Capture One [Portrait Retouching Tutorial] Day 2 - Correcting Skin With Dodge & Burn

hey everybody this is scott weiner welcome back to day two of our capture one portrait retouching tutorial series we're going to deep dive into several techniques to retouch a portrait completely inside of capture one without going to photoshop and we're going to start with this image and we're eventually going to end with this image and there's quite a few steps involved and there's a lot of different techniques to learn and we're doing it step by step through different days because a lot of these are not really i'd say the ways the tools are intended to be used or the techniques are somewhat creative day one was pretty easy because we're just using the clone stamp and the healing brushes you know right out of the right out of the gate and that's pretty simple but we're gonna get into some weirder stuff today [Music] today we're going to start working on dodging and burning before you jump to conclusions about dodging and burning there's three different types of dodging burning that i tend to kind of recognize or group my work into the first one would be a corrective dodge and burn which we're going to do today and then solving skin issues using lightening and darkening and we can do this much more powerfully than we can inside of photoshop inside of raw because the image data right from the sensor is still at our fingertips and we haven't had to render that out to photoshop yet so we're going to be doing this series in order and the order is important so the first thing we want to do is obviously handle all of the healing and cloning which we've done already and it shouldn't take you too long i mean i kind of went a little bit ham on this image because i'm trying to not do work in photoshop after we do dodge and burn today we're going to have another day of creative dodging and burning where we do some different things to add a little bit of zing to the image then we're going to be working on adding a sheen to the skin we have color corrections to handle and we're going to work on adding some punch to different parts of the image finally we do color grading so there's a lot of different steps and each one may introduce you to a new tool or technique so buckle up and follow along now this image of karli is available for a couple bucks and a link down below if you want to use your own image that's great but this is a raw for my camera and if you want to follow along on the exact same image that's great and carly is pregnant with twins and some of that money is going to her so i think she would greatly appreciate that as i say it's two bucks that's not a lot of money and i'm hoping that some more people pick me up on that offer because i thought retouching the same image together is a really great way to learn the tool without you just watching this video and not following along so let's use some of that kinesthetic memory and actually do it so without further ado let's get rolling so the first thing we're going to do here is this is where i am starting with my current version i have gone through and added some healing to the image like we talked about last time so if we look at my healing and cloning layers this is where i started and this is where i am now so you see there's not a huge amount of difference but i did go through and remove some of the more obvious blemishes but i didn't take more than say five or ten minutes to do that so today we're going to talk about corrective dodge and burn now dodging and burning can be used without using any healing tools at all in fact if you hire a professional high-end retoucher they're going to use these techniques but they're going to do it in photoshop they're not going to do it in capture one but because capture one has layers and capture one allows us to use the pen we can actually get away with using some of those techniques right inside of our raw converter so to get started on that we're going to create two new layers and we're going to create one and both these are going to be filled layers initially just so you can see what i'm doing so this is going to be our dodge which means to lighten now for the adjustment on this we're not going to use the curve like you would inside of photoshop doing this because we don't want curved data here we want flat data so what i mean by that is we can simply go and raise or lower the exposure that's the great thing about working in raw so i'm going to add one full stop to this and if i check my exposure warning you see that everything is still in gamut nothing is showing a warning so i'm going to keep that as my lighten now i'm going to invert the layer mask so that we don't see that now when i'm drawing later when i'm using my brush tool for example i'm going to be setting my my flow very low and my opacity to 100 and the reason we do it this way and not using opacity is because we don't want to lift our brush a lot so as we start sketching for example i just want to continue to draw not have to lift my pen so i'm just holding my pen down the whole time and going over this area and you see that i raised the exposure on that mask so if you hold down m you can see the mask or if we do alt m you can see the black and white mask that we've made so far obviously this is not what we're going to be doing so i'm just going to get rid of that but it's all one movement so use flow don't use opacity it's just going to make your life a lot easier here now we're going to do the same thing but we're going to do with a darkened curve so again i'm going to a new field adjustment layer so you can see it and in this case i'm going to subtract a stop and again i'm going to invert the mask because i don't want to see it right now and the reason i did this mask fill and then invert it is so you can see the effect it's doing not you can obviously save yourself that step and this is burn or darken and i like to put this underneath lighten i just prefer lighten on top note in capture one the layer order really doesn't matter because it's interpreting all of them kind of at the same time the simultaneous layer thing is a little bit weird compared to photoshop and it takes a little getting used okay so now we would simply darken and lighten different areas of the image to help smooth it out the trouble is what do we lighten and darken uh what we're going to do is we're going to add a layer to help us see and we're just going to just make one here and we're going to destroy this layer later so i'm not really worried about it and the goal here is to make it as obnoxious as i want to now i have to fill this layer so i can actually see what i'm doing but my goal is to make this make her skin as blotchy as possible so that i'm trying to see all of the areas where her skin would need to be brightened or darkened so we're going to really torque on it here to see here how this area is a little bit darker that's the exact kind of thing that we want to get rid of so we want to try and brighten that patch the same with this one here and a few of the other areas on this image that you may see now to do that we're simply going to use again these layers now i find it difficult to look at this in color even though this is pretty desaturated i'm just going to go to the background layer real quick down to black and white i'm going to check this box and i'm going to make sure these are all flat i don't want to do any adjustment i just want to see the black and white version so i'm going to go to my lighten layer here i'm going to grab my brush and i'm using a wacom medium tablet here you could do it with a mouse if you'd like but it's going to be work but you want to make sure that your flow is down to like one or two and your opacity is a hundred i use the airbrush here and i don't use pen pressure um i just don't prefer it that way and so i'm just going to go over this area a little bit to brighten it just so that it doesn't attract my eye anymore and you're going to go through the entire image like this now we're not looking to remove individual freckles and i'll tell you that if you zoom in on this image you're going to make yourself a little dizzy with the amount of work you can do i'll tell you to do this from a distance the closer in you are going to be the better well say the more refined the image will look but that can also look a little overdone so this technique is very strong in the end now what we're looking at now is very high contrast and it may be hard to judge that this is actually going to look good when we're done but i think you're going to be mind blown when you see the before and after here so i'm just looking to brighten some of the areas that look a little dark compared to their neighbors so trying to add some sort of a homogeneous look to it now see this area here is a little brighter so i'm going to go and grab my darken and i'm going to do the exact same thing i'm going to try and bring this down just a little bit so that it matches its neighbors i'm not trying to make this on a global scale so that everything is gray and what i'm just removing is the more blatant areas and there's not a lot to this i mean it's more or less just a matter of seeing and getting used to seeing the areas that you need to remove okay that's good enough here now i'm going to go to my adjustment layer and i'm going to scoot it a little bit so that i can see more areas of the face and again i'm going to increase that contrast so i'm going to be moving my curve over as i work my way across the image you can see some areas down in here as well so remember that if you've got skin in the image even if it's not in the face your job is still to retouch it don't forget you know hands and things like that so you go through and just kind of brighten these areas a bit again the adjustment we're doing is very minor but we're doing it under such a microscope that when we're done we're going to get a pretty dramatic change so anything you want to do this is the perfect opportunity to lighten areas under the eyes if that's something that bothers you but remember the eye is an orb in a socket so i don't remove that because people without round eyes look a little weird now she has amazingly large eyes and i just think they're awesome so she's fun to shoot just because her eyes are so huge again don't zoom in too close because you'll get sucked into this and then six hours later you'll come up for air so we're gonna go back to our adjustment layer again we're gonna give it another nudge across and again we're just trying to create as high of a contrast of a situation for ourselves as we can and it's okay if we you know push out part of the image but you see down in here for example i have some other areas that i kind of want to brighten a little bit thanks monty for by the way for pointing out this really great tool for helping me draw on my images as i'm doing uh this presentation uh so we were doing a little meeting on the discord there so if you're not familiar with it i have a discord server up now so if you'd like to chat with others chat with me about capture one photoshop um blender and any of the other things that i happen to do that's a great place to do it also if you are a channel member there's a texture available for you this month and i put the code for that in uh not only here on youtube but i also put it in the discord chat so if you happen to be on there you can grab it from there as well so when i mentioned last time that a pimple is something you could or may choose not to remove using the healing tool this is the way you would remove it you would simply find the brightest part of the pimple and darken it find the darkest part of the pimple and lighten it and you would then remove the red and you'd be able to get rid of that pimple because it is not really a three dimensional thing obviously it is a two dimensional on now that we're looking at it on uh on our screen so we are almost done here by the way this is a pretty quick technique um we can see some areas here on the lip that we need to fix so again i'm going to go to lighten brush tool and i'm using my bracket keys to adjust the size of the brush i'm just going to brighten that area there a little bit just let it make it look more like it's friends and then you could do this too with wrinkles if you were under the eye for example and you found some wrinkles you want to remove this is a great way to kind of soften that i'm going to do that here with this crease you take as much time on these as you want to do it obviously it is your art and you decide when you're done this is the reason why we did the healing first because if we had done this first the healing may or may not look as good once it heals those areas will still be brightened and darkened by this mask because the mask doesn't know what's going to be changing so you'd end up with all these weird situations where the image was brighter but then you fixed the issue and the brightness stayed so you'd have to redo all the dodging burning again so just do them in order and life will be a lot easier on you okay that looks pretty good to me so now let's go ahead and turn these on for trump my black and white first i'm going to turn these on and off for you this is our dodge before and after and you see it's very subtle but it adds that refinement level to the photo that we really need to accomplish a great skin retouch if we want to look at the mask for that we can do alt m again and this is what my mask turned out for the brightening so you can see that it is varied and it is all over the place and you really could get in here and do a lot more with it so that is dodging and burning for correction and you note that we did label these layers and we can always turn the opacity down if we did a little bit too good of a job and we want to bring that realism back the great thing about these techniques is that the skin is still her skin we didn't replace it with another texture we didn't heal it with another layer we simply brightened or darkened different areas of her skin so we'll get an amazing result plus we did it in raw so we can use the actual exposure of the image to push and pull the shadows and highlights around a bit to kind of smooth it out the next lesson we're going to be working on is going to be the more artistic dodge and burn and that will be day three of this series so go ahead and grab a photo make sure you do your healing first your any cloning if necessary and then go ahead and do a dodge and burn on it and i use the hashtag we're touching with scott and i'd love to see what you guys are working on and i will catch you next time everybody stay safe

Channel: Scott Detweiler

Views: 1,833

Keywords: capture one, capture one pro, capture one beginner tutorial, photo editing software, capture one 20, capture one tutorial, capture one pro 20 tutorial, capture one pro 20, capture one 20 tutorial, capture one tips, capture one workflow tips, capture one workflow, raw editing, retouch with scott, capture one portrait retouching, retouching tutorial, RAW file editing, high fashion retouching tutorial, capture one retouching, dodge and burn, skin softening, retouching skin

Id: ythcv3fhHro

Length: 13min 54sec (834 seconds)

Published: Fri Oct 02 2020

Reddit Comments

[u/Horus_simplex]

Thanks Scott your work is very appreciated

[u/motovin]

Not really what I typically use, but great info! Thanks for sharing!