IT'S ALL ABOUT THE EYES: 3 Photoshop Techniques

by an legend thank you very much and okay so first of all thanks very much for joining me but got a quite good numbers in here of the minute if you can while you're doing this I'm multitasking how about you giving it go multitasking as well and just send out a message on your social media just to let know people know that you're gonna be just with me for a short while but just let them know that we're going through some I techniques now tonight I've got me list as per usual typical the typical Virgo nice and can organized here we block so we're good I was saying in the chatroom earlier on we're going to be going through a number of techniques that I use when I'm working on eyes and the reason that this particular broadcast has come about is that if you've been looking at my social media recently you'll notice our post posted some newport rates and while i've been working on those portraits I've had to kind of use different techniques on the eyes and it can't again reinforced to me that really when it comes to working in Photoshop and Lightroom to some extent there's never one technique that will work brilliantly on every single picture there's always gonna be something you might have to do a little bit differently so I'm I'm a huge advocate of saying that when you're doing retouching and when you're learning Photoshop techniques try to learn as many techniques as you can that a spoke that kind of gonna give you the same result because then when you use what is probably your favorite technique and it doesn't work so well it doesn't seem to go so well on a particular picture you can then go into your virtual tool box drag out another technique then work on the picture and then you're gonna get resort you want so don't stick with one technique try to learn as many techniques as you can so that's what this is all about we're going to go through some stuff so why don't I dive straight in and let's bring up my my Photoshop screen right now okay right let's just get cracking so first one this picture here this was a one-to-one teaching that I did with a girl called arraign absolutely superb girl if you've seen a video I did a bit of a rant about the industry and how people get treated and put down a lot that was actually after I did this one-to-one session here but on this particular picture here this is the finished picture but what I want to do is want to show you kind of the stark picture here we're literally out of camera and one of the first things I would do with this particular picture here there's a few things I do like work on the hair and that kind of stuff but this is about eyes so what I'm gonna do first of all is just show you a technique that you would have seen many times okay if you followed lots of stuff that I do you'll have seen this particular technique so I'm going to quickly go through that because it does link in then why I'm showing you these are the techniques okay so hopefully bum bumbum hopefully everything is going okay right so this is a technique that you will have seen me do before so what I want to do I just want to brighten this girl's our eyes and add a bit of sharpening to them so if you've seen the videos before what you'll know I do is I use quick selection to make a selection first of all or so a quick mask to make a selection of the eyes so we do that I'm going to get a brush and I'm gonna press Q and then you'll see over the layers panel the actual layer the background layer gets highlighted in this red color color telling me that I'm now using quick mask and then all I'm gonna do if I just zoom in just a touch more with the brush or what I can do there nice and easy it's just brush over the eye and where we see the red overlay is where I'm eventually going to be selecting so I'll do that eye and we'll do this on I'm not gonna labor this technique because you will have seen me do this before but I need to do it so link in with everything else alright so just treat us a bit of a reminder so that's just a kind of way so we've got the cornea showing just there so that red overlay when I come out of quick mask by pressing Q or going to the icon on the toolbar at the bottom we now see the marching and the selection so then what I'll do is with this particular technique I will come to my adjustments over on the right hand side of the screen and I will choose something like selective color which brings up the properties now by default when you do this the first time you'll probably notice that the colors in the properties is shown as reds for this technique take it away from reds and just put it into neutral so that's one of the first things that you need to do there but how can we brighten the eyes well we're going to use a simple thing like a blend mode and I always talk about there being three things in Photoshop that if you kind of understand them don't need to know all the in-depth details of all the mathematics and algorithms just have an understanding of them layer masks brushes and blend modes there's the skies living it really is the sky's the limit so I've got a selection of these eyes that's already been doing so on a bright in the eyes by using a blend mode and then what I'm gonna use here we've got this one called linear dodge so you can see they're really powerful obviously way too much but the eyes have been brightened great thing about this is it's on its own layer so you can then control the opacity to how how actually bright you want those eyes and I would advise really when you're doing this that you don't have the face in really really close bring it back just a little bit so you can kind of view it from the normal kind of viewing distance if you like all the size the picture will be and then you'll get a good idea as to how bright those eyes should be so even now that looks too bright for me so I'd probably take it down to around about maybe I don't know forty percent something like that you can then go on and do the sharpening and as again it's just a reminder the one way I love to sharpen eyes is by adding a blank layer and then actually using the sharpen tool over in the tool bar on the left hand side here using the sharpen tool I leave the options at the top of the screen pretty much up there default where it says strength of 30 and then we'll just use this little icon here which means that it will look through the layer stack to find pixels that it can sharpen Johanna you've put the her or eyes the kind of ones brighter than another yep absolutely know that when it came to the final picture that was kind of evened out so I'm just literally gonna dive through and show you these particular techniques and then you obviously you could tweak them when you're doing it but now that we've got that we got the sharpen tool we're gonna be using this one here where we can actually look for pixels down through the last stack because we can't sharpen a layer that's got nothing in it and all I'll do is just come in I'll only work on the one eye and I pressed down in our circle around two three four five six seven eight I'll do more than I normally would do just so that you can see on your screen but you can see now if I hold down the option key hold that down and click on the eye icon on the background layer just below the eye icon so you can go from before after before and after you can see they're very very quick and simple to make some adjustments to her eyes obviously what you do on one eye you would then do on the / I so that's the first technique there and you've all have seen that all right so let's just cloud we'll just close that picture down there we don't need that one because now what I want to do is we're gonna go to this picture here at darkroom and I know there are no eyes in this one here but let me just come back to the screen so you can just see me just for a second I know it's scary I'm not scary now one of the things as an I guess to say the phrase educator when it comes to kind of trying to guide people how to use Photoshop and edit their pictures I think it's like it's okay to kind of say look here's a technique that does this here's a technique that does that but I was guilty of it when I first started out thinking well he showed me this technique that will only work there this technique only works there but as an educator one thing that I'm really trying to help and kind of push is to kind of encourage people to think to coin a phrase outside of the box so they see a technique that's been shown here to try to encourage people to go I wonder if or I wonder what would happen if and that's what I want to show you here because then and this will make sense in a moment here I want to show you a technique that I haven't shown for a long time it was back when I was doing loads of compositing and lighting effects and what kind of stuff but you'll see that a technique that you learn to do a particular effect might if you try it it might work in something else so it's always worth experimenting because you can never break this really I hope so here's this little trick click first of all now way back I did a video and it was called the neverending lighting rig okay if you've never seen it this what it is I've got this picture off Google it's been licensed for reuse so we can actually use this one just as in this demo and what I want to do is quite add a lighting effect puggle to you as an educator talk a little more slowly I will try but this is me okay this is me so what I'm going to do now then to add a little bit of light into here is I'm gonna add a blank layer first of all then I'm gonna get a brush and we'll take the opacity all the way up to 100% and I'm going to put the foreground color as being white now this is a really soft brush you can see now if I go to here hardness at zero so a really soft light because we want to mimic the look of a light source in the room because it's a bit dark in certain areas so what I do then first of all then is just press down with that there obviously that doesn't look real at the moment the chat room is really interesting obviously doesn't look really real at the moment if we move it around however like I said before layer mask brushes and blend modes it's incredible what you can find out just by clicking and saying what would happen if so now then we've got this white kind of dot here what would happen if I change the blend mode and I'll go for something like let's say overlay now why overlay will I tried every other blend mode and this is the one that worked but now look as I move that light around hopefully you can just see it can you see how it's kind of giving me a bit of a lighting effect like so now the great thing is with that lighting effect there oops hold on a second I've gone thank you Brian Brian's within the room good man good man Brian okay so you heard what I was saying we've got this room here and what I basically do if I just go back just to show you is add a blank layer I've got my brush a really soft brush and I just pressed down so you've got this particular dot here as I move it around it's not really giving us a good effect but if I change the blend mode from normal to overlay now look at the screen can you see how that's giving me a lighting effect as we're going around the room now if it's not bright enough you could duplicate it so ctrl or command J and can you see now how it's got brighter we've got two layers I'm just going to put these into a group so it's easier to move them around so now you can see we've got this lighting effect we can also go to free transform if you wanted to so make this lighting effect bigger and smaller and I used to use this a lot if you're if you use Camera Raw or maybe even Lightroom you're probably thinking well why don't I do that with like an adjustment brush or the radial filter we'll the difference here is you're using a blend mode and that's going to interact with a picture that much more Lentini and I just got texture fans nice I can show your screen hopefully you can see my screen now but you can see now how we can move this around it's interacting with the picture all that contrast so it actually looks as if it was alight so why am i showing you this well now what we're gonna do we're going to this picture here and again if you followed me on social media you may have seen this picture of Luis that I took when I was working or on stage at in London but a week or so ago now this is one of the results of it and you can see I've really pleased this picture those of you on social media have commented on it and given our like thank you very much but Luis is I like to do this a little bit differently the one technique I've just shown you before when we did that linear dodge to brighten all the eyes didn't really work so well on this so let me just show you and let me just show you this so here is Luis before we've done all the retouching and again pretty much my team are researching I'll work first of all on the eyes so let me show you now what I'm going to do which kind of links in with the technique I've just shown you using that darkroom to make that lighting effect here's what I do I'm gonna add a blank layer and I get my elliptical marquee tool and well do this assuming just a touch more and all I do is draw out an ellipse now with the ellipses because it's perfectly round hopefully you can see that if you don't hold down the shift key it goes all over the place but if you hold down the shift key perfectly round and then you can hold down the spacebar and you can relocate it so I'm going to put it just inside of Louis's eyes like so so now we've got this marching ants nice and round mark Herrmann thank you very much and somebody else has as well just given those super chats really really appreciate that thank you very much so now we've got this ellipse around the eyes I want to create kind of like a brightening at the bottom almost like a catch light if you like so now what I'm do is I'm gonna get in my lips lips cool tool again but this time hold down the Alt key so now what's gonna do is gonna take away from the selection so I'm gonna click it and drag downwards and you can see I'm creating another ellipse another round is she lips and I put it just so it's around about there and then let go and can you see now it's removed all of that bit at the top and just left me with this kind of kind of like a heart a bit of a moon shape but on its own is kind of a lot of flat like that so now we've got that I'm gonna go edit and feel there are keyboard shortcuts for this but we'll just go the long around edit and fill and we'll choose white and click ok now we can get rid of the marching ants so remember before with the dark room we used that overlay blend mode to brighten the room up well we can do that with this first of all though let's just soften it down so we go filter blur Gaussian blur to two and a half pixels looks pretty good to me and then we'll click OK but now look what would happen if we plat change the blend mode so we go from normal to overlay and can you see now again it's probably too much first of all but it's on its own layer so you can control the opacity but look at that before after before and after so what I want to do now then obviously you'd repeat this on the other eye but just for speed we'll do it on the one eye I'm just going to add a layer mask a white layer mask which means we can still see everything and I'm gonna get a brush a black brush because I don't want this to be a visible over the skin and all that kind of stuff so let's just bring down the size of touch and we'll just where's my brush go to there and we'll just paint it off the bottom of his eyelid just here so there we go like that so there's before after before after let's just lower the strength of that down just like we did with that lighting effect in that room so I'll bring it down so around about there and then like we did with the very first picture let's sharpen it all up a little bit so we add a blank layer we've come to the sharpening tool over the tool bar making sure that we have a little icon that means it's gonna look through the layer stack to find pixels that it can sharpen because at the moment it's a blank layer there's nothing in there and then we'll just come in and we'll go on 2 3 4 5 6 7 bit more than I normally would do but just the illustration but you can see now we're adding in little bit of a lighting effect in the bottom of the eyes there sometimes I like to do that you can see the difference between the two eyes there because when this picture was taken I had a light quite high up and it was coming down so the very top of the I wouldn't really have been lit and it really wasn't lit because it's kind of be shielded by the eyelid and always and the eyelash and what-have-you so any of the bottom part is what I wants to be brightened up and have a nice shape in that curve and that is sometimes a technique I'll call on do that but again very simple very quick and only born out of thinking well I've got a technique here where I used to do this effect a lighting effect here using this overlay blend mode what would happen if I did it on I so I'm trying to encourage if you're not doing this already look at techniques that you use in certain pictures and think what would happen if I tried it on that nothing can go wrong you're not gonna break it but just get into the habit of experimenting okay so that's that right I will get back and look at the chat room and all that kind of stuff Caroline shooter I noticed the squinch - I think I think that was down to there being such bright lighting where we were doing it right there Steph a quick break for my voice I'll grab a quick slurp of water while so I'll just quickly play you this little effort [Music] all righty so so that's two techniques that I use and I have in my Photoshop toolbox for working on eyes now I want to show you a technique on a pitch let's just dive back to my screen let's go back into the Photoshop screen just here now I want to show you this picture here I think my mic Brian was with when we did this one a common where we were and it did this but Brian was definitely there and I want to show you a picture now a technique that can help you to bring out detail in the eyes because sometimes whether it's down to your lighting or the color of someone's eyes it's incredibly hard to kind of get any detail out so let me just show you what I mean by that one here so if I just zoom in you can see on this gentleman's eyes here you can't see the difference really between the pupil and the eye around the color of the eye as well so it all seems to kind of blend in so it's kind of almost like shark eyes there's hardly any detail in there whatsoever Petersfield that's where it was with Vernon okay so here's a technique I haven't shown for a while but it is there in my toolbox for the times that I need it to bring it out to help me with retouching a picture and I kind of call this what the name of a given I've called this one the zoom noisy effect and it will make it will make sense so here's what we're going to do again I'm going to add a blank layer because I don't want them to work directly on the picture for one thing but also because I want to be able to move what I do around onto the other eye once I'd actually done it on one so I can then copy it over so in add a blank layer then just like before I'm gonna get my marquee tool and I'm gonna drag out an ellipse and we'll place it over the eye but I'm not gonna go right to the edges I'm gonna bring it just in a little bit so then we still get that kind of dark and go around the eye around the eye and that's gonna really help to make the eyes pop so that's that bit there so the next thing I'm going to do is this go to the Edit menu and on a choose fill and from the drop-down contents on a choose a 50% gray we need to put something in there first of all some pixels and that's our 50% gray now you'll notice I've left the marching ants selection there as well that's really important for a step we're gonna do in a moment but now we're going to do this I'm going to go to the filter menu noise and add noise alright now the amount of noise this is a high-resolution picture the amount of noise you want to bring up I don't know if you those of you watching if you're old enough to remember we have this in the UK where if you're watching television and it got some really late at night which for me nowadays is about 10 but you know me about midnight something like that the TV would finish and it would just go Hubble it's kind of like noise on the screen that's the kind of amount of noise that you want to put into this circle so you can kind of see that just there once I've got that I'll just click OK I'll make sure that it is Gaussian monochromatic we don't any kind of coloring in this noise just black and white noise that's all you want so we'll click OK now I'm still keeping those marching ants selection there because of the next thing we're going to do we're gonna go to filter you want to just zoom in a bit more on this item and it's a bit clearer we're gonna go filter blur and then radial blur let's just bring that over now this is probably one of the most archaic looking previews you're ever gonna find anywhere in in Photoshop but what you want to do now is it probably by default when you first choose this blur it'll be set to spin and this is what we used to use for making it look as if tires or wheels rather work we're moving on a car we don't to use that one we want to do a zoom effect so now if I move the amount slider can you see hopefully you can see that it's kind of looking as if those lines are going inwards any of you that are really into things like Star Trek or Star Wars when the spaceships go through Lightspeed and you see all the stars going past on that that's the kind of kind of effect you want all right so I'm gonna probably bring this up to around about kind of 50 ish something like that now when I click OK look what happens to this noise so we'll click OK now I've got this kind of a weird kind of effect alright weird conflict now that we've done this we can get rid of the marching ants selection so we'll go ctrl or command + D that's now got rid of it alright now we only want to kind of mimic the look if you look at an eye you've got all that detail in the eye we want to try and recreate that to bring a bit of life back to these eyes which were otherwise very dark and nothing in there so what we're gonna do is this then we are going to use a blend mode and again it's just having that mentality of what would happen if so we're gonna come over the blend modes and I'll choose one here sure and I noticed this one because I tried every other one we're gonna go for hard light now you can see now that gets rid of a lot of the kind of gray and whatever in the picture and it's leaving this kind of like a grainy look that it's still got that zooming kind of effect and in a way it's kind of looking if you look really close to someone's eye the kind of detail again in the eye but we need to tidy up just a little bit now bearing in mind I would do this on the other eye as well but just for speed I'm showing it on the one eye so we want to get rid of this effect which is on parts of the face and the eye that we don't want it so we're gonna use a layer mask so we click to add a layer mask the lam mask is white which means we can still see where it is so we're going to get a brush use a black color because black conceals it and I'll just paint it off the top just there and I might actually paint around the outside of this kind of effect here to soften it down just a touch as well so it's not quite so hard something like that and then I need to paint it off the middle of pupil now if you don't know where that is because it's on its own layer just lower the opacity down just a little bit so you can start to see where it should be and paint it off around about there so now we've got let's just take a little bit more off there let's say so now if I lower the opacity on this effect because obviously a hundred percent it's a bit too strong we can go to something like that now I'll probably keep this a bit more more opacity so that it's clear on your screens but just by going before and after can you see how now we're starting to bring a bit of interest back in the eye rather than just being nothing rather than looking like a shark's eyes there's a little bit of interest in there now now we can also take it we have to say it to another level by kind of adding another adjustment now to really make the eyes start to have a bit more life in there and then what I wanna choose is hue and saturation so we want to maybe add a little bit of in there or brighten the eyes as well because it wouldn't necessarily work with those other techniques so now that we've got our human saturation let's give you some color so I'm going to click on colorize but you'll notice if i zoom out just by clicking colorize all of the picture has had that colorizing effect given to it so I only want to limit it to what I've just done with the eye and that is the layer directly beneath the hue and saturation adjustment so then I use this little icon called a clipping mask which is at the bottom of the properties and it kind of looks like a square with an arrow going down just coming out from the side of it I mean I click on that it limits the hue and saturation adjustment to only affect the layer directly beneath it so now look look at the eye we can change the color and starts to give it that kind of real Connie I wouldn't want to add color into this necessarily but what I can do is kind of just give it a little bit more punch something like that but I can also use lightness to bring a little bit life back into the eyes as well so let's go for something like that zoom out so yeah look at that I mean look at that hope you can see the difference but I just come to here now look it's just put these hold down the option key or the Alt key rather click on the eye icon of the battle just underneath the eye icon of the background layer to turn everything else off look at the difference very quickly before after before after so we've faked the look of what an ID tail would be to take it from literally having nothing and looking completely lifeless to having something all right now bear in mind that this actual effect is on a port right where the eyes aren't too close to the screen so it's not going to be that much of a giveaway and at the end of the day if you were doing this effect and you don't tell anybody you've done it I very much doubt anybody's going to really guess that you've done it so some real simple effect let's just put those two lights back on again there you can see if we just go before after let's bring it over here just a touch more so go before after before and after all right so that's that one there that might be something that you might have to use on a picture where your model or subjects eyes are very very dark so can you see what I mean so far I've got one more I'm going to cover with you but can you see what I mean so far about having a number of techniques that you can call upon because not one technique is gonna work on every picture you might have to think well how can I do this if you've got a number of techniques you can call on you can then try this one try that one try that one and if you've got a number of them you will eventually find one that works and you go yes now we're rocking now we can move on and do something else so that's that technique there so let's just close that picture down I want to show you now something which I did this week on a picture and it was quite quite surprising it was quite a surprise just get rid of this because this is gonna help the computer not have to have too many things open it will help with the performance so okay this is the probably the last technique I want to show you so quick slip right so this is a picture of my friend it's asked me actually not to say his name but it turned out to be a real super super nice guy and I've met him I think two or three years on the trot just once a year in January when I'm presenting at this society's event in London and he comes up we always have a little bit of a chat and then off he goes but this year which would have been last week when we had the event I got him on stage in between presentations to get a picture of him because I just think he's got such a face full of character and I posted this online I think was it last night or this morning something like that and the response has been brilliant so again if you're if you've commented or liked it thank you very very much but I do agree absolutely superb face but this is the final picture let me show you the first part before the retouching is done and obviously what we're doing is we're thinking of the eyes and one zoom in on the eyes now hoping that this is going to come through clearly on your on your screen can you see how the eyes they look very very flat now you can see the pupil you can see the color but it's almost like there's like a milkiness going across the actual eye itself the contrast in the eye is incredibly low so now then I'm gonna finish off to show you what would happen if I use those other techniques on this and you're see the benefit now really of having other techniques to call upon so the first technique I did was that linear dodge so let's give that a go right I'll just do it on the one I just so you can see what I mean so what we did with that one then I got myself a brush i and i pressed q to go into quick mask and I'm just bringing over here just a bit and zooming voicing and see just there and then what I did was I painted on the eye to get the red overlay and I'll just be very very quick with this so now when we come out of quick mask we have that selection that's the part of the are we gonna be working on I then went to this selective color adjustment layer making sure that where it says colors it went to newer neutrals and then I change the blend mode did not I went from normal to linear dodge but can you see how that just doesn't work even though it's brightened them it's exaggerated how flat the actual contrast and everything in the eye is now I kind of thought no that just doesn't work don't like that at all so I scrapped it okay so that's that one so then what else did I do well then I've tried the other technique which was the one that we did on Lewis to brighten the bottom part of the eye so again as a quick reminder for that one we added a blank layer we got our marquee tool and I dragged out an ellipse and place it just into the eye like so I then held down the Alt key and dragged out another ellipse and you can see we can build that one just there and again you can move that second one around now just by holding the spacebar and we'll place it say around about there and then let go and you can see how it deletes everything above it and just leaves us with that kind of light it's like a moon shape but on its side then what I did was I filled that with white so we got edit fill there are keyboard shortcuts but like I said before we'll go the long way around just to keep it simple and we'll fill that with white and then click OK and let's just get rid of the marching ants and then we blurred it didn't we blurred it just a little bit so we got a filter blur Gaussian blur and we'll just bring that blue up just a little bit more let's say let's go for something around about there for argument's sake click OK and then you remember that technique with the room where we did the lighting effect we use the overlay blend mode in which to brighten up and give us that kind of effect which we then did with Lewis so let's do with this one here we'll go from normal to choose overlay but that just looks awful it just looks absolutely terrible doesn't work it worked fantastic on the picture of Luis but on this one it just doesn't work so what did I do with this well I think when it comes this just come away from the screen just for a second and I'll just come back to here I have quick slip I think when it comes to doing retouching and I'm saying this by experience because I know that I did this I think we can make things harder than they really are okay we kind of look at a picture and we go right I've got a technique for that and we have all these steps to create this your face and yes we produce some great results but you know sometimes we don't have to do anything earth-shattering the amazing to get the result we want sometimes we only have to do the most basic of adjustments to really make an image pop all right so with this particular picture here which is what I did with the final image that I've posted online and shared and people of light was this all I did was this and I was kind of what I did I was like really it's all I needed to do I added a blank layer as always always had a blank layer and then again I came over to the toolbar oops oh I better go back to my screen have a nice go back to my screen I've got a habit of doing that all righty okay so the eyes have really really flat low contrast so what I did was this you can see in the layers panel I've added a new blank layer then what I did was I just came over to the toolbar and chose the sharpen tool I'm if you don't use this I highly recommend try using the sharpen tool it was improved you know quite a few years ago now in Photoshop it is absolutely brilliant it allows you to sharpen areas selectively and you can really push that sharpening without the image starting to break down so one who's then only at the sharpen tool and I'll leave it at the strength of 30 but again just make sure that you have a little icon it looks like it looks like four layers of paper on top of each other that basically means that when you are working on a blank layer if that little icon in the options is pressed down it looked through the last AK to find pixels but it can sharpen because at the moment we're using a blank layer and there is nothing in there to sharpen so now then with this set look what happens when all I do is just use the sharpen tool so we'll come into here let's increase it and I'm gonna go way beyond what I actually did do purely so that you can see it on your screens but I'm gonna press down and move around the eye so go one keep it pressed down 2 3 4 5 6 7 8 9 10 a couple more 11 12 so you can see hopefully already something is happening just by sharpening and when we think about it sharpening really is just kind of adding contrast into those little areas to make it look sharp it's just increasing the blacks and the whites how they join in and kind of enhancing that but even that's so far is having an effect alright so that's the first thing I did and then again something really simple was can you write all I did then was go to something like a levels adjustment I'm gonna come over to my control panel here because I'm gonna scare you just a second let's just go for that and that so now you can see me all right so now then levels adjustment and I'm gonna add a little bit of contrast but I only want the contrast to work on the eye so do remember before and we added that hue and saturation to colorize the eye we need to tell Photoshop only affect the layer directly below so to do that we use a clipping mask so in the properties here here's that little icon again that looks like a square with the arrow coming off to the side and pointing down we click on that so now the levels is only going to affect the layer directly below and then what we do is we can come in and start playing with this here to kind of give the eyes just a little bit more punch they needed much more contrast but if we zoom out now look at the difference if I can show you trying to show you side-by-side maybe you see the difference in the left on the right eye or even just if I just turn it all off so look at the eye there before after before and after then you would come in and do the sharpening if you wanted more detail you could do that zoom noisy effect my be something like that but I think this one here kind of just shows that really you don't have to do the most amazing incredible effect using all kind of adjustments sometimes it can be something as simple as one tool and just using it and seeing what happens and you could see there just by using that sharpening tool even that took away that kind of milky nurse and flatness that was in the eye to start to give us a little bit of life back and by adding a levels adjustment we can then start to increase that even further all right so I'm hoping that kind of makes sense I don't know kind of keep you here for too long the tiredness has been revealing yourself because I've been forgetting a couple of things but hopefully you're kind of just sticking with me and you're bearing with me I mean I'd be interested see how many dislikes there are there was one before we even started I noticed but right just give you a quick break I got some stuff to show you to finish off but let me just press this because I spend a lot of time doing these I'll just put this on for you first and I've got a couple of things to let you know about so it's just press this all righty so the first thing to let you know about is this all right finally I have finally finally finished my finally finished cover shoot I've been talking about this one for ages I've got it recorded in my I've been working on it since May so finally it's just giving that cheering so it was finally I've got it finished and what I'm going to do this week if you're a member of my email group what I'm going to do is send out a quick email just say look this is what the content is do you think there's anything else you need to put in there cuz I'm paranoid that I'm going to miss something out that you think all that should have been in there so I'll do that if you can just let me know that'd be great but I intend to release that cover shoot I think it's the 1st of February is Friday I think it's Friday Russell o'clock folks focus on the likes Russell I am mate this face is smiling yeah does believe me it doesn't bother me at all I think it's quite funny so that's that and the other thing to tell you about well then if you've been to my web site today but let me just go to my desktop and let's just bring up this here there we go so you've got that and I will get rid of me don't to see me what I'm talking about this let's go to that right so what I did was I did a post today called this is a must if you have a computer and it's a little tour or little kind of walkthrough I've doing showing about a new piece of kit that I've got alright new piece of kit it's called a UPS now I feel like I'm pretty light to the party when it comes to these UPS's in fact let me just I don't recorded this on my phone earlier a little bit earlier but this is what my UPS is so you can see just on the floor just under the desk there my god those wise need tidying up but you can see that's what it is it's built like a tank and it's heavy as a tank but basically what that does and if I explain that in the in the blog post is it's called an uninterruptible or interrupted power supply so if you had a Power Core to a lightning storm whatever and your computer just went off that is just a nightmare you're gonna lose stuff you can damage your hard drives and all that kind of stuff what the in what this UPS for sure what that does is the minute there's like a power cut automatically a battery that's insert inside it kicks in so you can continue to work now it's not designed so that you can can just continue to work for hours and hours it'll give you a few minutes which is enough time for you to save what you're doing shut it down nice and safely but the great thing about this particular unit that I got and again the details are over on the blog is it also has software installed which I've got now so that even if I'm not here because I leave this thing running all the time if anything happens and the power goes out it will automatically safely shut itself down and the only reason I've got this was because a short while ago I was having a some updates done on the computer and you know that bit when the screen goes kind of blue and he have so although black actually have some writing across it saying updates installing do not turn off your computer well I didn't but nature did because I had a power cut and it completely wrecked it so everything had to be fixed I was on the phone to the computer company reinstalling the lot that wouldn't have happened if I'd had a UPS so if I can finish this off with any advice get a UPS and that will only cost me a hundred and twenty pounds which is a lot less than replacing all my pictures hard drives so on so on and so on and so there you go that's it pretty much really nothing else so we want to tell you about thanks so much for sticking around I don't know what numbers we like if you could let me know at some point that'd be interesting I know there are other webinars going on tonight the grids on which is why didn't want to take up too much of your time because I think some of you folks are gonna be watching the grid because you know that's something to eat you in soon so that's pretty much it if you could let people know about the channel I'd love it if you could do that numbers are going well but I want to try and keep this growing the podcast is coming soon as well if you didn't know about the podcast that's coming very very soon that's it thanks for spending time with me it's time you won't get back and I'll see you next time I play this bye-bye [Music] you

Channel: Glyn Dewis

Views: 10,215

Keywords: Photoshop, Adobe, Eyes

Id: fKsIj24Mlp4

Length: 40min 27sec (2427 seconds)

Published: Wed Jan 24 2018