Complete Male Portrait Retouching in Photoshop from Start to Finish

all right so hopefully you can hear me this is a just a bit of a public service announcement before we kick off just to say that if you're not watching this at 8 p.m. UK time on Tuesday the 12th of September just jump forward don't sit there and watch the countdown jump forward 4 minutes and 25 seconds taking it to the start of the actual presentation right everybody is that coming through ok cool cheers Brian there's no worm know kind of reverb or anything like there was last time blond I'll tell you what it's been a rush tonight cool cheers John thanks for that mate just need to check that the audios good making sure the levels are good I can play around with it now she's got this new audio mixer so hopefully everything all still being good I was desperate to get this HD camera thing all sorted for tonight got it all connected up but for some reason I couldn't get the chroma key in to work no idea why it's usually just a one click when you're using Wirecast I've put the webcam in again one click and it fixed it so no idea what's going on there something else to sort out I guess there you go Edward thanks for that mate cheers Antony thanks a lot mate Glen you're slacking no thumb is there no thumbs down yet Oh dear me what's going on I'm sure they will be by the time we're finished or at some point when this is uploaded we kind of am NOT doing what a normal day kill me so it's gonna be I don't know how long tonight's going to take guys because then done the retouch once before I've made some notes I've got the layered file always keep allied file got that open in on the other screen on another computer so I can actually see the layers just remind me all the little steps that we go through and yeah if you're if you're in the email our group I think I mentioned this a while back if you're in the email group after this at some point I'm going to send out the would you McCourt the raw file I'm just conscious at this week I've sent out quite a few emails so don't inundate you so I might actually leave it for a week if you're ok with that if you desperately want it just drop me an email and I'll send it directly to you as opposed to just blasting out everybody again Mike projects Mike no sound glooms talking when he's best Brummie accent off I got four that you can hear me guys were in then hi Kathy how you doing all right thanks for everything the other day in Dublin I've really enjoyed that it's good to see you in peace so thanks for that right I've got me water making sure that's nowhere near the computer those of you have never been in the chat room actually bloomin numbers are looking great if you've not been in the chat room before we started just so you know when it gets to around about the 30-second mark all being well if the sounds working okay you should hear a little bit of music starting and that gets louder as we get towards the start and then pretty much we kick off so you'll be able to see my ugly mug on screen then and we'll just crack on so I'm going to turn my mic off just for a short while for a few seconds while I'm just checking everything is there ready for me but I am still here I've got the chat thing open big on the screen all right back in a second you Ian from Glasgow I have I've got your email I will get back to you just been a little bit busy getting this sets up my but I will get back to you you all right so like I said when we get to 30 seconds and it should start to hear some music starting to build up and then it's all hell breaks loose now we actually start then so hopefully can hear the music starting any second now [Music] hi folks Glynn here just to remind you that if you haven't already make sure you click on the subscribe button on my youtube channel and also click the bell icon and tick in the notifications check box so that you'll never miss any of the live broadcasts that's just a great and free way of showing you like the channel also over on my websites at Glen Davis com click on the newsletter menu item to join my email group and download your free ebook called how to develop your style fill in your email address first name and family name and then click on the subscribe button and finally add me in and connect over an Instagram by finding me with the username at Glynn doiis alright hopefully you can still hear me I can see myself on the screen so hopeless coming out alright got big hands come in here Kenya your hands and alright so thanks very much for joining me it's been a bit of a bit of a rush to get this going tonight just before we went on air I was playing around with this new HD camera thing trying to get it all hooked up because I'm not too pleased with the way that this webcam is looking I'm trying to make this look as good as it possibly can and but couldn't get it work in green-screen chroma key wouldn't work so I had to resort back to the webcam so I'll go smaller in a minute see it was such a big looming head right at ya but we've got on lots of cover tonight so I'm not gonna hang around I've dunno how long it's gonna take I'm guessing 3540 minutes maybe something like that I was just saying to everybody in the chat room before we started that I have got the raw file which I'll send out to you so that you can actually follow along with this it's always the best way to learn is actually doing it step by step rather than just watching but I am conscious with the email group it all sent out a few emails this week and what I don't want to do is and all your by sending out even more emails so I'll probably leave it a week before I send it out however if you are desperate for it and just drop me an email and I'll send it over to you but I won't be able to do it over the weekend because I'm away just for a couple of days but yet definitely gonna send out the raw file it depends whether or not you can wait for it so right then hi Peter hey mate we've got a great group that I'm really really great numbers tonight which is good got people from all over the place well well India we've got Glasgow oh yeah we've got all kinds of places so let's crack on let's just bring down and it's go to here and we're gonna hear so the picture then that we are going to be working on tonight is so look is this one here so talking a few days ago when I was over in Dublin I want to take you through the retouching steps I'm gonna go through some of them quite quickly because if you followed what I've done I've been doing for the last few weeks you're gonna know the start I'm sure but there are thought this was a good picture to go through because there are some techniques that I haven't really covered so I thought that'd be quite useful to actually to go through with you so let's just let's just get on with it let's go to the raw file very quickly just do the raw conversion so you can see here this is the out of camera picture I Denmark this is the out of camera picture if I go to the develop module I'm doing this in Lightroom could doing Camera Raw doesn't matter everything's kind of the same just slightly differently laid out big mistake I made moved in the photo shoots got kind of carried away I didn't use the gray card however thankfully because we photographed Paul O'Callaghan here who's a super bloke and a damn fine photographer photographed him on a grey background very easy to fix that out we've got the white balance tool I was going to bring it in and click it just the side of Paul's head on the grey paper Bank white balance is pretty damn good where I want it to be so right first things I want to do then I don't follow any kind of set pattern I generally just look at the picture and whatever it is that's jumping out at me that's what I work on first then I take a moment look at it what else needs doing then I kind of work through so what I want to do here to create the look that I have for my own style is I'm going to get the shadow slider and I'll bring it over to the right hand side to bring out some detail in the shadow so I'm gonna go to around about there 64 ct5 ish something like that that should do some where long I'd be good bring down the highlights a little bit as well and when I do that although if it's coming through on your screen but it does it creates a certain kind of look in the picture and I really like the look but increasing the shadows and bringing down the highlights gear so that's for me is a really a good starting point next thing gonna do is come down to the details tab I'm always a little bit sharp nning here overall on to the whole image apart from of the background for a male portrait the amount I'm going to apply is 40 that's generally the amount that I like to use for a male portrait and so that I can only sharpen and pull and not the background again this is just a very quick overview overview before we go into Photoshop hold down the Alt key piece on PC option key on Mac click on the masking slider it all goes white means it all been sharpened drag the slider over to the right hand side to bring in black so whereas black isn't been sharpened whereas white is being sharpened so pretty much you can see that we've got some good sharpen in there on the most contrasting and sharp areas of Paul that's looking good just there and then the last couple of things I'm going to do is go to lens Corrections and this is purely by habit to be honest with you but I always put a little tick where it says remove chromatic aberration and I always put a tick where it says enable profile Corrections and you can really see that when you go before and after how it kind of just changes it just a little bit so Lightroom knows the lens that you've used and it makes an appropriate kind of calculation and what I do to a change the image to how it should be with the correct lens profile so that looks really great so I haven't done that much in Lightroom there's a lot more I could do but the way I work is I don't do a lot in Lightroom I find it to be and this is only between us don't tell Adobe I tend to find it a little bit sluggish alright so I tend to find a lot of things it's quicker for me to do it in Photoshop you may have your way of doing it in Lightroom but you know just just do what makes you happy well what you find easier but I haven't done that much in Lightroom so I'm not gonna send it over to photoshop as a smart object what I've done takes literally seconds to do if I've done lots of steps then I would use it as a smart object but I'm just gonna send the image over now keyboard shortcut control on PC command on Mac and press E and that's going to send the picture with those library magicians over into Photoshop so john spica said he always starts with lens corrections yeah I guess it's everyone's got their own particular way of doing things but made you know what there's no particular kind of way that I kind of say I always do this and then I always do that I just kind of just look at what needs doing now this picture okay this was actually taken using the new camera I've got now it's not a new camera but it's to come at our new camera I'm using the Sony a7r to huge files lots of detail and they are really really big so what I'm going to do this isn't something I would normally do but purely so that the computer is kind of okay doing this while we're watching it I'm just gonna change the size of the file I'm gonna bring it down just a little bit I'm gonna keep it at 16-bit but the height let's just bring it down just to reduce the file size a little bit you can probably see if you zoom in on the bottom left-hand corner of the screen it says doc and then a number 240 one point three megabytes that's the size of the file at the moment without doing anything if I just change the height to five thousand just for this click okay if you can see on screen you'll see it takes it down to ninety five Meg so it's gonna be a lot easier for the computer to work on right I don't crop in Lightroom just yet as well I think Johan is just maybe asked that I'm not too sure but you'll see when I do the cropping because I like to give myself a little bit of flexibility right then so let's let's just kick on and go through the steps now that in Photoshop I'm in my happy place so I want to change the composition of the picture first of all so I'm gonna just click once on the padlock over in the layers panel to release that line now so it's not locked then I'm gonna press command or control J to create a copy I've always like to keep my original in fact let's just double click on the name there and call it original and then what I'm gonna do on this layer here is gonna get my crop tool and I'm going to drag out a little bit to the right hand side just to bring a little bit more kind of spice that one side it felt like it paws us a little bit tight on that one side of the picture so we'll just kind of bring it over just a little bit I love how you can do that with the crop tool not just cropping inwards but you can crop outwards to actually change the composition of your pictures so we'll just press Enter return on that to are committed in while some transparent pixels here so let's just go and get the rectangular marquee tool and I'll make a selection just down that transparent area there and you probably just see that this selection is just going over on to the gray background so what I'll do now then people go the long way around we'll go edit and we'll choose fill and he will choose con aware now when you do in this if you find that for some reason Photoshop is dragging in parts of the picture to fill in that transparent area that you don't want it to let's say dragged in a bit of Paul's arm his hand there is a technique I've got on my video on my youtube channel shown how you can stop it from doing that so I will put a link in the description if you find that happening put a link in the description to a video that will show you how to stop it but that's worked pretty damn good for me just there right they just zoom over to a like Photoshop just over here so right now then let's now that we've done that let's start to do some body shaping now Paul callaghan's giving me permission to her to do whatever I want with this one and he's quite happy with that so that's cleared up but let's just show you how we can do a little bit of body shaping so what I do now then I'm gonna use liquify liquify a short while back became possible to use as a smart filter so that if you could do too much you can always dive back in later which is great but we'll just click on here convert for Smart Filters if you don't know about those I'll very quickly explain that as we're going through this in a moment but we've got the little icon in the bottom right hand corner now the thumbnail so now we're gonna go filter and we're gonna choose liquify so bring up liquify and all I want to do is work on this particular area here of Paul pulls em six-pack alright so by default you get this forward warp tool is selected when you come in to liquify but I want to use a different tool yes be careful I pronounce it it's called the pucker PU cker the pucker tool brilliant tool before I use it though I need to protect a certain areas of Paul's body that I don't want to be affected by that particular tool and we can do that by using this tool here called the freeze mask tool and when we use this we just paint over areas of the picture that we don't want to be affected and you can visibly see by this red overlay the areas that won't be affected when you use this particular tool you can use it just like use a brush left and right bracket keys to make it bigger or smaller so let's just come in and just protect this area just here so the only area that I want to work on really is just this kind of sixpack area just here now that we've got a nice area around that part of Paul's body protected we can now come in with the pocket tool so let's just grab the pocket all just here on the left hand side the options or the settings rather they're actually set in there I tend to leave just as they are and they work pretty good for me so I don't and very rarely if ever effect those so now then I've got the pocket tool I'm going to bring it in up and you again use the right and left bracket keys to make it bigger or smaller but want to start off with it quite big and I want to do is just put it over the middle of Paul's stomach area here and with my pen tablet or with my map man on Mouse I'm just going to click press and hold down and you may see that as I'm doing it it's kind of shrinking it down which is great so I go so far with that then I'll make it a little bit smaller and we'll just kind of zoom in on certain areas now to make them just that tiny bit smaller so it's almost like you're going like you're sucking in the stomach it's a really great way there's lots of different ways you can do body shaping but I do find that this particular tool is great you know you do have to be a little bit careful with it especially on areas where there's a pattern like on Paul's shirt now because if you do it too much but any mind it's kind of squashing it all in you might find that it drags the pattern and you might then start to notice where areas have been pulled in so just be careful of that but just kind of I find do it big first to make it start to get smaller and then get the pocket all smaller and just target certain areas so we'll go to there bring it down like so so that'll start for now so let's just go now over to the freer booth or mask tool you have a freeze mask tool rather and we can actually come in now let's just get rid of that so if you think you've gone too far come up to the left hand side you've got this reconstruct button if you click on that you get this slide and this is where you can drag it around so however you want it to be so that's before that's after before after and you can see this like going it all in on your stomach just there so it's great way now I've kind of looking away looking back at the screen and then kind of dialing it in if you think you've gone too far just to kind of finesse it exactly how you want it so that's looking good for me just there quite happy with that now just want to zoom in just a little bit so I'm gonna use the magnifier tool click and draw a little area there to bring it in nice and tight and I want to close this kind of area here on the shirt so again I'm gonna get my freeze mask tool let's bring it down fairly small and I think what we'll do here is I'm gonna protect that one area that's going nice and straight and that's looking pretty good there so now that I've protected that I'm gonna get the forward warp tool and then I'm gonna come in and I'm gonna just drag that over just very carefully just drag that over so that it joins up with that one area going down straight so it's gonna kind of help to minimize the look of the shirt as Paul sitting down and this area he is gathering now I'm not making excuses here but during the photo shoot I asked Paul to sit on my suitcase so it's kind of an awkward thing to sit on so I don't care who you are if you go to the gym seven days a week and spend two hours in there if you're sitting down with your knees up this area here is gonna gather up and that's what's happening - Paul oh all right so let's just remove that bear so you can see now we've kind of closed it in so that's looking pretty good let's kind of zoom out double-click the hand tool what we'll do we'll go before after before after let's now send it back over into Photoshop now this is just a very quick one then to show you why it's good when you're using filters to use the smart filter because now you can see that we've done this you might be sat there doing retouching and then all of a sudden ooh you look at it light and gone I've done way too much all we need to do now is just double click on the name of the filter in the layer stack and it brings you back in so that you can then come in and use it not you never even left it so it's really handy to be able to use filters as smart filters so let's just close that up there so Darby over to my layers over in Photoshop a just to see what else we kind of did all right so carrying on with making this shirt look as good as we possibly can so it doesn't look like it's gathering up so let me just bring over - it's just great here so I can see you guys ba-ba-ba-ba right okay so things we need to do now then so when we look at a picture and the way that we know that Paul is a real person and he's not made of cob completely flat is because we know there are bits on him that are coming forward and going back he's got depth dimension and contour we know that when we look at a picture we know that because of the highlights the mid-tones and the shadows and that creates that kind of depth to the picture so knowing that when we look at these creases these creases are only visible to us on a picture because the light areas are coming forward the dark areas are going back that's creating that kind of look in the shirt so knowing that we could actually make creases if we wanted to make creases so let's just show what I mean by this because if we know how to make creases we can then know how to get rid of them that make sense let me just show you let's just add a new blank layer and I'm going to fill that with 50% gray so we've got a bear and click OK and I'm going to use the blend mode of soft lights usually when I'm doing dodging and burning only on skin so the way to remember which blend mode to use just think of soft skin so you go for soft light so that gets rid of the gray but it keeps the pixels on that layer that you can then use so now what I'm going to do is I'm going to use the Dodge tool over here leave the settings at the top on the options here exposure 10% leave protect tones because if you ever see something called protect or advanced in Photoshop ticket you get your money's worth but let me show you now how we can create this illusion of having creases and shirts so I'm going to just quickly paint down here add a highlight just there so you just that see a highlight coming down and then either side of that highlight just like the creases on the shirt that are already there if I now add some burning on the side of it so we go to here and a bit of highlight in there don't go fairly quickly but you can see now if I just to do that we zoom out might just lower the I pass on that just a touch but you can see how we can actually fake the look of creases I've gone very quickly what can you see what I mean there about it's purely just highlights and shadows that give the illusion of something having that kind of shape in the shirt so now that we know that let's just let's just fill that with Greg and just to get rid of it all I did on pull shirt here just to minimize the shape of those creases was to come in and where we see these highlighted areas was to darken them down and that will make them appear to go back into the picture so with my dodge tool all I'm going to do is hold down the alt or option key and that will flip me over to the burn tool it saves me having to keep going to the tool bar and changing the tool I'm using so I'm going to now do some burning on these areas that are actually kind of sticking out from the shirt I'm going to go through this really quickly so I don't to keep you there well I'm just doing lots and lots of dodging and burning so what I'm doing now then is just burning over areas where there are light parts of the creases making them look as if they're actually coming forward from the screen now on the other side of that where we have the shadow areas or the bits the mid-tones and shadowy areas creating that crease as well all I'm going to do with that is quite obviously is brighten them up and that way it's gonna kind of even out the creases you're not going to get rid of them completely doing it this particular way you would have to then look at maybe doing cloning and all that kind of stuff but if anything is just gonna reduce it okay can actually reduce the look of these creases so that the actual dunk the shirt doesn't look quite so tight on the on the subjects body all right so let's just quickly do this let's darken this down here darken down that areas there and on a dark in that area there so it's have a quick look before and after start to see those creases are getting reduced hope you can see that and then all I'll do is well ease I might just actually just create make this brush or this bird burnt all nice and big hold down the Alt key and I'm trying to do some burning just over that part of the actual stomach there so you can see now just by bringing that kind of focus off that part of the shirt it doesn't appear to be sticking out quite so much let's just go from there so there and I might make the chest look like it's you know bit of power in there so let's just brightness up we know when we look at pictures that the light areas come forward the dark areas go back so let's just do a little bit of dodging on the chest area just here to really make that chest look like it's kind of standing out just a little bit it's a bit more than what it is anyway so go for that all right if fat I'm what I'm gonna do as well I'm gonna dive back into liquify again shows the how good it is be able to do that smart filtering thing let's just zoom in this area just here I wanna just play around with that so I'm gonna get my full mask tool let's just protect the arm just a little bit here protect that then I get my forward warp tool make it nice and big and I'm gonna just push that in just a touch like so whoops just a little bit there like that and then click okay so let's have a look before and after on the dodging and burning let's just go from so before after before after you can really see now hopefully that's really kind of crushed it down okay I'm gonna do a video there's four ways I'll do body shaping as some really cool quick ways of doing it I'll do that on a little video as well how we're getting on just any quick in the chat rooms have a quick look Bom Bom Bom okay cool there's lots of John spike because this spike is he's asking if there's different ways of doing dodging and burning yeah just like in Photoshop there's tons of ways of doing the same thing but I prefer to do the dodging and burning this particular way and John what I'll do is I'll leave a link to a video again in the description part showing you why I love to do it on a gray layer right so that's that let's just quickly come over to the layers panel just here now show you else I wanna do right okay so another thing I want to do just here as well actually and apologies for zooming in on this area here but I was drawn to this red part on on Paul's Jean so what I'm gonna do I'm gonna get my brush and I'm gonna press Q to go into quick mask mode and I'm just gonna paint in fact I want y'all to see much of a party I can't see it just there there we go so it's just paint over that just there just someone over that red now if you couldn't see when you're I'm trying to select that area of red just where the zip line is on his on his jeans here if you can't see if you're trying to paint over something red with a red overlay just double click on the quick mask and it changes to this little dialog box here and you can click and change it to whatever color you want all right so that's just a little thing you can do there so that's that so it's just cute that's what got just there I'm gonna come out of quick mask that's just do oops I'm actually not only going to a blank layer I don't know when we're doing that let's just go back just a second let's come out of there sounds like a new layer just there asset and then we'll go into quick mask and then we've got that come out of quick mask what am i doing let's just let's just go to here right quick mask this is paint that area in just there come out a quick mask we should have now our marching ants for some reason I'm not getting my marching ants which is bizarre absolutely bizarre I'll come back to that one there so don't worry about that just one I was just a lot on these little extra little things it was kind of bugging me with the genes but we'll come back to that one just in a second so right then let's just zoom out let's have a look at this and all the little things I want to do now that's assuming on Paul's face and what I want to do now is just a little bit of cleaning up on him so what I'm gonna do is I'm gonna add a blank layer and I'm going to use my spot removal Spot Healing Brush just here now when you're using it because I'm using a blank layer let's just call this one clean up when you're doing it burning mine now there is nothing in that layer so all you need to do cuz this this is great for keeping the file size low but because I'm using a blank layer here when you're using the Spot Healing Brush make sure at the top of the toolbar here all the options bar rather make sure it's good little tick where says sample all layers so then what you're gonna force Photoshop to do is to look down through the last act to find pixels that it can then use to do the thing that you want to do that particular tool so I'm gonna use the Spot Healing Brush and all I'll do actually what I did on the actual picture of Paul here was just get rid of some of these little stray hairs that my eyes were really kind of drawn to so let's just get rid of these very quickly minutes hi do you know just some of the loose hairs around here I've got a bit of dry skin on the nose and get rid of that get rid of that just their little spots on there there's a little bit of hair just here from where it's maybe just missed a bit when you're shaving and the spot here oh she's brilliant just for doing that kind of cleaning up just there as well a little bit of a blemish just there like so you can spend your time going around the picture now just kind of cleaning up certain areas that you want to clean up anywhere else we want to work on actually yes what I'm going to do now then this is a good one actually I'll show you this one here let's just add another blank layer and I'm going to call this one bright skin so now what I'm gonna do is I don't go and choose my healing brush tool now you'll notice when we're using the healing water when I use the healing brush for this at the top here we got the options you can choose whatever kind of settings you want to use but one of them one one the ones when you're trying to get rid of bright parts on skin is where you've got the mode change the mode to darken and I'll show you why in a second but what I want to do is just get rid of this really bright con a line going down Paul's nose at the moment so what I'll do now this will come in and we'll just reduce the size of it and although just literally now just sample an area of skin on Paul's face that hasn't got too much specular highlights it's just kind of nice brightness on his skin and this area of his cheek over here is perfect so I'm gonna hold down the Alt key on PC option key on Mac click to sample that part of the skin then on a come over this bright part on his nose and then what I do is I'm should just press down to apply the Healing Brush on that part of the skin just like so now what that's actually you're doing while I'm using the darkened blend mode this is what it's for when I sample the area of skin on Paul's cheek and then paint over the bright part of his nose because I've used the darkened blend mode it is only going to darken areas of the skin on Paul's nose that are brighter than the area of the skin that I sampled if I just left it at normal it would kind of cover over anywhere on the nose if my brush went over to a part of his nose it was fine it would still kind of cover I only wanted to work on the bright part of the nose and it'll do that if I use the dark and blend mode so when we've done that all I'm going to do then is just maybe lower the opacity of that particular layer down to around about I won't take it off completely because if you remove that highlight too much doesn't look real so we'll take it down to maybe around about 25 26 maybe something like that in the 20s so we go before after before and after so it does kind of reduce it to a nice kind of subtle amount just there which I'm kind of liking all right so then let done that let's just put these two into a group so we can keep the skin into nicely organized so a go new group from Cisco those two highlighted and when you go new group from layers there we go new group from layers and we'll call that a skin like so right then now we're going to do the eyes so again I'm going to choose my I'm gonna choose a brush let's just actually come down to this layer here gonna get a brush and boom boom boom and just creates a merged layer actually top of the last time get my brush press Q to come to the quick mask mode we know we're in quick mask now because this layer has got that kind of red highlight so then all I need to do is just come in I won't have a brush it's completely soft give it just a little bit of hardness and I'm gonna come in and I'm sort of paint around the eye here just to select the color part of the eye just like this and I always leave just a little bit on the outside because it gives a bit of an outline to the eye which is great and we'll just come into this one here as well like so just to paint it leave the cornea just there press Q to come out of quick mask we get the actual marching ants now who didn't get it before we've got the marching ants now and then I want to come over and drag or choose the selective color adjustment layer change it from reds to neutrals and then what I do now is on the brighten the eyes color them and give a bit of contrast so the way we brighten them again I've done this before quite a few times now but it's just a refresher I'm gonna use a blend mode so we go from normal to linear dodge when we click on that bang the eyes go really bright way too bright in fact you could make it look a bit like the older the Incredible Hulk in let's go for the Hulk remember the Hulk things go to the Hulk just there but you can see now really brightens the eyes way too much but because there's an adjustment layer we have opacity so we can bring the opacity down which is great so I'll do that just bring it down to maybe let's go for round about there 30 ish mark something like that doesn't need to be much brightness just a little bit to give it a bit of punch you could then play around with these sliders to change the color but Paul's got a great blue eye so I'll leave it at that but while we're in here let's just go to blacks now and we can use the black slider at the bottom to give it contrast if you go to the left we've got less contrast we've got to the right you've got much more contrast so it's amazing what you can do with just one adjustment layer I think is great we can brighten we can sharp we can brighten it we can color it and we can add contrast really great and it's also keeping the file size down which is a added bonus so that's the eyes have been brightened just there my just double click on the hand tool to come out just a little bit to see because then if you were if you take the picture back to the kind of size that you'll view it at you can then really tell if you've got the kind of opacity the strength of that brightness perfect because sometimes if you have it really close to your face and you try to look at it and brighten them up you can't really tell how that's gonna look when you look at the picture normally it might be way too much but we see before and after that's pretty good quite happy with that all right let's zoom in and I'm gonna add another lie here call this one sharpen and I'll get the sharpen tool over the toolbar great tool for doing the sharpening zoom just a little bit more and all I'm going to do I need the strength at 30 in the options again because we're using that blank layer make sure and the options at the top of the screen it says sample all layers so that we can force Photoshop to look through the last stack so it can find some pixels but it can sharpen and that's sharpening it will put onto this particular layer so now let's just press down the sharpen tool while I'm keeping it pressed down I'll circle around one two three four five times or didn't lift off at all I circled out around five times now whatever you do on one eye make sure you do on the other eye so again press down and we'll circle around one two three four five so now hope if I just zoom in actually probably see better if we go before after before after absolutely brilliant my number one favorite way of doing sharpening I absolutely love it so let's just now double click and go to bear so eyes looking good let's just put these into a group as well so the uppermost layer selected hold down the shift key click on it just there and again we'll go to new group from layers and we'll call this one eyes right we've been going for a short while quite a while actually let me have a quick break grab a glass of water then we'll carry on so then we can look at the dodging and burning adding the background in and people have been asking about how we get that colouring to suit this particular picture so I'm going to do that as well but let me just dive over to give myself just and you just a little bit of a break and we will go to where are we will go so number five are we back in a moment [Music] hi I'm Glenn Jewess and I wanna let you know about my brand new book photograph like a thief [Music] now I truly believe that your own unique style starts with copying because you have to have a starting point but when I say copying I mean looking at the work of other great photographers they're lighting composition posing how they read touch their images learning from it and going on to create something completely new [Music] now I've packed a lot into this book there's a whole chapter dedicated to reverse engineering equipment my favorite retouching techniques and ten chapters taking you from coming up with an idea the lighting the setup the Photoshop and the complete retouching steps from start to finish [Music] so check out photograph like a thief available now we're all good books are sold I have a sneaky suspicion you could hear me while that was playing I didn't turn off the microphone so and I'm quite a noisy drinker this is only water but you probably let me slurp in there all right so okay so we've done quite a few things at the moment the big thing for me so far is working on this particular stomach area here using the forward warp tool the pucker tool and the dodging and burning it makes a huge difference but it's something that you need to take time doing but I thought it'd be a good thing to dive in and show you the process behind that alright so let's just move on then just to give you an idea of what else we're gonna be doing on particular picture now I'm gonna be doing some extra dodging and burning now and this is where you really do start to not just add depth dimension and contour into your pictures but it's also a great way of adding your particular style alright so many people maybe don't do a lot of dodging and burning I'm somebody who does because it really just helped me to kind of give my pictures that look and I love the way that when you do the dodging and burning it almost makes faces especially look as if they're coming forward from the screen because I don't want pictures to be flat I want them to kind of come forward so let's just quickly show you some the dodging and burning so at a blank layer I'm always going to go the long way around for those of you don't know the keyboard shortcuts I had a blank layer we'll go fill 50% gray click okay we've now got pixels in that blank layer and again like I said earlier on when we're working on skin think of soft skin so the blend mode is soft light that means now that the gray has gone revealing Paul underneath but there are pixels in there now that we can brighten and darken which is basically what you're doing when you're doing dodging and burning let's just rename that layer actually 2d and be dodging and burning so I don't really dodge and burn on the on the clothing unless I'm doing the kind of things you saw me just do a few moments ago getting rid of creases and stuff but what I do now then is just kind of gives face a little bit more dimension and making you start to come forward of the screen so go from roundabout there so again I'm using the Dodge tool now the settings in the options bar at the top here you've got a few of them they're got range it says shadows mid-tones and highlights it doesn't really matter what you use there now because bearing in mind we are really dodging and burning on a 50 percent gray layer so this is gonna make no difference those those are settings you would use if you were doing dodging and burning how maybe Adobe would expect you to do it directly onto your picture but we're not doing that exposure ten percent that's the most I would ever go to generally stick around about five but I'll keep it at ten so that you can see things happening and again there's a little protect tones box put a little tick in there so you get your money's worth so let's just go through some dodging and burning onto and put a highlight so I'm using the Dodge tool now and you won't see this happening while I'm actually doing it probably because it's one of those things that really creeps up on you and again I've covered this quite a lot but it is a huge part of what I actually do with my retouching so all I'm doing now that I'm having highlights where is where there's already bright parts to really exaggerate them and whenever there's a highlight either side of it always do always do burning because that then like with the creases exaggerate that kind of sunken bit than the bit coming forward and then a bit going back and it helps to add that contour never just have a highlight on its own always have a shadow on bright and darkness on the side of it so I need to highlight going down his nose with the Dodge tool I'm now gonna hold down the Alt key and I'm gonna burn either side of that highlights just to kind of really emphasize the shape of that nose so now that's gonna start to look as if it's coming a little bit more shape into and just see that just there so I'm gonna darken down the eyebrows then actually need darkened down he's got some damn good eyebrows he I'm gonna do is I'm gonna buy me all the hairline is well I'm not just toward Arkin down the hairline just a little bit so I'm using the burn tool now just to darken down that hairline just a touch where it meet in the forehead now over here you can see we got the lighting by the way the lighting side of it there was a blog post on my website Glen juice calm where I've gone completely behind the scenes on this showing how that light is done so definitely make sure you check out the link in the description to that blog post because and this look will make complete sense to you but we've got this side of the faxes in highlight this side is in shadow and all I intend to do is just maybe exaggerate the shadow area just a little bit so I'm gonna burn down the shadow area just a little bit and this triangular pattern of light and his phone is just around his eye on his cheek here this kind of Rembrandt style of lighting I tend to do just one pass with the Dodge tool just to enhance it just a little bit now I don't really want the light on this part of the cheek down here that looks a little bit weird to me so I'm gonna burn that down just to kind of blend it in just a little bit like so and let's just zoom in and work on his eyes so the eyes here we've got the eyelashes I tend to just darken out those down just a touch don't do too much on that otherwise gonna make it look like I've got eyeliner on and I don't think you're my old port traits would be too pleased with that it's just dark around the outside of the eye move over to this one again just a little bit on the eyelash and we'll go around the eyes a little bit too dark and down really make those eyes really stand out which other parts on you know portraits that you want to really notice now it's just zoom out see all the areas that we want to kind of work on so here I've got a nice shadow going this part of his chin so I'm not just kind of exaggerating that just a little bit so we're gonna burn that down a little bit there and then again highlights on the side of that and this part of his chin here gonna add a bit of highlight on that part of chin so it comes forward but it was shadow air underneath just to exaggerate it you can spend ages doing this the bit where the two lips join as well I always darken that down so again using the burn tool just between these two then I'm gonna add a highlight just across the top of his just on his lip and the last thing I think I'll do so I don't I keep you there doing this for too long he's just burned down this part of his cheek so it makes him stand out and I always kind of trace around the outside of the nose so let's just go to there and on this part just here all right so let's just zoom out see what that's done turn that before after before after really starting to make the face come forward now like in that great thing is and I won't do this now because we've cover this so many times again there be a link in the description if you've done too much on the dodging of burning because you've done it on the gray layer gives you flexibility so check out the video why that gives you flexibility doing that so right then let's have a look this is again this is the part I really start to enjoy now now what we're gonna do is I think my layers people know what I've done here I'm gonna add in the actual textured background now I tend to keep all my textured backgrounds within my Creative Cloud library just makes them easy to get hold up you can see here these all the textures I've got this is actually a check a texture pack that I have my website I've also got all the little things in here as well so I saw fog and smoke on them and putting in there actually yes logos I'll keep everything in here that I can just quickly get hold of no matter what computer on if I sign into the Creative Cloud they're all gonna be there for me rather than me worrying about making sure I bring a hard drive of them all on so what I'm doing now then I'm gonna drag out will use this particular one here this GD one let's just drag it out I'm gonna hold down my Alt key drag it out and bring it into my picture just there now the only reason I hold down the Alt key when I do that is because if I just drag it out normally it comes out as a smart object and when you do that there's certain things that you can't then do on the particular picture whenever you add textures you might find this color in there and when you add them in a picture a lot the way I'm going to do now is you want to desaturate them otherwise it looks a little bit weird if you drag your files from the Creative Cloud just normally drag them out it'd be a smart object the desaturate command is not there so i just always kind of drag them out just by holding down the Alt key let's just stretch it out so it fills the particular layer just there so we've got our picture below here's pull below got our texture just above and all I'm do now then to add this texture to give the kind of look of a fake bespoke kind of canvas kind of background the kind of ones that you get from Oliphant and gravity backdrops and unique backdrops as loads of companies doing them now just go to the blend modes over here go from normal and choose overlay and you can see how it adds it onto it you could choose what the blend modes overlays quite contrasting but let's have a look at soft light just a little bit less contrast hard light is really kind of really punchy so all depends on what the look is that you're looking scale this picture I tend to stick pretty much with overlay often that's quite good so now that we've added that in let's just add a layer mask because the the texture is all over pool we don't want that so while I'm asking means we can see the whole effect let's just get a brush we've got a black foreground color and I'll make sure the brush is not completely soft but fairly soft and zoom in now let's just zoom in and all I'm going to do is just very quickly paint it off Paul let's just go to here and I'm not fussed too much if I spill over the edges because I can always kind of lower the opacity on this texture to help that kind of blending I'll show what I mean in a second but let me just get rid of it just on Paul's clothing come down to here like so and there we go now if you can't see well notice where you've painted if you just press the backslash key you'll then be able to see what you're actually doing there you see what you've painted with this red red overlay so we can come in paint over areas that we've missed just like so alright so that's looking good more just lower the opacity on that texture maybe down to around about 70 percent something on that doesn't need to be a lot so before after there you go liking that now one little thing as well this was photographed at f/4 so the depth of field on this picture is where Paul's face and he's kind of front of his body he's nice and in focus but as it goes beyond him you could start to see the focus dropping off so when you do this technique to add a texture into the gray background it's almost worth bearing in mind what you don't want is to have a really sharp texture because if you've got it nice and InFocus here going out of focus here and then being back in focus that's obviously not going to work you're not gonna sell the fake so it's always worth then just clicking on the texture itself go to the filter menu choosing blur Gaussian blur and you only need a small amount maybe to a two pixel radius will be fine and then click OK so then now you've kind of faked the look of that depth of field going throughout the whole of the picture alright that's that alright so there's not many term plug-ins that I use in fact there's only really one that I use religiously I absolutely love this one I've mentioned it before topaz clarity lots of ways that you can do contrast within Photoshop cloud this clarity plug-in is different to the plug-in so it's different to the clarity you get in Camera Raw and Lightroom this one really does enable you to kind of get into all the fine details of the picture and add contrast into that and it's a really hard effect to replicate outside of the plug-in I've tried it I can get nowhere near it so I always use topaz clarity for this particular thing so what I'm gonna do I'm gonna create a merged layer at the top of the live stack and this is a step that I do you don't need to do this is it purely for my particular style so what I'll do then now I've created a merge layer top the layer stack will go filter and topaz labs topaz clarity so this will now open up the topaz clarity plugin fingers fingers crossed quite a big plugin you've got lots of options lots of presets over on the left hand side and there's quite a few sliders here over the right hand side as well if we're open them all up you can see there's quite a few things in here but generally I only ever use two sliders where it says clarity on the far right hand side here we've got micro contrast and low contrast now I'm gonna bring over the micro contrast let's go for around about 25 26 something like that and whatever I put the micro contrast to I then go to the low contrast and bring it to half of what that other one more so 25 and this one let's take the low contrast around about 1213 something like that I'm going to click OK and at the bottom you'll start to see this little progress bar as it's processing what we've got and it'll then bring this back out now into Photoshop and you see now that before and after before and after I just love the look that that gives him by really sort getting down to details I really do like that a little bit a lot all right so let's have a look now then we're gonna go in fats probably little bit too strong that's the great thing about doing it as well with this particular topaz here let's just rename this layer to topaz when you come out of the actual plugin if you think is too much just lower the opacity downstairs take your pasta down to 70% so now we can see before after before and after nice and subtle now then let's add a little bit of coloring to this so we're gonna go to the color lookup tables and in here I'm going to choose from the top menu only I only ever use a top menu we're go to tension green and with this one this is pretty much the kind of standard kind of coloring that I have on my pictures it's creating that kind of uniformity in my portfolio that makes some recognizable I think so it seems to be working so we're gonna go for the tension green I'm gonna bring the opacity of that one down to around about 30% so take the coring out so take it to maybe 30% we'll add another one and I'm going to click again on the top menu here choose another one of my favorites here which is called edgy amber and I'll lower the opacity of that one down to 20% we'll add another one and this one I love this because it almost gives the pictures that kind of old faded film kind of look if you use it to a certain amount but it's called where are we now it's called a bum bum bum where is it foggy night where's foggy night but bum bum bum foggy not every foggy night so it creates this lovely kind of coloring on it but I don't know use it too strong let's take it down to 20 percent and final look I'll do on this one make sure that my foreground and background colors are sets they're black and white and then I use a gradient map to create a black and white conversion I absolutely love using a gradient map for creating black and white conversions just out of the box what you can see here now it's a damn good black and white but I'll just lower the opacity on that one there just a desaturate him he's not to completely get rid of the colors but we'll take it down to maybe around about 20% but you can see now if I put all of these layers here into a group let's go new group from layers called LUT 4 look-up tables and you can see now it really just starts to give the whole look to the picture I love that this is where you can you know not just with your lighting gives you your style and your kind of mood and atmosphere the coloring really does absolutely love that now you might think that the actual skin looks a little bit odd looks great going around the outsides it looks great the coloring actually matches in with the shirt that was pure fluke that he was wearing his green shirt but I think the coloring kind of really matches that but it doesn't look so good on his skin so all I'm gonna do now then is add a layer mask I'm gonna get a brush and let's just say that you want to reduce the look on his face by maybe 50% so we're gonna get a black brush because we can paint it away off his face but I lower the opacity of that brush to maybe 50% all right so now I'll never just start painting it off Paul's face like this and also off his chest area down here as well now the problem with doing it this particular way is this if I come over now and look at the layer mask if we just look at the line us can you see how there's all kinds of different shades of black gray and almost white in there so although I've painted it off his face it's not a consistent removal it's removed off more and less in different areas and all I want to do is just reduce the whole look across his face I don't need to be in more in one area than the other so here's what the best way of doing that let me just get rid of what I've just done there so we're gonna go back where the offense is completely over his skin so you can see now we've not reduced it we've got a white layer there revealing all that color on his skin - rican troll how much of that coloring you want on there the best way I think to do is this again use a black brush but put your brush at 100% opacity and then come in and remove it completely now this is when we've added the coloring and you look at his skin now how it looks kind of strange with the rest of the color thing we've got across the picture it almost looks like his skin is way too pink but actually if you remember when we first started absolutely nothing wrong with his skin tone whatsoever it's purely cos we've got this coloring on there as well so I'm going to paint it off completely off his face and let's just bring it off the hands down here as well just working really quickly just to bring it off just there all right so now that we've done that we come over to the actual layers panel we've got the layer mask and you can see that I'm active on the layer mask because it's got that kind of frame going around the outside of it now in here we now have this density slider and I can now use this density slider to control how much of that removal I want that how much I want to remove that kind of karoon from his face so you can see now if I bring it down to 50% and we do the before and after that's before that's after before and after so this density slider controls how much of that color shows through but let me just dive over the Lima so you can see exactly what that's doing we just click on the Lansky here we've got in photos just fill air in just there here we've got the black part of the landmass now when we use the density slider it kind of decreases the density of that black and you can see as I bring it over to the left it gets less black it starts to come gray gets even brighter and brighter eventually or going pure white so it's a great way you can control the opacity or the strength of that black so that you get consistent removal across the whole of the face and we want to take it down to around about maybe 50 percent ish something like that so now we've got skin tone looking great great coloring around the picture as well alright so that's that let's just double click on the hand tool and take it to there so you can go before after before after with the coloring all right I'll take a second to have a look at the old chatroom see how we're getting on steven-thomas Joe says could you just use opacity in the layer is there a difference between density and opacity hopefully Stephen that's kind of answered that question the density slide if you remove it completely just using that density slide it gives you so much more control and it allows you to be consistent where you've removed it as well so I hope that helps let's have a quick look moving up here I'll come back to these at the very end bum-bum-bum these everybody was overlay mode when you remove texture from a model so you won't spill so much not quite sure you mean Johanna and we'll have a chat in the chat room after we finish it but I think I know you mean well my hundred percent so we won't talk about just yet all right so sort of quick let's just dive that down there all right so what else we want to do with this particular picture here oh yes Ronen let's just create another merged layer at the top of the layer stack and Ryan this is maybe something you wouldn't notice when you when you're doing your photography now if you look at me on the screen if you guys bear with me for a second look at me on the screen in fact I'm a zoom in I'm gonna really scan and it's just cool nice and big on the screen so I want to show you what I mean by this because this is something you don't normally notice right so to zoom in now as I look at you bear with me right look at you I've got one eye slightly bigger than the other and in fact so many people having that we all have got one eye bigger than the other everybody's got one either slightly higher than the other but I've definitely got I think it's this eye slightly bigger than this eye all right that's enough of me let's just dive down so and it's the same with Paul all right when you're taking the picture you don't notice these things and I remember years ago Scott Kelly was giving some advice about how how do you know how far to go when you're doing retouching and I think the advice was perfect he basically said this when you're taking a picture and you've got your camera probably on a tripod and you've got that person in front of you and you're looking through the viewfinder and you're looking at them they look great okay you take a picture you then go home you put a new file into your computer and then when you're not rushed when everything's nice and slow and calm and you look at the pictures on the screen for a long time it's then that you start to notice imperfections that people have imperfections that we all have so Scott's advice was retouch the picture once it's on your computer to how you remember the people looking when you were looking through the viewfinder does that make sense I just thought that was absolutely brilliant advice so don't start removing permanent marks but just retouch them to how you remember them looking when you took the picture I do this all the time when I'm photographing not so much nowadays photographing physiques when you can go and photograph some people about huge muscles when you're taking their picture the like blimey this person's massive you get to put them in the computer and they just don't seem to have the impact that they did when you were there in front of them that's when I'll do just a little bit of body shaping just to bring them back to how I remember them being so I kind of hope that makes sense but it does lead on to what I did next so and here we got Paul here I want to just maybe bring down it's just come over here and I'll just bring down this I just here so we'll go to the filter menu I could choose smart filters I won't just for speed let's go to liquify and all I'm going to do now then while we're in liquify let's just zoom in just a little bit more to there let's say he's I'm then going to click on the the face tool over here this was fairly new in liquify but is incredibly handy you can see these little outlines just coming here that basically means now that liquify Photoshop was recognized as a face in this picture and as I bring my cursor over can you see how I got these little pointers coming over the eyes as well so Photoshop now knows there's a head it knows where the eyes are the nose is in the mouth is so when we come up to the right hand side if we go to the face aware liquify we can actually come onto this I here now you've got the eye size hopefully you can see this in a screen I sighs so you can control the size of the left eye and the right eye completely independently of each other if you wanted to control them both at the same time then just put a little tick or so I press down rather on the little chain icon there so then both those sliders will be joined together so whatever you move one it'll move the other but I only want to click on the right eye so you can see here yeah that's moving there we go so what I do I'm kind of looking at the other eye and I'm gonna bring it down just a little bit it's just such a small adjustment but for me I think it needed doing so let's just bring it down to around about there so something before after before after so now when I look at it his eyes seem to be the right kind of size they seem to be matching in exactly how it was as I remember him when I was takin the picture so we'll just click OK on that all right so that's that one let's zoom out now another little thing I want to do is I'm going to dive into Camera Raw and I love Camera Raw this is apart from topaz this is my favorite filter and I'm just so happy that they brought this into into Photoshop and it's one of those things that kind of went under the radar people didn't rave about this but I just think it's a brilliant addition that we can dive into Camera Raw at any stage in our researching if only for one thing and that is it we've got the orange sliders there's nowhere else in Photoshop you'll find the orange slider so just to have that at any stage could be really handy especially if you kind of try and get skin looking just right if you just can't master it all right so what I do now then just a little bit of just directing the light just a little bit so I think what I'll do is I'm going to choose over here in the top choose the radial filter let's just make sure that all the sliders are pretty much at zero there bring the exposure down just a little bit click in the middle click up drag out like so you can click and drag this grade it or sorry this radial filter around just like that let's just bring the exposure down just a touch now one little thing when you're using this if you find that when you're bringing the exposure down to kind of give it a bit of a vignette and you notice that parts of that vignette are creeping in onto the person and you don't want that just click on brush make sure it says minus and then you can come in and you can paint it off areas that you don't want it to encroach on alright so I love the fact that we can do that as well all right so just bring that exposure down just a little bit there I might use a gradient and just drag down from the top just to bring that light in just a little bit more like that really sort of focus where I want people to be looking so we'll go for that bring the exposure down just a little bit more like so something like that's looking good kind of liking that and I think what else I will do is just get the adjustment brush let's just make sure these sliders are back to zero so click on this top menu here the right hand side it reset local correction settings puts all the slides to zero and I'll just bring the exposure up just a tiny amount and what I do now then is just paint on the face just a little bit on the face so then you kind of really focused in on that particular part of the picture all right so let's just click OK and we can see now the before and after that particular does it's only a radial gradient a little bit of a gradient coming down and just a little bit of brightness on the face then you can see just on the before and after how it really does start to make the viewer focus in on the important areas of the picture and that's where you literally just look out straight away we always look at the brightest sharpest and most contrast the areas of the picture and my controlling lights using Camera Raw we can actually do that really quickly and really easily so that's that particular thing there right double click on the hand tool take it to full view let's have a quick look at before and after just for a second hold down the Alt key click on original so we gone from before after before after nice she's quite a long live stream here wouldn't normally do them this long but when you're doing these kind of steps here I honestly think that once you've done this a few times there's no reason why you couldn't do this research in about 15 minutes the longest thing you'll do is you're dodging and burning that's the only thing that'll take a bit of time all right so let's have another look at the thing here that I want to show you so almost finished actually on this one anyway so what I do now then on a crate I know they merged layer at the top of the layer stack I suppose we were to just rename that one to I and lighting oops I and lighting - camera there we go that's that this one here I'm going to do this kind of paint a loop that I really like on my picture so I need two two copies of the actual picture here first one we'll call look and this one here we'll call sharpness and this is waiting quite a picture this got especially when you've got skin if you're focusing people this is just brilliant I love it because it really does make make the picture look like it's got texture like almost like skin you could touch so you combine that with a dodging and burning and the contrast where you've got a picture coming forward and you've got a texture of a skin you can almost touch it completely changes your pictures just brings them to life users make them pop so what I do now then you don't need to use any extra brought plugins it's all within Photoshop we go filter we're gonna go to noise and reduce noise now in here all I'm going to do let's just click on the face so we can see it all these sliders here take the strength if you want to all over to ten let's go for maximum let's go for ten all the other little sliders here leave at zero all you need to do that if I bring my cursor into this you can see what it's like before if I press down so that's before after before after now I don't know if you have to see that on your screen it does add almost like a wax you kind of look to the skin I absolutely love this I do this pretty much on 99% of my pictures so we'll click okay so it applies that look to pool the gives great look on the skin if i zoom in now but the only problem with it is is it actually removes the sharpness on certain areas so we want to make sure that the hairs sharp and certain the eyes are sharp so this is where the Slayer the top now comes in let's just click on that let's make it active and we're gonna go to filter other and high-pass now all we need to do here can you just see if I take this down to zero or 0.1 you can hard you can't actually see anything on the screen pretty much but if we bring it to around about 1 you then start to see the most contrasting and sharp areas showing through that gray those are the areas that we need to make sure a nice and sharp we don't really need to go any further than that even at just one pixel radius the most sharp and contrast the areas will start to show through so that's great we'll click OK to get rid of the gray we're gonna go from normal to hard light so now we can see that so if i zoom in just show you hopefully you can see the kind of look that you're gonna get on that skin real wax you kind of look but this is before we have the sharpness that's after so we've still managed to keep the skin texture we've brought back sharpness to the areas that we want it to be and I absolutely love that now for me either the most hook on your screen but for me this is really starting to come alive when I do this effect actual little thing I'm going to do now he's come in and add some contrast so we're gonna go to filter we'll go to a sharpen and unsharp mask and this is where I'm gonna add around about I love using on shot master contrast by the way you got three sliders amount radius and threshold threshold leave that as 0 the amount in radius just keep them that the same now I'm gonna keep a mountain radius which means sorry the amount at 20 radius also has to be at 20 so whatever you put one at make sure the other one is the same but look at this now before and after that's before that's after before after really punchy kind of contrast in there but the great thing about using on shot mastered in contrast is that you can just push it just a little bit more without getting halos for one thing which that tends to happen when you add a lot of contrast you don't get halos and you also don't get a color shift so let's just go with click OK and these three layers here have given us that particular look so again keep it nice and tidy up one selected shift and click on the first of those three layers and we'll go for a new group from layers and we'll just call that look we'd turn that before after before and after did I do anything else in that particular picture there's a couple little things that I maybe did but my god been going for almost an hour now let's have a look here let's just go down to the bottom so we can have a look at the original picture and pretty much the final kind of picture there so you can see there's quite a few steps involved but not that hard the hardest thing maybe there is the dodging and burning although the process is simple it's getting it just right but you'll see if you haven't seen already check out the video this enemy in the description to see why using that gray layer gives you so much more flexibility that when you're doing it so let me just bring up the comments just here let's just drag those over just to touch just make it a little bit smaller actually let's go to there just to see if there's anything burning now I know this has kind of been it's been quick there's been lots of cover but I just wanted to kind of get it out there so that you've got it you can re-watch it slow time with the raw file when you get it so that you can kind of work through this particular process yourself but you can see that there is nothing difficult in there to go from point A to point B all the little bits in between pretty easy right it's have a quick look at the comments make sure that we're doing all right I've got nothing else on when he goes through I don't think then it definitely have to watch this Donald cafe all of the white blink keeps everything simple great tips Thank You Kathy there's a lot being thrown at the end this one I know that this is much longer than I'd like to do me do a live cast but I want to get it all recorded so that you can like I said you can go back and watch it whenever you want there's a few different tools you can use it's just known how to use them Kathy yeah exactly bum-bum-bum some people mention buffering hopefully that's not too bad I've kept this at 720p rather mean full 1080 so it should hopefully be okay but again you'll be able to watch it you know afterwards anyway mine buffered about five minutes ago Brian all okay now Glen you don't mind your histogram lacks pure whites no I don't at all that Alexander actually eats master there I'm not one of these people it's like a purist I'll make sure there's pure White's near pure blacks I love to add this coloring to a picture and I'm just that's just my particular style so you going what you like and that's what I love about this whole process is that we can create whatever we want that makes us happy you know when I when I first posted this and somebody commented in in facebook especially that they liked the picture which was great but they didn't like the way that the actual and his hands these fingers were being kind of trimmed at the bottom and some people don't like that some dude didn't really bother me but I one of my most favorite photographers his use of cash if you never seen his stuff it is breathtaking and there's so many pictures in there really gone of like high-profile celebrity people and use of Cash's technique was that he would sometimes cut off the bottom her hands and kind of my feeling is that if it's good enough for him it's definitely good enough for me let's have a quick look in here Rob Kennedy Bob face feature is great except when a face is slightly an angle yeah definitely definitely agree with that Robbie or might be that the the video I show when you've got all these difference and body shaping techniques you might find that really useful in fact let me just show one of those just quickly I've done this for a while now but let me just go to it's just quite another merger at the top of the last that loads of things you can do I think there's about four different techniques I used for body shaping but one of them if I can remember where it is let's just say that one to make I'm just showing it I used to show this all the time but si wants to give him a bit of a bit of a bigger bicep let's just make a selection of his arm just there so we've got a elliptical selection now with the center of it right over his arm now think that Phil Kline need is filter distort and pinch yeah they haven't updated it but let's just zoom out now so now you can see when use his slider you can see that see heal up that's when he's been down the gym that's when he's not been dungeon for a while so down the gym not down the gym all right so you can go out like that click OK and then bang it puts it into there so you see we go edit and step back let's go to there and then we'll step forward and you can see the effects it does so it's kind of loads of different ways you can do it pinch we can also do a bit of a mesh going around him as well and use warping and like kind of still do a video on that bottom way I'm doing it now but I think probably quite proud of that asked quite a good bicep on you there mate like in that alright cool so some another quick look in the old chat room and I think we're gonna call it day because you guys have been incredibly good to be hanging around for as long as you have to long tail of this painterly effect stars Brian yeah so your pitches as well especially the animals with the fur my god it works really well works ground skin works well I'm fur and it can also work really well on landscapes makes them look very very painterly so I do love that and bum bum by anything else I'll probably hang around in the chat room for a bit afterwards anyway but let me go back to the normal big screen let's go up to here Bosch all actually one thing I want to show couple of things want to show you this is completely off-topic I've promised I'd show these that's snowpack no I hate to sell you but I just was really cool while some people had done my friend Tom had done this one I think that's are so cool with that snowpack that are actually done so that was brilliant I love that and then I got another one I forgot called Alex today who photographs miniatures he photographed toys and look what he's done with this one here if I can just bring it back look at this look he's photographed a miniature Ironman and put the effect on there as well that'd be so cool love it really love that very very cool stuff just great to see people experiments and playing around with it so that's all folks thank you very much for hanging around I will be in the chatroom the video will be uploaded and I'm gonna put a little replay icon over the from now now so people know again that it's not live when they're sitting there another time watching it but thanks a lot any questions drop them in the comment section and subscribe if you haven't and I'll see you where are we now I will see I'm gonna play this one again that one I'll see you next week my folks Glen here just to remind you that if you haven't already make sure you click on the subscribe button on my youtube channel and also click the bell icon and tick in the notification check box so that you'll never miss any of the live broadcasts that's just a gray and free way of showing you like that also over on my website that Glinda viscom click on the newsletter menu item to join my email group and download your free ebook called how to develop your style fill in your email address first name and family name and then click on the subscribe button and finally add me in and connect over an Instagram by finding me with the username at glyn dias you

Channel: Glyn Dewis

Views: 43,075

Keywords: Photoshop, Retouching, Tutorial, Technique, Portrait, Liquify, Dodge and Burn, Face Tool, LUT, Look Up Tables, Look Up Table, Sharpen, Sharpening, Contrast, Topaz, Clarity, Vignette, Camera RAW, Lighroom, Adobe, CC, Creative Cloud

Id: 9tyxOHd7D3s

Length: 75min 24sec (4524 seconds)

Published: Tue Sep 12 2017