All language subtitles for 48-RetouchingCinematicPortraitsInPhotoshop.mp4

In terms of different distractions.

I probably want to minimize the one in
particular.

I don't like the one on the nose.

You could soften some of this stuff.

I don't.

I don't really necessarily hate it.

I don't love

both of these.

I mean, you could say that it's

the sun

that is believable.

But let's see what it looks like taken
out.

So let me go and create a new blank
layer.

I'm going to come through here.

I'm going to use the healing tool

on the nose.

Get rid of that.

We go.

And then I'm going to come over here.

I missed,

let's see if we do this.

May be,

I'm going to fill it with a content
aware.

Maybe better work.

Not really.

You know, you can also do stuff like
this, where it sits on top, and then

you can fade it away.

So I take this, take my eraser, and
maybe you do it at fifty percent or

thirty percent, and

you can kind of bring it back a little
bit.

So,

I mean,

it's an option.

I think this is fine.

I don't think you notice it.

So

this would be a really good place for
this image to start,

kind of remind you.

That's an Alex soth photograph with a
guys like holding two airplanes.

Ok?

So I'm going to zoom in here a little
bit.

We'll do a little bit of cleanup

on some of the

things, but I don't really want to do
too much,

get rid of maybe some of these threads
a little bit

cool.

Maybe this is what I was talking about,
where you can take a catchlight from

one side and put it on the other.

It's made it a little bit bigger,

all brightened up

later on, and

it'll be even

more amazing.

Ok?

So

this looks pretty good with the
cleanup, not doing too too much, keep

it relatively natural.

I think that looks good.

I mean, this might be a little bit
distracting,

probably can come out,

maybe something like

wrong one,

something like that.

And then this is where that eraser can
come into play.

Just kind of fade that out a little bit.

Yeah, good.

Yeah, a little bit less distracting
like that, I think.

Ok.

So I'm going to dodge and burn here

to give this a bit more shape.

I'm going to create

a solid,

fifty gray layer.

I'm going to fill it

with fifty percent grad.

You can also do curve adjustment
layers.

It doesn't

hugely matter.

But this is a fifty gray layer set to
soft light this is my favorite way to

global dodge and burn.

So you create a new blank layer,

you go to shift, delete or edit and
fill,

and you change the contents to fifty
percent gray.

You don't want to create a solid color
fill layer.

Don't do one of these.

It's got to be filled, because it's got
to be pixels

change.

This is soft light.

And now I'm going to be using my dodge
and burn,

right?

Here's the dodge.

That's the one that looks like the
lolly pop,

and the burn is the one that looks like
the fist.

My general way that I go about this
kind of stuff is I'm usually around

eight to ten percent

on a mid tone for doing global dodging
and burning.

But to make this a little bit faster

for you, if you hold down the option
key while you are on one, it will give

you the opposite tool.

So here I am at dodge,

mid tone,

nine percent.

And it's dodging the midtones,

that makes sense.

But if I hold down the option key, it
will burn the mid tone at nine percent.

You're not going to see any change to
the tool.

But know that when you do this,

holding down the option key,

it will give you the opposite tool.

So what I do

is, I use it as a way to switch back
and forth between these two tools

quickly.

Ok?

And I'm just kind of tracing what's
already there.

I'm using that as a point of reference

to create that depth.

So I'm just kind of tracing along and
following.

It

looks good.

I'm going to zoom into the eyes a
little bit,

brighten those guys up a bit,

darken the edge,

ok?

And we go.

That looks good.

And so that would kind of be how I
would shape this.

I would take this image by using the
local dodging and burning.

In this way, you can also obviously
extend it to the background.

So we'll do some stuff back there.

Create a little bit of depth with some
streaks.

Come in here,

darken the bottom

let's start in that whole area over
there, which I think is a little bit

distracting.

It will darken the edge of the frame a
little bit.

Give us ourselves,

give ourselves a little bit of a
vignette,

ok?

And then maybe

dodging and burn it's an art.

And

once you really figure it out, I mean,
it can just transform

the image.

And obviously, you can lower the
opacity of this particular layer.

If you find it's too strong, you can
blur.

It there's a lot of different ways that
you can use

to really finesse

this particular step.

So again, lowering the opacity.

If you find that your

dodging and burning is too streaky,
give yourself a blur

and a gauzian blur,

and you just kind of turn this up,

zoom it on the face so you can see it a
little bit better, right?

So here's what it looks like

right now.

And then as you blur it,

it just kind of fades

what you're doing

and softens it a little bit.

And it can become a really easy way, a
really good, easy and effective way

to make

fine tune this.

So

obviously you can see how significant
the dodging and the burning can be.

Here I'm going to show you one extra
cool thing that I like to use

on glowy areas like this,

and

it's just kind of like a blooming or a
halation of light.

And so what i'll do is i'll grab a new
layer and change it to something like a

soft light,

and i'll sample this bright color,

and I paint it

just over tub

where the light's hitting,

to make things just

a little bit glowier,

because I like sparkly things.

Yeah, that looks pretty good.

And then what i'll do

is i'll lower the opacity, like,
obviously that.

And so it can make metal glow.

You get that glowy effect on metal.

You can get it on a lot of different
things.

I just think it adds like a nice,
little,

nice, little soft, soft, pretty golden
effect, which I think is pretty cool.