Photography Masterclass - Image Editing from Start to Finish

[Music] [Music] good morning everyone happy friday and welcome to my photography master class my name is terry white worldwide photography and design evangelist for adobe and it's my pleasure to give you the pre-stream that's right you're watching this on usually if you've seen a pre-stream you're watching it on either my facebook or my youtube and i like to just come in a couple minutes early before the main adobe live stream and just give you like a bonus tip or two so that's what we're doing right now we're gonna do a bonus tip so i'm just gonna go ahead and we got four minutes before we start the main show i'm just gonna go ahead and switch over to my desktop and i'm gonna show you a bonus tip for lightroom classic users uh and i may even get another tip in for all lightroom users so let's go and switch over to my desktop and i've got uh this collection that we're going to be working on today so i just got a variety of photos that we're going to be editing hey felix how you doing man great to hear from you great to see you so i have a bunch of photos we're going to be editing today morning christine um and one of the things that that made it easier to collect those photos because they're from all different shoots from all different years from all different collections was to create or set what's called a target collection so for example i've got this collection called editing and it's it's the collection that i'm going to be working with today but you'll notice that editing has a plus sign after it i didn't type the plus sign that came in automatically when i did a right click on any one collection so like for example i'll temporarily do it this one if i right click on this collection and i say set as target collection then it'll put the plus sign in front of that one so you know that that's the target collection so i'll go back to my editing one do the same thing right click and set as target collection now when you're setting the target collection what does that mean what does that do what you're telling lightroom is now you can go anywhere you can go to a folder you can go to a collection you can go anywhere in lightroom and when you have a photo you want to put in the editing collection so let me show you let's say that i wanted to go to uh all the way down here to a previous photography master class collection so let's say i wanted to add one of these to uh to that collection so let's say i want to add this one then all i have to do is either a i can just click the little circle icon right here that's add to target collection or just hit the letter b when i hit the letter b you'll see that it says it temporarily it brought it up add adding to target collection so now i can go all over the place i can scroll i can just keep hitting the letter b and it'll just keep adding those in so if i hit this one letter b it adds it in so now when i go back to my target collection those two photos are now in there so it saves you from having to drag up and down your collection list trying to find the one you're trying to add them to so you just set one as the target collection whichever one collection you're going to be working on and just go to any photo you want anywhere in lightroom and just hit the letter b and it will add it in now we got a couple minutes left or actually about one minute left i just want to point out we are going to be making some hdrs which is high dynamic range and another tip is that when you select multiple photos and you um you right click on them and if i can right click there we go you right click on them and you go to photo merge and you choose hdr panorama or hdr panorama um it will do that in the background in both versions of lightroom so once it starts processing you can go on and keep working on the next set of photos so those are your bonus tips for this morning's photography master class pre-stream i'm gonna go to the lobby now so i can get ready and get started in just a few seconds for the main event alright thanks everybody [Music] [Music] [Music] good morning good morning good morning happy master class friday my name is terry white worldwide designer photography evangelist here at adobe and it's my pleasure to be streaming to you live once again on a friday morning at least friday morning my time i know some of you are watching in the middle of the night your time afternoon evening but whatever it is good day good evening good night to everyone that are watching here um love doing these master classes because it gives me a chance to focus on a specific genre which is photography or creativity which is photography and um i get to really focus on something for at least an hour or close to an hour so today we're going to be just talking about editing we're going to be talking about all kinds of editing techniques and and tips and tricks and i'm just going to fill the next 53 minutes of uh just editing just i want to say random photos because i did take some time to put them together but some editing some photos of different types so we'll do some landscapes we'll do some portraits we'll do uh some still life we'll do you know just basically whatever we can fit in this next 53 minutes so it's great seeing so many of you already in the chat uh i see a bunch of folks that are regulars like shawn and steve and mary brown and marilyn and william and j.r flores and mike i see marcel um and i saw victoria early in there and uh it's great to have so many of you here now if you are watching this on one of my other social media platforms you're watching us on facebook youtube twitter great thanks for watching and if you're watching the replay great i love replay numbers however if you want to participate in the chat if you want me to see a question if you want me to acknowledge something that you're asking then the main chat that i'm going to be focused on if i randomly see your question i might get to it but the one i'm definitely going to be looking at is the one over at b.net slash adobe live that one right there so if you head over to b.net slash adobe live uh you can join us and that's where the whole adobe live community is all day to day and all day every day and that's where you can uh get your questions answered quicker because i may not see them in all the various other channels that i'm streaming to right now all right so with that said um let's go ahead and dive in now i've done a couple of sessions where i request photos like you send me photos and the sessions are called how i would edit your photos and those have been very very successful i'm doing those now monthly because people really really like seeing the process or just another opinion on how someone would edit your photo like if you sent me a photo how i would the pro the approaches i would take to edit it well today i'm not going to use your photos i'm going to use mine so all of the photos i'll i'll tell you otherwise but all of the photos we're going to be looking at are photos i've photographed over the years so these are my own coming from my own camera um so again some are professional models some are just people um and of course landscapes or landscapes so let's go ahead and dive in and let's uh turn off the adobe live thing there we go and so now and by the way i'm going to be using um a variety of different apps today i'm going to be using lightroom classic which is my go-to that's where i live in most of the time i can also show you um usually the same thing in lightroom cloud version the the standard just the lightroom and of course we can even go in and talk about lightroom on mobile which which i'm not connected to for some reason right now oh i know why because i rebooted that machine let's try that again all right let's see if it comes up now we go so uh we'll be talking about lightroom mobile so there's lightroom running on my ipad pro um so with that said let's go ahead and dive in and i'm going to switch back to the desktop for now and i'm going to talk about um let's do a landscape first since i got some landscapes already selected there so these particular landscapes let me just deselect for a second these first three um were taken in iceland and you kind of you're kind of saying wait they look the same except the exposures off on each one same thing here these look the same the exposure is off on each one so for since this is a photography master class this is called bracketing so this is where you set your camera typically to do at least three exposures you could do two you could do three you could do five you could do seven but typically three um and you you're usually setting it to capture two stops of difference two stops of light difference between them so here's one that's super bright here's one that's super dark and here's the one that's kind of in the middle so two stops brighter two stops darker and the one that's in the middle all right so why do we do that we do that so that we can capture a high dynamic range in other words uh if you've ever been in a situation with your smartphone or even with a regular camera and you're photographing someone against a bright window and you your eye can see the person and they can see the window you see the light they can see what's outside the window but cameras just aren't quite there yet they're getting there some have hdr built in but for the most part cameras aren't as good as your eye so they will pick one or the other to expose so either your outside shot is nicely exposed and your person is completely in the shadows or your person's completely or nicely exposed and the the window is completely blown out it's just a big white box so that is why we shoot that's why we shoot bracketed so great question rebecca does your camera need to be on a tripod to take these bracketed shots need no should yes so i've done plenty of bracketed shots where i was not on a tripod and it worked out fine but it just means you got to be you either have to go click click click three times really fast so that there's very little movement or if it needs to be you know those exposures need longer time then you're going to run the risk when it goes down to the um super uh when it tries to over expose it you're going to be in a situation where the shutter needs to stay open longer and you're going to get a blurry shot so it just depends on the lighting like these i could have shot with handheld i think i was on a tripod but these could have been handheld because they were in the morning and it was bright enough so it just really depends on the light but if you ask me should you have a tripod when you're shooting bracket i'm always going to say yes do you have to have one no but you should you should okay um so now that we know what bracketing is and why we do it what's how do you put it together in lightroom whether it's lightroom cloud or lightroom classic so either way you select all three you right-click and there will be a photo merge option so there's photo merge hdr or control h it's right there um and the same thing if i were to go to the lightroom cloud version and select the same three photos right click and there should be a photo merge option somewhere there it is photo merge hdr same same keyboard shortcut control h so either application does it the same way now um the other cool thing about this is that when i do go to photo merge i'm back in classic now photo merge hdr uh it will bring up this dialog box and this dialog box is kind of a preview um it kind of shows you what it's going to do if you say yes and you'll notice that there's a d ghost option so the ghost option is really um for those situations where something in the shot might be moving like a flag waving in the wind or a um a horse riding by and you know so those are the kinds of things where if you took it three times even if you went click click that horse running by is going to be moving in three different shots they're not going to be the exact same shot now there's nothing really moving here the water is completely still the clouds aren't really moving so i really could get away with no to ghost options and when you have this turned on on low medium or high and it's just really how much motion is there a little emotion a little a little more motion or a lot of motion what it's doing is it's picking a frame to freeze on so it's saying okay this horse ran by i'm gonna pick one of these frames and just stick to that frame for the rest of the hdr so again if it's not moving you don't need the ghosting if it is moving you do you also have the option on classic of creating a stack meaning it will put all the images together in one icon in a lightroom cloud it just does that automatically all right so you'll notice also it's set to auto align so this is for the person that isn't using a tripod like me sometimes uh that it will align the images together and then it will apply the auto tone to it so if you if you don't apply the auto tone then you're gonna it's just gonna put them together as they are and you will be able to go in the light room and further adjust them and even if it does apply the auto tone you'll still be going to live room and further adjust them all right so i'm going to go ahead and merge now when we say this merge it is creating a fourth photo so it's not doing anything to your three so you have to worry about oh no is it messing with my three photos no it's creating a fourth new photo so that fourth new photo is typically called um the name of the name of the photo with the addition of hdr on it so it put together a nice nicer exposure of the three so it gave me the nice exposed mountains it gave me the nice exposed water it gave me the nice exposed clouds from all three shots so now if i go in to further develop it if i go into the development module to edit it now i've got a better starting point to do all the things i want to do than the one of those exposures that's going to be too dark in one area or too light in the other area now i got a great foundation for all three so what would i do here one of the first things i would do is i would have hit auto but all those already been applied so all my sliders have already been moved a little so the next thing i would do is i'm going to fix them but next thing i would do is like well it's driving me crazy this horizon is crooked so i can't do anything else until i fix that so i'm going to go into my um my crop tool and normally you can just rotate the crop you can kind of eyeball it and fix it yourself i don't do it that way let me escape out of it instead it's much easier for me to just use the angle tool if i grab the angle tool because i can see what should be straight so for example this line should be straight so i just draw draw a line along that edge and then it straightens it for me i don't have to guess i don't have to line it up with a grid i don't have to eyeball it i can just say oh that line should be straight so therefore it should now straighten out that horizon and it did okay so the next thing i might do is because again auto doesn't do everything that i would want so i would first and foremost after that go in and choose a profile so you have adobe landscape these are kind of just subtle profile differences they're not meant to be your final image and you have adobe vivid um i tend to lean towards vivid even on my landscapes uh so let's go to vivit and if i don't like it i'll also compare it to landscape actually in this case i might light landscape just slightly better yeah see how vivid is a little even a little darker even though it shouldn't be the case uh and landscape kind of brightened up this area a little bit so i'm going to actually use landscape in this case there is no law you can use either one you want you don't have to use any of them so the other thing it did is it increased the vibrance which i'm okay with it increases saturation which i'm okay with in this case i'm usually not okay with increasing saturation when it's a person but since this is a landscape i'm cool with it the other thing that auto does not do is it does not ever at least to date change dehaze or clarity or texture so um that sky is still a little bit blown out for me so i'm just gonna go ahead and de-haze a little bit just to kind of bring some of that back in just to slide them out also i might go in and grab grab a graduated filter pull that down oh and by the way the graduated filter i might use would be the haze preset and pull that down so i can just do it from the top down to about right there all right so now i can because i've added that graduated filter which is non-destructive by the way everything i'm doing here is non-destructive i can dehaze a little bit more not too much because then you're going to start destroying your photo don't go too far that's why i like lightroom they're sliders if it if it hurts going one way go the other way uh and i might go in and just bring down the exposure of the sky just a hair all right and then i can get out of that just by clicking on the icon again and i've got a much better starting point so we are we're coming we're coming a ways here now you could also go in and say well maybe i just want to brush this little section right here so i can go into an adjustment brush i've got the same preset so i could either do start with the haze or temperature or exposure i'm going to use haze and this is allowing me to do the haze on a brush or any of those on a brush oh that's way too much but anyway i can go in here and i can brush this and kind of bring this in and then once i've got that brushed i can say whoa whoa whoa whoa whoa whoa whoa too much d haze pull it back a little bit about right there all right okay and and you know i can keep going but that's kind of what i would do on this photo so um when you think about it people always ask me well when would i use lightroom or when would i use photoshop or when would i use this or when i use that i typically start in lightroom get as far as i can and if there's nothing else i need to do then i'm done i don't need to go to photoshop but if i run into something i want to do let's say i want to move this rock over to the right well lightroom can't do that so then i would go into photoshop or maybe i want to duplicate the rock and have two of them then i would go to photoshop to do that because lightroom can't so i start in lightroom always even with a portrait do as much as i can and when i can't when i've reached the limit or hit a wall then i take it over to photoshop to finish it so as i have always uh said the past few weeks of doing these or months now um lightroom's for editing photoshop is for finishing your photo so i like to start in lightroom and edit and finish it in photoshop if i need to now there's one little white space up there from the auto merge so i would just go ahead if i were in photoshop i'd clone that out but let's try the spot removal tool the spot removal tool might do it i could also crop it but let's just test that let's just move that up there and did it do anything i'm not even seeing where that's picking up from all right so i'm just going to go ahead and crop it because it's not going to lose enough of it to matter let's crop that down like a hair and now it's been fixed okay so that's it that's uh kind of where i would go with this landscape i could always do more but we have more photos to work on okay so let's get out of that one and again you have your three originals so this is where we came from and this is where we ended up so we came from those three and we ended up here so far you could always do more but we're just keep going um do you ever use custom profiles i created a couple but i usually just use the adobe ones um yeah i i just i created like one for portraits and i end up just using the portrait one uh not to say that you shouldn't but i just i just find myself using those more often okay um i i had a comment during during this shoot uh you guys were here for this one or most of you were uh this was a shoot we did a couple weeks ago we're doing the the wine and the champagne bottles and all that and i never edited these but one of the comments i got on this this one of these or both of them was um would you ever use two wine glasses and i kind of joked about it in the class because i didn't have the second one handy but the answer was yeah if i had one i would actually put it the shot i think would look better with two glasses in other words you're having you're not usually doing wine and cheese by yourself maybe you are but typically you would be sharing that with another person i thought oh man now that you've said that whoever said that comment i'm never going to look at this photo the same again because i kind of wish i had two glasses we can solve that today all right so first let's go ahead and edit first let's go to the develop module um let's see we shot this with uh we shot this with flash so we'll switch it to the flash um pro or flash white balance um adobe color vivid let's use vivid vivid i like vivid better and then we'll use auto to auto tone it that's bringing out some of the details i want and i might add some more texture to this i could have added more texture to that landscape we were just working on too and i might go in and bump up the shadows a bit more just bring out some more of that shadow detail okay and we're kind of again i can just keep playing with sliders but we're kind of there all right so next thing i would do because i want to add that second glass i can't do that in lightroom there's no cloning no easy cloning there's no real effective way to do that in lightroom that's when i've hit the wall and now it's time to head over to photoshop so in this case i would right click edit in photoshop or command d or control e and what that will do is since this is still a raw file never even converted to dmg it's still the raw file that came out of the camera i don't have to worry about making a copy because it's going to automatically make a copy if it's a raw image it like lightroom doesn't even say anything it just starts uh opening it up and opening up a copy of it in photoshop and there it is so you always have the original one you don't have to worry about making a copy of a image that's a raw file so even if you mess up in photoshop and you just destroy the photo you still have the original raw file to go back to however if this was shot in jpeg tiff or whatever then when you do command e or right click edit in photoshop it's going to ask you do you want to make a copy or do you want to edit the original yes make a copy because then that will be your copy all right so now let's go ahead and zoom in a little bit and there's that beautiful glass which i wish i had two of them and uh what makes this a little difficult is we don't see all of the glass and we don't see like there's a leaf behind it and there's you know the reflections and everything in it and it's just like oh you know how would i do this so i've kind of thought about this as i was coming up to this class and i said well one of the first things i would try and do is select it let me see where my selection tool is that i want um oh it's not here so let's go ahead and grab the object selection tool that's brand new in photoshop as a few versions ago so it's the object selection tool and it's normally under your quick select i need to edit this toolbar to have what i want in it but anyway there's the object select tool and why i like the object select tool is it's like select subject on a tool so um rebecca's asking a question to export to photoshop do you do you export out as dng or tiff files to export you you don't have to do anything it will take whatever it is and open it up in photoshop so this was a nef file if it were dng or if it was a tiff it just would have done it now if it was a tiff it would have asked me do i want to make a copy so it takes care of that for you now you can control in your lightroom settings in classic what it comes back as normally by default it comes back as a tiff i've changed mine so when i'm done with this it'll come back as a psd photoshop document okay so i'm just going to drag a rectangle selection around the glass and photoshop is smart enough to know even though that there's other objects in there hey he's talking about the glass so it didn't get the cheese it did get the leaf that's fine i'm okay with that but it got the glass and now i can go ahead and go to layer and new layer via copy or command j and that will put the put that up on a layer all by itself that's cool that's what i want we're getting there and now i'm going to go in and use the move tool and just move it over so there's our our copy and i'm gonna move it over and i can even kind of overlap them a little bit i think that would be kind of cool and now we've got and maybe move it up slightly and now we've got our second glass that would be in the front but the bottom is all like weird because the bottom wouldn't have been that way actually i'm going to move it down a bit so what we're going to do is we're going to add a mask to that layer um just add a layer mask down here on the bottom of the layers panel and then i can go in using a paint brush we'll grab a brush and we'll use black paint and we'll make that brush bigger using my right bracket key and it's going to come down here and say well you know what what if that glass were really behind the cheeks if it were behind it then it would kind of look like that and that would be okay and i can even zoom in and do a good better job and come oh actually that would be okay you could have you could have a leaf in the grapes but let's go ahead and go back in grab our brush and we can kind of just brush out parts of this so that we don't even see it now if you were really going to be picky you could go in and clone down the glass so you wouldn't have that green reflection because what's that reflecting there's nothing green up could be reflecting the green off that leaf off that grate but it's ricochet reflection uh but if you really wanted to i know i can kind of see some of the some of the masking didn't work as well as i want here so i can go in and just kind of make that smaller and we can just kind of clean this up a little bit along the edge now that i'm seeing it it wasn't a perfect selection on the edge but it's okay all right there we go and the rest of that looks pretty good okay so now like i said if you didn't want that reflection then you might go back to that layer go to your clone stamp tool so you can stamp tool there we go and make my brush just slightly bigger and hold down your option or alt key click and just kind of brush out that reflection even though no one will really notice it or care but if you're caring then you can kind of take care of it like that all right zoom out and you've got your second glass now um while i'm here because i am in photoshop while i'm here uh the other thing that i might do is i might go in and say well you know these these strings here over here kind of distracting me a little bit so i might zoom in and just i mean they're they're okay they're supposed to be there but like this one's kind of bugging me a little bit so i might go into my um clone stamp tool or i'm not clone stamp i'm sorry spot healing brush and go to the background because that's where it is and just kind of start removing it kind of taking that one away and it's just using the surrounding pixels with the spot healing brush to blend it in so that's why i'm doing a little at a time to kind of get rid of that messy one that was you know had some red in it that kind of doesn't help me all right terry put some wine in those glasses i could do that it'll take a little more time um yeah so we're wait wait hang on see something else down here what's this oh that's part of that glass hang on we didn't mask at all part of that glass we brought over that we didn't finish masking so just get all of that out of there all right there we go okay so now when i save this um it's saving out a psd because that's what it's got layers so it's going to save a psd and now when i close it and head back to lightroom classic or lightroom it's going to put it right next to the original so here's the original without with one glass and here's the second one with the other with this here's the new one with the new glass uh so that made a photoshop file that i can always go back and edit it's always got the layers in it it's always got whatever uh whatever you've done to it and or whatever you whatever you added to it adjustment layers included and you got the original raw file if you completely messed up and need to start over so um that's how we round trip from lightroom to photoshop and back so and thank you um uh marcia yeah ever since that person made that comment the second glass thing was kind of just bugging me i was like yeah you know i really wish that did have a second glass now that i look at it uh so here's the other one this is one i actually did print i had this one printed and put it up it's in my kitchen as a metal print right now and i might have to get another metal print with a second glass but in the meantime how did i edit this one uh same kind of thing let's go ahead and go to vivid and let's hit auto auto tone auto tune where are you auto town there you are uh auto tone that's really just makes it pop right off the bat um so all the details are there they're just not um not necessarily showing when you bring it in they're all there just depending on what your settings were on your camera so that while this looked good on screen initially it was just a little too dark for me today all right so we'll increase that vibrance um we'll increase that saturation a little bit and we'll definitely go in and add some texture to this this this this photo screams i want more texture because the cheese can be more texturized uh the water can be more texturized like screams give me more texture so same kind of thing i don't like that string hanging down and that reflection from that string so if i were to go into photoshop command e or right click edit in photoshop um then that will take a copy of it over to photoshop which it just did i can zoom in and say well that one little string is distracting me i think i did fix this in one of the master classes that we had afterwards because i remember i remember cloning this out or not cloning it but healing it out there we go and if you're going to remove something don't forget whatever whatever shadows or remnants it's leaving behind because now that shadow doesn't make sense what's the shadow from now if if i if i sit here and i'm doing this four or five times it's not giving me what i want i'm just gonna switch to the patch tool and patch it because that will give me what i want all right okay and that was from our master class a couple weeks ago when we were doing a live product shoot um with flash all right so now again again i can keep doing things i can try and duplicate that glass as well but it'll just make me want to get another metal print so let's go ahead and save it and close it and uh there's a growing amount of food on jerry's plate yep let's uh go back to uh lightroom and it puts it right next to the original okay so now we've done a landscape we've done kind of a product shot uh let's get into one of the portraits here i got some shots of amanda i got some shots of sean i got a shot of tookie i got a shot of um candace let's see oh and i got a shot of uh valerie who do i want to work on let's see let's see let's see um let's do let's do some work on amanda okay so amanda um she's older now this was a few years back this was oh god this was nine years ago uh so amanda's a full-grown woman now she was a teenager back then um but uh one of the things that she was even commenting on like she was like can you do something with my eye eyebrows here and i'm like i'm not a makeup artist but i know how to use photoshop so how would you how would you just touch this up just a bit and again this is this is the model requesting this this is not me saying it should happen so if the person asks for it then we should give it to them all right so uh i think i've already done most of the lightroom work let's see let's go to develop yeah i've already kind of moved the sliders where i wanted them to be also one more thing i'll check because this was an older shot yep i did enable the profile lens correction so that it's uh without it it's adding that vignetting from the lens um it's also going to kind of bow your image out because that's what lenses do but when we go in we enable profile lens correction which i didn't have to do that with my mirrorless camera because that's built into the camera but for your dslrs or your phone shots you want to make sure this is enabled and it will detect from the exif data what the camera was what the lens was and it will automatically apply a profile for it as long as we have that profile so whatever my camera you shoot we're always adding new profiles to this with every new version of lightroom and camera alright so now that's all done let's go ahead and edit in photoshop this was shot in raw so again it's making that copy and let's go in and let me show you what i would do here all right so uh this this is easy like just removing the couple extra hairs here and there that that's easy what's not so easy is when you need to basically just see how this is nicely trimmed and this is kind of nicely trimmed but these few hairs are sticking up and these few hairs are sticking out that's an easy fix if you kind of just do one thing it's it's it's kind of easy so first and foremost i'll make a duplicate layer just for people that freak out when you don't do that and let's go ahead and do um spot healing brush i'm going to use my wacom stylus i always recommend people use a tablet whenever you can so here's my tablet and i'm just going to go ahead and work on the screen and kind of just remove a little of those spare hairs right there and these pimples that are long gone i'll take those out too okay okay so now how do we uh kind of even this out how do we trim this well it's a trick so what you're going to do and this is why again a stylus comes in handy you're going to go in and you're going to do one at a time it's it's almost impossible to do both eyes at the same time you're going to grab your lasso tool pick an eye right or left and right above where the hair is you're just going to use a lasso and kind of trace the shape of it so like that and i didn't do it perfectly but then you go up and around all right so now that we've traced that shape we kind of got the shape the way we want we're going to feather that selection so we're going to go to select modify and feather how much to feather it depends on your um image 50 is going to be way too much when i say your image depends on your resolution because lower resolution images don't need as much feathering higher resolution images need more it just really depends on what your um you know what what your image resolution is i can't can't give you i'll give you a starting number let's say you're going to start with 20. um but you may need to go lower you may need to go higher it just depends on how much resolution is in your wrist now feathering what that does for new people is that softens this edge so it's not as it's not just looking like you're going to cut it out with a pair of scissors so it softens the pixels by 20 pixels on this resolution which may be too little maybe too much i don't know and then we're going to take that and make that selection its own layer so again i'll show it to you in the menu new layer via copy or command j so now what we've done all we've done is this we put that on its own layer all by itself and 20 again might have been too much that looks a little too soft around the edges so i might delete that layer do it again or undo because we can undo and undo the feather and maybe go 10 pixels so if it looks too soft select modify feather let's go 10 instead click ok command j put it on its own layer and then look at that layer again yeah it's not as soft around the edge i don't want it to be hard but i don't want to be completely ghosted out either all right so now that we got the right number for this resolution all we need to do now with that new eyebrow skin or skin above the eyebrow layer is you're going to grab your move tool and you're going to use it like a razor you're just going to move it down so it's there we're just going to drag it down like so that will automatically start trimming those eyebrows just like that that's it just again the before the after you're just gonna move that down before after and if you might move it down you know if you move down too much back off a little bit i would say maybe about right there and that's our before and after okay now i would merge it but if you freak out when your people merge layers then keep it maybe that's we're going to call that um that's her left eye but it's on my right so left left eye okay oh my spelled iron there we go and now we're go go back to that background copy and we're gonna do the exact same thing on the other side so i'll move it over a little bit grab the lasso lasso lasso vessel and um again we're gonna just carefully carefully oh you probably can't see my layers panel i'll fix that in a minute oh i'm too low i need to be higher so let me go start on this side carefully carefully carefully go around and it doesn't matter how high i go we'll do that and we'll um turn off the hands cam so you can see what i'm doing this time and now we'll go in and uh again we'll do feather so select uh modify feather feather feather and 10 pixels click ok command j puts it on its own layer ctrl j on windows and then we'll just move it down not any more than the other one because you don't want one eyebrow to be skinnier than the other one so about there all right and that will be right eye okay so now again the before and after it just cleans up that part of the eye okay next up uh since we're here let's go ahead and work on again we'll go to the background layer and um the eyes are very important to me with my portraits now some people will even ask hey can you fill in the areas of my eyelashes so that it really it gets when it comes to makeup people really get picky about what they want or don't want so she didn't ask for that so i'm not going to do it for now but i would if i had to do it i would start cloning some of these eyelashes into the spot and by and this this over here looks pretty good i would just maybe fill in that one little spot there it just again depends on the person all right so next up um eyes are very important her eyes are beautiful i just need to um just make them pop a little bit more by just a little bit of sharpening so the sharpen tool um is right here uh it's under your blur sharpen and one more tool but anyway it looks like that triangle and you just want to make sure it's on by default but you just want to make sure protect detail is on because what this tool does is it just literally makes jewelry anything with sharp edges just really stand out so we can go in and just right on that pupil just just a couple brush strokes that's even too much undo just uh less there we go and more a little bit more over here and again uh let me undo undo let me show you the before and after let's make another copy and we'll just go and do it now a little bit a little bit and before the eyes almost look blurry after it just really sharpens that that center of the eye that pupil area of the eye up quite a bit so before and after it's just again all of this is subtle subtle little changes but they do make a difference now the next thing i might do in this photo as i might go in and start uh just the stray hairs off to the side here so this is always kind of a pet peeve of mine but it's also one of those things that's a pain in the butt to do now there's a couple tricks for this we could clone it out we could patch it out we could do all kinds of things to to to remove it but one of the things um no actually it wasn't a four light setup what you're seeing is a triflector uh reflector so back before the eye lighter i had a reflector that was three panels it was a panel on the left panel on the right panel in the middle and then the white above so it looks like four lights but it's really just one light with uh three reflectors okay so um how do i like how would i remove a stray hair like that so you could for example you could try and um heal it out you could do that and that's going to start to get rid of it so that would work but let me undo undo you could clone it out so it goes clone stamp tool select the background and we start oh hang on wrong i'm not on 100 here we go we can start cloning it out okay that works but the problem is as long as this is okay because the background is kind of evenly lit in that spot but if the background goes from dark to light or light to dark depending on the edges hey deb davis um then you could you could run into a problem where you're cloning from a darker area into a lighter area and vice versa so let me undo that again and let me show you a setting that you want to start using with your clone stamp tool or really any tool that has these settings that can work with blend modes so the clone stamp tool has a blend mode setting just like layers so under mode you've got the same blend modes you're used to in the layers panel light and dark and multiply whatever so what we want to choose is lighten in other words that brown hair is darker than the gray background so therefore if i set the blend mode to lighten on my clone stamp tool it won't touch anything else that's not already darker than the background so the background color is okay it will just keep doing what it's supposed to do and only affect the darker hair so i set it to lighten uh come over here we can clone stamp and i can brush all day long and it's not going to change um my background very much because the background's the same color so this way i can kind of just brush out and i can pick a new spot and brush out all of this stray hair without worrying about it it changing the color of the background drastically be or at all because the background is not changing because it's not darker than the hair so you can use lighten you can use darken i use either one depending on what i'm trying to do so in this case the hair is darker than the background i'm doing i'm not doing a very clean job of this because i'm in a hurry i only got like 11 minutes left but just showing you the technique and the setting and then you would go in and fine tune it so um you would just keep brushing get it all kind of cleaned up at least on the outer edges and now what you also might do is sometimes it's not a matter of removing stray hair sometimes you've got a what i call a hole in the hair it's like just a like a hole right there there's there where it should have been filled in but it's not it's just because the hair wasn't brushed you know to the left or to the right that day so you know once you get rid of the outer edges you could go in switch your blend mode back to normal and you could go into the hair itself option or or option click on it and start just cloning that in to fill in that area so you don't always have to get rid of the hair all the way down to the edge you could also do go the opposite way and fill it in so that's that's kind of what was happening there is that there are stray hairs on the outside and then what i call hair holes around the edge so i can just use her existing hair to fill in um just where the hair just didn't you know didn't fall right on that particular shot and that just look at that left edge compared to that right edge and also if we go in and we just do a quick before and after yeah look at this edge where it's all kind of just still straight hairs and this edge is nice and clean that's the before and that's our after so you can go in and kind of just tweak that to your heart's content fixing a hole in here yep that's what we did and so same thing here i would probably just fix that hole right here and just these holes maybe even that hole and then clean this up on the outside so same thing if we were to go we were going to fix that we would make our brush a little bigger pick a new spot and then just fix the holes like so something like that okay uh same thing down here just use that to just fill that area in so then you don't have to worry about it sorry and we would keep going all right um so that's a little bit of portrait retouching so we would again we're not done i'm not i'm by the way on any of these photos i'm not saying we're done i'm just saying that's a technique to do one thing and we would keep working on this photo to do all the other things we'd want to do this photo but we're just going to move on uh great i'm glad you guys like that tip all right so now let's go ahead and close this one because again we could keep working on that photo but we got other photos to do to do things with so this photo of valerie uh i always love this photo it's kind of moody i like like just her look at the camera and all that there's a couple things i don't like i don't like that first of all it's too dark so let's go in and let's hit our auto tone oh look at that let there be light okay and um one of the things that kind of distracts me from this photo is and it's just because of the angle it's just because of the lights just because the shadow has nothing to do with her she doesn't have any problem but what it is is that the the vertebrae from her back and and this is just a it's not a bone this is a shoulder sticking out from that other side so it's just the angle of the shot this is this this line is distracting here nothing wrong with the person it's just the way it was shot uh so i and i would also crop in and kind of just take care of this edge and maybe straighten it out a little bit so let's do that first let's just go in a little bit because that edge is just oh hang on unlock that edge is distracting me so i get something more like that and more like this okay so now now that i got my shot the way it framed up the way i want the next thing i would do is um and again she's got some stray hairs too we would we already know how to take care of those we would go in and there's a there's a feature in photoshop called liquify and use your powers for good not evil and this is one of those use it for good and we just want to smooth that out because again it's not something wrong with her it's just the way her the light caught her back it's making it stand out more we would never look at her and say oh my god your back's got bones in it all of our backs have bones in it hopefully so let's go into um again we could duplicate the layer we could create a smart filter layer you could do it any way you want but let's go into filter and let's go into uh camera raw filter not camera raw sorry liquify and we're gonna go to liquify and we're just gonna take it's already on the tool we want and we wanna make sure that you're on pinned edges that's uh just two defaults you want to be on and we just want to go ahead and just take the tool and just push ever so slightly those areas in like so let's make sure i didn't have anything down there there we go just smooth it out like that there we go that's it just making it look the way it would normally look in person okay so again before after just cleaning that one little protrusion out that again is natural from just the way this is angled all right what um hey what brush is that it wasn't a brush it was liquefied uh liquify is a filter and it was the the i think it's called the move brush no it's called the um it's called the forward warp tool in liquifies the first tool on the left-hand side uh forward warp tool okay so then we would go in is just i would probably start fixing some of these stray hairs on the top and left we already kind of know how to do that and we only have four minutes left so i'm gonna i'm gonna bail on this photo we'd come back and keep to keep working on it but you already i'm not gonna just keep showing you the same techniques over and over again we kind of know what we would do with the hair all right next um let's go in and let's do one this is now everything i showed you earlier was were my photos this particular one is a stock photo because i don't have a photo of a broken tooth uh which is a good thing um but people like hey my tooth get was broken in the shot i got my tooth fixed um can i but i love this picture of me can i can i have my tooth fixed and so we're in photoshop we're just going to go ahead again duplicate that layer just so you have a before and after and how would i fix this so i would simply take the good tooth i would use um lasso or object select tool take the good tooth make a better selection of it take the good tooth like so okay and command j put that tooth on its own layer so now we have a second good tooth we're just going to go ahead and start moving it over but that tooth is not they shouldn't look like that in other words it should be a mirror so we're just going to go ahead and free transform command t uh right click and flip horizontal so we're just going to flip it over there we go and we're just going to put that tooth right about there and accept it and then we're gonna oh maybe it needs to come down a little bit let's see now we'll leave it where it is and we will fix that part that's protruding now okay so now that we've done that um we're gonna go to our mask add a layer mask and we're just going to mask the edge because the edge really stands out so we've got our brush tool and we'll just kind of blend it in using uh the using the black brush and the edge down here is kind of messed up that's okay and then using um go back to the background layer and maybe use clone stamp or patch smaller brush this this part that's sticking out down here is the old tooth and we're just going to go ahead and just kind of clone that out there we go all right something like that and now our friend has his other tooth okay so um i got like two minutes left the other thing i will just just kind of get you to start looking for is in my two minutes when you have um when you have a situation like this where the light is obviously off they're all yellow just remember you have white balance so whether you do this in lightroom or photoshop or the camera filter in photoshop just go to the camera filter go to your white balance you can either click the eyedropper which will help you by trying to find something in the photo that should be gray black or white so i'm guessing her sweater should be gray so i click on it and i was right but let's say there was no gray then i would have i was gone to the purse because the purse should be black and if there was no black then i would go into maybe the id tag because it should be white and that will if you if you start with gray that's going to let you quickly fix things pretty quickly with your white balance now if you can't find something to click on you have that temperature slider let's go back to the filter camera raw filter you have that temperature slider to just say okay it was too too yellow bring it back this way so you can even if you don't have something to click on you have the ability to just use the slider to get what you want okay i am out of time i got like 30 seconds left so with that said i want to thank you guys for joining me on yet another friday master class i hope you guys learned some techniques and i haven't met a photo yet that couldn't stand some editing or at least some adjusting so even if you're perfecting it and you're getting it right in the camera which i encourage you to do that doesn't mean it still can't be enhanced once you get it into the computer um [Music] so just remember that you know again we strive to get things right in the camera we strive to remove the things in in the shot that you you later would have to clone out but if you miss things if you want to just make things or take them up to the next level you can in lightroom and you definitely can in photoshop all right so with that said uh stay tuned for the um photoshop daily creative challenge which is up next and you guys have a great weekend and we'll be back next friday for the exact same time and place for another master class if you got topics you want you want things to cover go ahead and put them in the chat before we end and hopefully i can get to what you want to learn as well because you know i can always use extra topics so cheers everybody thanks for watching we'll catch you in the next one bye [Music] [Music] you

Channel: Terry Lee White

Views: 11,254

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Id: gRs4X2a1z5U

Length: 60min 48sec (3648 seconds)

Published: Fri Aug 28 2020