All language subtitles for 4_Faith Shoot - Retouching

All right?

We are now going to do a retouch of
faith, our model that we shot

here, the last scenario that we did.

And I'm going to pick one that I think,
yeah, kind of like, and it's just a

little different.

I've done so many different

images of models and stuff.

This one I like because she's just
like, she kind of turned, she's got

her hair, kind of, the wind's blowing a
little bit, super shallow depth.

The field.

We got a little bit of atmosphere, the
sun off to one side.

And I kind of like that.

So we're going to retouch this for you.

Now, I'm just going to give you a
little heads up on

the jewelgrams academy that I've done,
the complete pack where I did,

the artist,

the craft, the retouch, the business,
the print, all those, I have gone into

forty hours of training.

And so about ten hours, maybe even more,

I think the biggest one was my retype.

So maybe 1112 hours

of retouching on that.

If you don't have that, I would
encourage you to go and look and pick

that up now.

So this the one light master class I'm

teaching you.

Lighty.

So, but as a bonus, I want to throw in
how I finish off an image because I

think that's important.

So we're going to go through this.

This is my final image, right here.

A retouch of faith I did somebody a
week and a half ago.

I'm going to try to duplicate it.

But you know, every time I go in
retouch, I don't do the exact same

steps.

But we're going to go through here.

So we have

just lightened the eyes a little bit.

Ok?

I did a levels to snap it a little bit.

Gave me a little more contrast.

Hue saturation.

I love to desaturate.

You may not like that.

Here's a vignette.

Then I desaturated the arm.

I thought I was getting a little bit
orange down there, a little tmy vinia

at the top, a bigger vignette at the
bottom.

Then I added a photofilter onto all my

atmospheric

sort of haze and little streaking over
there.

So it turned out off.

You can see that.

And there's the warmth added to that.

And then each one of these

is just adding a little bit of

glow, or whatever you want to say, on
that.

Then I have a little, I think that was
just a little

dodge and burn.

And there's my, what we call.

Well, I did the frequency separation
but right after that then's what I

started my finishing.

I call it the selling, the fake of the
atmosphere around her.

So let's take a look.

We're going to go.

Let's go all the way back up on here.

And there's my final image.

So let's go to the raw,

and I've got to go to bridge.

I don't use light room

it's, ok,

here's the Cr.

Three.

So I'm going to it's highlighted
command.

R.

Takes me over to raw.

And so let's go over here, and I'm
going to reset it to show you how I

built this in the raw converter.

Now you can do this in light room, but
I do it in bridge because I don't know

light room that well.

And bridge does everything I need.

we're going to take the highlights down
just a little bit,

ok,

we'll bring the shadows up, just get a
little detail in the areas here.

We're going to darken that anyways.

Then we're going to take the texture.

I'm going to run it to the left a
little bit, so it softens it just a

little bit little dreamy, maybe just a
ted of the

dhaze,

bring the contrast back a little bit.

Exposure let's just give it a little
tad.

Because we're going to darken it around
her anyways,

I'm watching a face mainly.

Maybe pull back the highlights just a
little bit more.

We're going to go over here to my hsl
adjustments.

We're going to pull the orange to the
right.

Yellow.

We can pull it maybe a little bit.

Let's take the blues down.

Give me a little more blue sky.

Darker, blue sky.

That is pretty darn good.

Maybe add just a tad sharpness, because
we softened it with the dhaze.

That i'll snap it just a little bit.

And then where you say, open image.

Now I'm going to try to do this as fast
as possible, because I again, can't

spend too much time here.

So this is my base image.

I've got a few things over here where I
may not go in length to take out every

little whisper hair that I don't like,
because, again, you guys know how to do

that, or

i'll show you a little bit of it.

So we got our base.

But I'm going to go apply my frequency
separation.

So I go up here to my actions, and I
will make available this action button.

I teach this frequency separation

all the time.

I've done this probably three or four
times

for you guys through the academy.

And I mean, build it from scratch.

So I'm going to hit go on my action
button.

You'll see it all come up over here,
and we'll get rid of my actions.

And I've got

a black and white on the very top.

Now what I want to do is I want to
exaggerate her skin flaws.

So I take the red to the left.

And that doesn't look very attractive,
folks, but

that's ok.

So we're going to go over here to the
second, not the spot healing brush, but

the one below it, which is just a
healing brush.

And I've got this high pass layer

set to a linear light.

I explained that when I do the whole,
the whole thing, but basically I've got

a high pass, which is a sharpening

layer, and then I have a low pass,
which is a softening layer.

And I'm going to work in conjunction of
the two it's like magic.

And so let's zoom in here,

and let's find some flaws that we can
take out.

She's got pretty good scan folks, but
every model's, we all have little

flaws, right?

So I'm going to hold down the option
key,

and we're just going to

basically cloning, but it's keeping the
texture in the skin.

There it goes.

I just reloaded my welcome

drivers.

So that's why I'm a little nervous
here, because whenever you teach,

nothing goes right.

When you reload,

say, Photoshop

or a new operating system, you start
losing things.

And then I go and I'm working on that
computer over here, and then I go and

do this demo, and nothing works.

So I get

stumped sometimes.

I'm sure that's never happened to you
guys.

So I'm just picking up little things
here that my eye goes to it, right?

So,

how far do you take and retouch skin?

Well, that's the millionaized question,

because it depends on the client.

It depends on your vision.

As an artist,

when I was in school,

there was a group of people back in the
film days that wouldn't even fix a dust spot.

That was not the purest way to do it.

So everyone has

a line of the sand that they draw that
fits them.

I, personally, I think this is a very
clean retouch.

And it's not the old, make your skin
look like plastic.

Now, her nails, I had to fix your nails
there.

And the other shot, a little bit,
they're kind of dirty

or broken.

I don't know about dirty but broken,
maybe a little dirty

when you zoom this in, boy, I tell you.

So you can see my depth of field, tack
sharp and her eye soft on their second eye,

a forward leaning eye leading I.

And that new cannon Eos r is amazing.

Not that I'm putting a plug in for
cannon, but i'll do that, because

everyone else plugs their camera.

So I'm plugging for cannon.

I love it.

It's just that 512 or 35.

They think this was a 35,

the 35.

That wasn't.

It wasn't the rlens.

It was the e flens.

The rlens was the 512.

So I can go along here, and I'm just
picking up little flaws.

Let's see over here.

Usually a really dark mole.

Sometimes you have to go and won't take
it all the way out with this technique,

and you've got to come back and clone
it.

She's got a little bit of a scar on her
arm here.

So watch this.

Let's just see how I can show this off
here.

So I'm a click below,

and I'm just going to paint along here,

and it's not going to take it 100
percent, because

it's kind of dark, but it'll get really
close here, and then i'll fix it

later.

Just a little bit

so you just want to blend that in a
little bit there.

Also, my processor's a little slow here.

So it's like,

kind of dog and army.

Ok.

So that is the first pass

of our frequency separation.

So now I'm going to go down to the low
pass,

and we're going to go over here to my
lasso tool.

And now this is going to be where you
really need to be careful that you

don't overdo it.

So I'm in a lasso right here,

and I'm going to go up to filter

gauzian blur.

And we're going to go to a radius a.

Sometimes I do fifteen, but let's just
say 10,

and then we say deselect.

So let me back that out.

So there it is.

There it is without.

So what it's doing is it's

just kind of smoothing that skin.

So let's go back to gazian.

Blur has already been picked,

deselect,

we're still in the black and white mode
here.

So when you take it off and you see, it
looks really great.

So we're going to go over here,

and I've already

selected.

So, command folks,

sorry,

ok,

Photoshop changed on us.

And since I've reloaded the new
Photoshop drivers,

it doesn't like it so I'm going to go
it's now.

So I have to change that in my

quick keys.

Because I've been doing, ooh, no, no,
no.

That's the whole thing.

I've been doing that for

fifteen years.

Command f, commandey.

And so now they change it on me.

So let's go back.

And we're going to go back to this.

Let's go here.

So we got up here.

We'll just do that.

Command d'o.

Boy.

So anyone who has not do come enough

has not taught.

And in front of people like this,

if you have taught, you feel the pain.

If you have not to go.

photoshops a train wreck?

Well, it is.

Sometimes

I look at myself as just a hack.

So we're going to do, that's a big
bunch there.

So we're going to go.

Command d.

Desaturates.

It

here's a little bit of a weird thing
right here.

Actually we're going to do the whole
thing here.

So you can change that amount, the
amount that you.

But I must keep you.

Keep it on ten right now.

Command d.

And then right in here.

Whether that

command d'warm

since we're here.

Folks,

so there's my overall

sort of effect.

what I can't do,

and I've often done this, is I've
grouped this.

So I can always pull down the opacity.

So there's a zero,

there's full.

So you can say, maybe what?

Too far?

You can feather it down a little bit.

But I think a ten radius is actually
pretty good.

So let's take a look at our dodge and
burn now, which is really, probably,

i'll be the most important

when it comes to skin retouching.

So we're going to go over to my

dodge.

Mid tones, three percent.

And we have protect tones.

So let's go.

Now.

We're going to dodge it here.

And then by me hitting the alt,

it flips to burn.

Same mid tones, three percent.

Amazing.

So we're going to go along here and
just go dodge and burn.

So we're going to go, dodge,

burn, lips.

I hit the wrong button.

I think you got too happy.

Ok, we'll be here.

Burn,

burn here.

Dodge back a little bit here.

Now, three percent isn't work for you.

You might go to five, but I wouldn't go
over five.

I like it really subtle.

So here's a burning.

Here's a dodge.

Let me just see something here.

I'm not a gone too far.

A couple of these, because I'm watching,

and it's kind of lagging.

I think that it was weird it's kind of
my processors, like my computer right

now is just humming

because I got way too much

going on at one time, even though this
is,

laptop's only about five months old,
but still

working over time.

So I'm going to dodge back that.

Now.

This is still in the black and white,
and it's still in the red channel.

So everything's exaggerated.

So let's take the black and white off,
see that?

So

I like doot in black and white, though.

So we're going to pull that back a
little bit.

And some of you, like you, say your
patience isn't at three percent just is

too slow.

But I don't want to overdo anything.

So

I want to err on the side of having to
brush more times than just going one

big brush and

go too much.

So we're going to burn along here,

burn along here, anything that kind of,
that distracts my eye a little bit.

Now I could spend a little more time,
and I would probably say I spend more

time on the dodge and burn

than I do on the frequency separation
part,

because I think it's more important.

So let's go down here.

I could fix this.

There's a little bit of wobbles.

There's a highlight right there.

I can fix that this will take a little
bit more time.

And when you see the original that I
did, you can see I went through all this,

but you can see what I'm doing, just
real subtly, taking out wobbles.

And there's a couple little tricks i'll
show you in a minute.

So, let's burn down.

Now that I got a smaller, I can see a
little high line on the neck here.

I don't like,

here's a highlight right back here.

I'm using the walkum

tablet.

And

you can do this with a mouse, but I'm
telling you, it's a lot easier with a

walk.

And came.

Ok.

So I see a little bit of a area here
that needs to be fixed.

There's a highlight right there.

Little mustaches.

Take that down.

Still don't.

I'm going to fix that cheek in a
minute.

Here i'll show you how to do that.

Ok, take the red off

for this lesson.

I think that's good enough.

So I'm going to flatten this.

So we go over image,

layer, flatten.

Image.

Yes, I want to take it all.

Command.

J is going to duplicate

the layer,

and we're going to pull it to fifty
percent.

And this is where I go to the next
step.

So I go down to my

patch tool.

Now watch the magic here.

Folks,

I'm going to take this little section
right here, and we're going to pull it down,

and

we can zoom in a little bit here.

Look how beautiful that is.

So let's say I went too far.

I can now take that percentage down a
little bit more.

Let's say, right there.

That holds a detail,

and that looks absolutely amazing.

Software

that's at 29 percent.

Let's go and do it here, too.

And then we'll take this little
highlight here, and we'll do it there.

We've got a highlight there.

I'm going to pull over the arm that
way.

It makes it really easy.

Just get a good skin.

And there's a laubble there.

So now, you see, what I'm doing here

is, I'm just fixing a few little things.

Looks good.

So we're going to say, command, eh,
command.

E.

Me.

Merge down.

Command.

J, do it again.

We're going to go to fifty percent.

And this time I'm going to fix right in
here.

This is a little bit strong for me.

So we're going to pull over.

Look how

he can.

Zo, command.

D, I'm going to go, I'm going to go
down longer here.

That way.

That's feathers a little bit better,

maybe a little spot there.

I should have picked that up.

Ok?

Anything else?

Made that patch there,

that little line right there.

Ooh, I don't like your hand over here.

So let's pull that down.

Anything, that's the distraction

I take out.

All right.

So, command e, that has that down.

Let's go down to my picture here.

So, not bad.

I could probably spend a little more
time dodging, burning.

But again,

when I'm teaching, I can't spend as
much time.

So let's now go to,

let's, go over here and say, what do we
do next?

Well, we did dodge and burn, but I
didn't keep that.

I think

we'll just go to building our glow.

So let's build a globe.

A little bit of sun

atmosphere.

I love it.

Shift command and gives me a blank
layer.

Yes.

So the first thing I'm going to do,

get my brush.

And so we're going to get a white glow
here.

So we make our

area fairly big.

Let's go smaller on my canvas here,

and we're going to tap right there.

Sixty five's too much.

So let's go.

Command.

Z, let's go down to thirty.

I told you 30s about where I work.

So we're going to try there.

And then I'm going to make it even
bigger.

And we're going to go down to about 10,

and we'll tap it again.

So that gives me kind of a little glow
there.

And then we can always go and either
make another blank layer or go really small

and raise it up to, say, 50,

and then just tap right there.

So that feels like the sun's kind of
blasting across there.

Ok, that took a while.

Let's keep going, let's keep doing it.

So we're going to go to

levels.

We're going to go to gradient.

And I am going to pull from the bottom
up,

and I'm holding my shift key down.

We're going to gradient the bottom up a
little bit here.

So I'm going to flip it, command I,
because I want my list.

Tap here.

I want the dart from bottom.

So let's go there.

We are now going to do another one.

So levels

on linear,

and we'll come from the top down just a
little bit,

just to tap that in, flip it,

and then tap right there to bring up my
palette.

And we're going to darken just a little
bit above her forehead, so it goes to

our eyes, maybe not quite that much.

And then we're going to do one more.

We're going to go levels

gradient, but now the circular one, the
second one end, we're going to pull

from the center,

right there.

And now we get to pull the whole thing
in just a little bit, right there.

Ok?

It looks pretty good.

And I remember doing this before, and I
was like, I kind of lost my little glow

over there.

Right?

So what we can do

is we can

command j,

and then that duplicates it, and then
pull it back a little bit,

so it kind of goes back to my original
vision.

And if I don't like that, I can go,
like this, hold a shift key and stretch

it a little bit, so it kind of comes a
little bit more smoother.

All right.

So we got that

So we go to hue saturation.

I'm going to take this,

the master

minus

tennished

reds, whips, reds minus about 10.

And my yellows mine, if you see me
retouch, you know, that's my old trick.

I still think that arm is a little bit,

because when I did the vignette.

So what I do is, i'll do a second one,

huge saturation.

We're going to pull back just the reds
a little bit, and the yellows a little

bit here.

And then we're going to make that mass
black.

And that blocks it and then i'll brush
in where I want it.

So I go over here to my brush, let's
keep it at 100 percent.

And I'm going to go and just pull it
right along.

I have a white brush

right along here, just a little bit,
just to take that arm down in

saturation.

Ok,

all looks good there.

What I didn't do, and it probably
should have done this before, is I'm

going to go to liquify.

And most of you,

if you're in the business of making
people look freaking, amazing,

you'll know that this little trick
right here makes women really happy,

right there.

Whips.

I'm not gone too far.

Ok,

see what I just did.

And I know that you say that's
cheating, but I don't mind.

And every woman that I've ever talked
to says, thank you very much.

So

she is not, by anyways,

someone who's overweight.

Oh, you know what I also saw, lecofy.

We're going to,

just, because the light's hitting a
little weird,

I'm going to pull this in just a little
bit, right there

again.

She was in great shape.

It just

is part of the retouch process.

So I'm going to snap it a little bit
with the levels, because I'm now

looking at the whole overall

increase my contrast just a little bit,

bring my blacks down, just a fraction.

And if I got an area that blew out a
little bit.

So when I just did my high contrast, it
blew out a little bit, I go over here,

make a black brush.

Let's go fifty on that,

on the opacity.

And I'm just going to paint back just
that little area that got a little when

I just increased my contrast, got a
little hot.

Is that a soft brush?

Yeah, it's going to make sure it's soft,

ok,

is, mainly, this section right here,

maybe your hand a little bit.

Ok,

let's go a little bit there.

So I just pull that down, just a
fraction.

I think we're getting there, I think
the ice.

So we're going to go over here to

levels.

So let's go get an adjustment layer.

Levels.

This is kind of an interesting little
trick I do.

So I'm going to go command to I, which
makes it black.

I'm going to hit the back slash, which
is right below my.

Delete.

The black

back slash that's what I was trying to
say.

We have our brush.

We want 100 percent.

And I'm going to paint let's, zoom it
in,

right in her eye.

So I won't just wear I'm on the wrong
one let's go x, that'll give me a white brush.

This tells me exactly where I'm going
to bring back

the snap in our eyes.

So now we get rid of the backslash,

and there's nothing's happened.

So you turn on, off nothing's happened.

So then I go over here, and I'm going
to pull my highlights just a little bit

in, so you can see how I can go too
far, right?

So pull it just a little bit, and maybe
pull the mid tones in just a little

bit, and bring the black

in just a ted.

Then I go and look at it really back,

make sure I didn't do too much, turn it
on and off,

because you don't want to overdo that.

Most people I see that do this, they
overdo it.

So that's a nice little clean

snap of the eyes.

Then

let me just

go.

Shift option command.

E can do a couple things here.

One is let's see if I even have a
loaded software.

I got luminar, but I don't think I have
the right.

So a lot of times i'll do a little
softening of the overall field, which I

can do over in raw camera filter.

So let's take

and pull back my clarity just a little
bit.

So let's see how that softens it.

So we'll just go a little bit,

and then we'll pull back our texture
just a little bit.

Now what I'm going to do,

what I'm going to do, though,

is I'm going to say ok,

and then I'm going to make a mask,

and then I'm going to paint in the
sharpness of the eyes again, or at

least that leading eye.

So we have to be on a black brush, on a
percent.

That way, everything else is soft.

But her eye, which is supposed to be
perfectly in focus, is not didn't get

effect by that.

So let me hit the tab.

There we have it.

Ooh too far, too far

under the pressure of

dealing with new welcome drivers,

a new updated

our Photoshop, all those things.

My goodness,

I hope you enjoyed this.

But what I really hope is that the one
lightmaster class gives you the

incentive to go out and create

new pictures

and heavy confidence that you can go
out and get your vision as an artist.

That is the key.

So what do I say?

I'll leave you with this.

Why

have I had the success I've had

in my photography career

is because I outwork.

99 of all people that do this on the
planet.

That is my success it's not my
brilliance,

my talent,

my education, that I had my degree, a
whole, my grey up degree up, and say, I'm

whatever graduate

it's the fact that I just keep working,
practice and keep learning new things

every day.

And that's what I want you to do, and
that's what I encourage you.

So I hope you enjoyed this series, the
one lightmaster class don't forget.

If you do not have

the bundled,

I would say

it was the academy that I did, the
built out the kind of forty hours.

You might take a look at that.

Thank you guys.