make a selection of the area.

In this case, what you may want to do
is just go straight into

make a new layer,
go straight into a quick mask,

and then fill your whole mask with black

so that's option delete.

And then while I'm still my quick
mask, I'm going to change my

brush to white
and then just paint in the areas here

that I want to add some value to

like.

So cue again to get out of the quick mask.

Just realize correct
mask is a temporary channel

where you're plain
painting black and white

that is going to become a selection
with white being your selection,

black being you're not,
you know, unselected.

So with that I could then add

let's add a little blue color here

and then we can go

here, maybe put that on soft light.

You just just make it,

you know, maybe 10%
or some really low percentage there

and just you can move that up or down
depending on how much you want to add.

That's how you could add some makeup.

I personally don't want that at all.

So let's get rid of it.

Okay.

Next, what
I want to do is get rid of the background.

So we just have a clean background
around her.

So to do that, I'm just going to paint.

Paint with some white

Let's go ahead and add a new layer

and go in the paint brush tool.

Go up here and adjust my size or hardness

I can also right mask
click to pull up the brush

adjustments.

So let's go ahead
and make this pretty big to start with.

Maybe 500.

Want to make sure the hardness is on zero.

And then while I'm on my brush tool,

I can hold down option
and it's going to give me the eye dropper.

Oops.

I want to make sure that's my foreground
color there.

And then I can start painting

and I can make my brush smaller

as I get closer to her.

Looks

and bigger as I get way

it's a little trickier here.

I'm not going to overthink it

because we do have some

depth of field, so the back of

her hair is already getting blurry.

If it wasn't blurry, I could use

probably a quick selection
tool to select it.

I don't think I need to fit this

I will notice

that we've got this kind
of not quite white effect here.

I may do is actually go to my curves

and you can see there
where the whites should be.

So if I just drag the white to there

it's cleaning up that background there

and it's actually
also making her look a little

brighter there.

I don't mind what it's doing to her.

If I did,
I could always paint her out of this mask

and I kind of like what it did to her.

There

so those are kind of the basics

of portrait retouching.

And obviously

you can, you know, clean up
more to your heart's content.

You can add makeup, just use those tricks.

And in the next tutorial,

I'm going to go into a few more advanced
techniques

let's go ahead and save

retouched

and here's the before and after

not overdone.

All pretty subtle

and there you have it.

Okay.

In this next sartorial,
we're going to do some little more

advanced retouching techniques
I'm going to show you how to use the mix

brush to do more fine detail
in the frequency separation.

Russell
going to cover how to remove tattoos

and we're going to go a little more
into getting an artistic color grade.

So let's get started

all right.

In this next tutorial,
I'm going to show you some slightly

more advanced portrait
retouching techniques.

Let's go to 12 advanced portrait
retouching and click

on the file called Tattoo Removal

And here we have another model

and what I want to do so she does not
have as nice skin as our previous model.

We want to clean that up a little more
and also want to get rid of this tattoo,

get rid of the ring in her nose

and yeah, let's get started.

So first I'm going to use
the neutral eyedropper here.

I know that this is a white wall,
so if I click on that,

I'm going to get the whole image
pretty neutralized.

I also want to bring up the shadows
just a bit here.

Maybe push the

exposure up just a little

bit to kind of spread
that histogram out a bit

about.

So and I think it took a little bit
of the warmth out of the image.

So I'm just going to take that temperature
up just a tiny bit there.

There you go.

All right.

Let's open object Oh,

hang on.

I almost forgot.

All right.

So far to see all of our changes
are still there.

That's one really nice thing about camera
is that unless you cancel,

all your changes are saved
in the actual camera file.

All right, for this image,
I want to go down here

and I want to change the bit
depth from eight to 16.

Now, let's open object.

You're going to notice
that our file is actually a 16

bit Photoshop file,
which has more color information.

And that's

all right.

Let's first go ahead
make a copy of the layer and raster

as it's and similar
to the last two to the tutorial,

the first thing we're going to do
is kind of the spot correction.

And even here where we're going to do more
clean up on her skin,

I still want to get rid
of as many spots as possible.

So I have a nicer skin texture to work

with when I do

the frequency separation

I'll just fast forward through this

Okay.

So I'm pretty happy with that.

Next thing I want to do here
is just get rid of this ring in her nose.

So for that, I'm
going to go to the healing brush tool

and let's just paint this out here.

I notice that my angles shifted here.

If you go to your windows,
you can see this clone sauce

you actually have the ability here
to change the rotation

of your clone sauce, right?

So in this case, I want it to be,

I don't know, let's see point three
a little more.

It's not the most intuitive tool
in my opinion, but

it can help you in a situation like this.

There you go.

And then just reset it.

Okay.

So that fixes that

If I wanted to, I could also

just maybe paint in this
a little area here.

So for that, I'm going to make a new

brush

or a sorry new layer called my standard
brush tool.

And what I want to do is
I want to select these colors.

Now, you'll notice when I'm selecting here
it's changing the background color

instead of the foreground color,
if that's happening.

Go to your color palettes here
and make sure

that the foreground color is selected
instead of the background color.

All right.
Let's go ahead and dark this as well.

All right.

So now when I select,
you'll see it's actually

changing my foreground color.

So I want to go on my brush,
make sure it's on the zero hardness

and then change the capacity of it
to something pretty low,

like 20%

There you go.

All right.

Next, I want to get rid of the

tattoo here.

But the way I'm going to do it

is I'm actually going to do it
using frequency separation.

That way I can get rid of this
by just painting over it,

but I can still keep my thumb green,
which is going to be in the high frequency

separation layer.

So let's go ahead and right up here.

This was our nostril fix.

I can merge that in with a command E.

Now, what I want to do is

the frequency separation on a 16
bit image.

So let's go ahead and delete that

and let's make two copies of this.

We'll call this one low frequency

and high frequency

I'm going to turn off this one.

Go to Filter, Blur and Blur.

Zoom right in here

and I'm going to try

to push this one
pretty much as far as I can as well.

Let's go a little bit less on this one.

We'll go to 3.5 I've said, Okay,

let's turn on this one.

And now we're going to go to Image, Apply

Image, and we're going to have
a few differences here.

So Layer is again going to be our low
frequency, but we're going to invert this

and then
we're going to add instead of subtract

and our offset is going to be zero.

So this is what it should look like
said, okay,

let's put this on

linear light

and let's put both of these command
into their own group.

And if I turn that on and off, you can see
there is no difference

between our two images.

Now I can copy the low frequency

and start making my broad corrections

Let's go ahead and put this on 20 feather

and then select large areas here

and do our gosh on blur.

Yeah.

I think I need this actually to be a bit
higher.

Let's try 30

And let's go to Filter Blur, Gaussian Blur

and I'm going to do

pretty crazy amount of Blur on this one.

Let's do all the way up to 35

just because her skin is

not very smooth.

So next control command f

and let's do this

control command F

minus there

So here's one problem

with this is
I want to blur this area here.

But if I blur all of it together,
I just lose her job line.

Right.

So that's where I'm going
to show you another trick

when doing frequencies separation

and that's for these
kind of detailed areas.

So what we're going to do
is we're actually going to go

to our brush tool
and use the mixer brush tool.

And what the mix or brush tool does

is it smudges together colors.

And we want to make sure
that it's a clean brush

and we want to turn on this

clean brush after each use.

Okay. So make sure this is turned on.

Make sure the brushes clean,

and then you want
the wetness to be at about 50

and the mix to be at about 20.

Let's see how that works.
Or how that looks.

And basically, as I brush here,
you're going to see it's starting to blur

the image underneath,
but I can actually do it

at a really small level,

and I can also do it in the direction
that I want the blur to happen.

Right?

So if I want the lighter color,
I can push that in

toward the darker color.

If I know I want to keep the lip together,
I can paint over it

and make sure that I'm not
getting rid of the color in there.

So it kind of lets you do the blending.

And if I turn off this, you can see
a little bit better here what I'm doing.

So it's it's doing the blurring,

but I can control
the direction of the blur.

And also by controlling the brush size,

I can control the size of the area
that I'm blurring.

So it's similar
to doing the guys and blur same effect,

but I have much more control

and obviously it takes longer

but for something like this,

you're going to get much better results

So just think,

if you're turning this into a painting
or you kind of want it to look like

you want to get everything
nice and smooth in here

just think of this

as like running your finger
in a wet painting.

You know, you're smudging the colors

together

There you have it.

I'll turn on that high frequency

Okay.

Next in this area here,

you can see if I turn the eye frequency
to normal

at that tattoo really is nowhere
to be found in the high frequency.

The advantage of that

is I can paint it out

in the low frequency,

but still keep that grain
so it doesn't look fake.

So I'm going to do here is just take

normal brush

kind of make it a bit bigger,

and then just select colors around here.

I want to keep my brush at 20% opacity
so I don't overdo it

and then just start painting

this tattoo away.

And there you go.

The greatest paint job in the entire world

according

there

you can see,
may also want to hit this area here.

Let's go ahead and turn this off.

Go back to our mixer brush

Make it significantly smaller.

It just hit this area here.

And see how much control I have

with this mixer brush

and I do really like this method.

Obviously, it does take longer.

So there is a payoff

okay.

And then as I did with the other image,
I'm going to take the opacity

on this down, except for
I don't want to take it down on the arm.

So now what I can do is add a mask

and then go on a gradient
my gradient tool with a black gradient.

But I'm going to start this at

let's say 25%

and so that's 25%.

That's 50%

because it's

multiplying on top there.

And then I can also always select

the mask here and

paint that arm back in there,

make sure it's groups

Make sure the arm is not included
in that mask.

And then if I'd like
I can go to the mask itself

and actually change
the opacity of it here.

Right

Right.

So by sliding the bottom here,

that's less or

I think 50 is pretty good

if I want it to go a little higher, maybe

up there

I think that's pretty nice.

Last thing I want to do is just add
kind of an overall color grade

in this case, I'm going to do it

with a curves layer

and I'm going to go to the blues,

bring up the blues

and maybe bring down

on it.

Kind of clamp the blue in the middle there
so the metal doesn't move.

The more points you have here,
the less it's going to move throughout

and just bring the yellow down here.

From there.

It looks pretty nice.

Huh? Kind of a fairy tale look like that.

Also, if you want to

punch that up,
you can go to color balance.

And the color balance
allows you to adjust shadows, mid tones

and highlights separately.

So, for example, I can go to shadows

maybe add a little bit of cyan and blue,

and then in the highlights
add a bit of red

and yellow

and that's a pretty nice look right there.

Okay, so I like that color grade.

One thing also I kind of would like to do
is just see a little more

of this

chin line here.

So what I can do is I'm going to go ahead
and turn off our color grades

and I'm going to go to Layer New Layer,

and I want to turn on the blending mode
here to overlay

and then click on this fill
or fill with overlay neutral color.

And that's just
going to create a gray layer.

And from here I can go on my brush to

default my colors with the on the keyboard
to black and white

and then put the opacity really low.

And this is kind of a way of doing it,
dodging and burning, essentially.

And then what I'm going to do is

with white I can just paint

and add some highlights

and then with X go into my black

I can add

some darker areas that just allows me

to give a little more shape to her face.

This does work a lot better with a Wacom
because you have control

of how the brush tapers, which you don't

with a mouse

so with a mouse

you may want to go down to like 5%

and I'm going to select pure gray there

and just kind of paint over the parts

where I think I did too much

yeah.

That's nice.

Maybe a little too much still.

Which case I can go back here,

select gray with a really feather brush.

Just kind of

target those areas that I did

a little too much on

There you go.

I mean, with dodging and burning,
a little bit goes a long way,

especially on human faces.

Last thing is, we have this little.

So this is another thing on frequency
separation that it didn't really cover

because it's very rare that I even use it,

but that is fixing texture.

So here you can see we've got this kind of

modeled pattern in our skin.

So what I'm going to do
is I'm going to go on

that actually on the high frequency layer.

I'm going to use my healing brush tool.

I want to make sure that the healing brush
has 100% hardness, no feather.

And I want to make sure
I'm on current layer only

and then what I'm going to do

is make the brush a bit smaller
and I'm going to take a pattern

where there is a nice skin pattern
like right here,

and then just copy that to this section
and you can see how that's getting rid of.

And I can
maybe this section has nice skin to

it can see how that's getting

rid of the anomalies in her skin.

Now, personally, I kind of like
having those anomalies in skin.

That one was a little obvious
but the nice thing

about having those anomalies on
I don't want that hair there

is that it

makes it look more human
and less like it was painted over.

So but that's something to know.

You can also use your cloning tools
within the high

frequency layer to get rid of anomalies
in the high frequency.

So like this line here,
if I wanted to get rid of that,

I could go on to my tool here.

And you don't want this to be feathered,
this brush here,

because otherwise you'll see

that feather line

you can see there.

I can get rid of that line there.

Personally,
I like it, so I'm going to leave it.

But that just shows you
the other aspect of high frequency,

and that's fixing that high
frequency layer itself.

And I think I'm also going to go in here

go on my mixer brush

just paint.

Yes, I know that over here

there you go.

Okay.

That finishes this.

Here's a little before and after

and see though, a significantly nicer

and then is the power of Photoshop.

Folks,

go save

to remove all retouched