All language subtitles for 3_Melanis shoot - Retouching

All right?

So let's get to retouching

this image of Melanie, kind of my hero
shot.

And what here's what I want you to
learn this session, because I do so

much on the Photoshop side, the
retouching side, the finishing side, in,

I guess it would be the joelgrams

master class that I've done in the
past.

And under the retouch section, I spent
ten months building out this whole

set of tutorials.

So I've covered a ton there.

And this is more geared to the one
light master class.

But I want to do some retouching.

And one of the things that I want to
show you is

what I do to a background and how I
clean up

clutter.

I have to do

twice a year.

I do a

judging for, like, photo competitions

that, yeah, photo competitions.

And so I look at images.

People send me images.

I get

portfoli reviews, things like that.

So I look at a lot of photographers'
images, and I go online, obviously, and

I look at images, and I'm really
surprised at how

really good photographers often
sometimes miss a lot of clutter in the

background.

And I look at, and I go, oh my gosh.

My eye goes straight to something in
the background.

So if you look at this image here

of Melanie, look how clean that
background is.

Yes, I did a little cleanup,

just a little bit of wobbles out of our
face and stuff.

But that background is clean.

that's what I want to emphasize on
this.

And so let's go to the

original

raw file.

So I think I got bridge sitting right
here,

and we're going to go command r.

And I do not work out a light room.

So it's not.

I don't like a light room.

I have dabbled in it.

I just love bridge.

It's simple.

It does exactly what I need.

It's the same engine that

lightroom uses.

So you don't benefit by going to light
room if you're doing basic

controls and stuff.

Light room does a lot of things, yes.

But anyway,

the first thing I'm going to do is, I'm
going to go and pull.

Let's just go back here and

reset.

So

that's what it came out of the camera.

And we're going to go to highlights,
pull back just a little bit of

highlights, definitely open up the
shadows.

I want that airy, kind of beautiful,

I guess, angelic, kind of background.

So contrast will pull back just a
little bit.

We're going to open up the exposure,
just at tad.

Everything else, I think, would make me
go over here.

Sometimes I manipulate

the tones just a little bit less.

Open up, move the orange to one side,
yellow, just a little, because we want,

again, that bright

airy look, to see what the blue does.

Blue will open that up a little bit too.

Red.

Ok.

So go back here.

That pretty much does everything I want
to do here.

So we're going to say,

open image.

So here's what I want to show you.

If we have the same size here, yeah,
same size image.

Just get out of properties here for a
second.

So there's the raw that I just brought
over.

Here's my final retouch.

See the difference

in the clutter in the background?

Now it takes a little bit of time.

And

if you're going to say, I did this for
this,

the parents, the mother would want, and
she does want

a huge print of this of her daughter
hanging on her wall.

So, would you hang this,

or would you hang that?

To me?

I think this looks so much cleaner.

So

I can't spend too much time in here,
because obviously this is not

a Photoshop retouching tutorial.

But let me show you some things on how
I clean that up.

And we'll go through pretty fast now,

I probably did retouch frequency
retouching on her face, a little bit,

frequency separation.

But what I'm going to do is we'll do
something really fast here.

So let's zoom in here,

let's just zoom in,

and I'm going to go over here to my
spot healing brush,

and let's just see if there's anything
in here.

And she's got a little, few little
things right here we just picked up.

And a spot healing brush is an
incredible

tool.

That's on my screen.

So if you have a goober on your screen,
you keep trying to retouch, it doesn't

go away.

Well, clean your screen, which

I try to,

but I forget bite.

So there's a basic there.

So then I go over here, and I go
command Jay, which is a duplicate

layer.

I take the opacity to fifty percent.

I go over here to my patch tool.

And then I come in here, and I can say,
let's just pick up a few little things,

like books, I went too fast,

like this.

And we're going to just fix

a few things here.

And I'm not done.

And the reason why I'm showing you this
is because

this is

fast,

and I think that's about right.

We got a little issue right there.

And seeing up here get a little bit of

right there.

Ok, that's pretty good.

Now we're going to go command e, which
merges it down.

Then I'm going to go over here and go
shift command n.

We are going to make a

gray layer that I can apply my dodge
and burn on.

So I'm over to my dodge and it's

defaulted three percent, which is what
I usually work at, midtones.

And we protect the tones, which is

checked.

And then

we'll hold down the option key to go to
burn.

So it's in dodged now, and I hold it
down and we'll go to burn.

So very quickly.

So we're in dodge mode.

We'll dodge along here.

It will burn along here.

Take out this little wobble right there.

Let's see what we have.

We have a little bit of a

spot there, little spot there.

We're going to burn along here.

There's a little highlight that you can
tell it's got a little bit of a wobble,

showing a wobble,

burn that dodge.

That

I'm going to do this really fast.

Folks, I would spend just a little more
time on this,

but here's a little highlight right
along there.

So I'm going to burn that down just a
little bit.

So I go through all this in my other
tutorials,

and I hope you've watched those.

There's a little bit of a highlight,
there's kind of a funky looking thing.

A little spot there, a little spot
there.

All right, I could spend a little more
time, but

I'm just going to merge that down for
now, just to make my palette over here,

or my layer's pretty simple.

So let's start doing some clean up in
here.

And now I've got a picture frame over
here.

So let's just try this.

We're going to

just do spot healing and just do this

pretty good.

And you could maybe spend a little more
time.

There's a little bit of texture there,
just a tab, but we're not going to

worry about it.

Ok.

So I'm going to go along here.

I'll just fix a little bit of that.

All right, so I'm going to fix that by
going over and just grabbing my

marquis.

And we're going to go, and I'm going to
just take a chunk out of here.

Command

command, c, command v, command t.

You'll hear me say that 100 times

when I'm tut retouching,

ok.

So we're going to say, ok, there.

Then I watch this.

I make a black mask.

I can either just click on it, and
command I.

Or I can go and hold down the option
key and click, and you give me a black mask.

Ok.

So now I have a white omen take.

Go to white brush.

I'll hit the x key to give me doggle.

Toggle to white.

Or you can go in here and click by
manually.

But a white brush,

and I want it on.

Let's go 100 percent.

We are going to make sure it's very
soft.

So you check, yep, very soft.

It is a standard brush.

And then I just come in here,

and I

paint back that little section right
there.

And if I'm a little off, I can

move it back and forth, and tout, lines
up.

Sorry.

You have to go to commande

free transform to do that.

Just not lined up.

Perfect.

There we go.

There's still

little spot I missed there.

Let's see if I can go up a little
higher on that nose.

It's not 100 percent.

So we'll go, command e.

And I can always go in here and zoom in.

I get really picky here, go to my

stamp

and we're at hundred percent,

pick it up and just clean that up just
a little bit.

Ok.

So we got that.

Let's go over here to my

spot.

Helium brush.

We're going to pick that little

wobble up there.

So let's go up here,

and let's see how we do that.

Same thing.

I grab this.

We're going to go

and see command d.

Command t, pull it up.

And I think that we want it all the way
up.

It's lining up here.

We turn

black, brush,

brush on white.

And we're going to paint in here, just
like this.

I know when a little too far.

So it's going to black.

It's just pick that up.

So that gets that post.

Nice.

Command.

E, merges it down.

You can leave all those layers, folks,
and you'd have 400 layers when you get

done.

I there's no need for me to keep all
those layers.

Once I'm

going to stamp,

we're going to just clean up this
little bit here.

So my whole purpose here is to get rid
of

the wobbles.

And the little things that my eye goes
to it's out of focus.

So

you're not going to see this.

You're not going to be zooming in here.

At least for this client, I say, for
this mom.

Now, for an ad campaign, you might

go over it with a fine tune film.

And a lot times what I do is i'll
retouch something like this,

then i'll take a break.

Either i'll go to sleep, come up wake
up the next morning and

just revisit

it to make sure I didn't miss anything.

Oh, don't too far on that.

Ok?

You see what I'm doing.

I'm just kind of cleaning up that
curtain,

so that

it's

there.

Or I can take it out completely, which
may not be a bad idea.

So let's go down here.

I got a couple issues along here.

I'll just clean that up.

We could take this little,

whatever that is.

Now here's, let me show you this.

I'm going to hold it.

I'm going to

take my option and click where I want
to clone from.

I click right here, hold down the

shift,

and then I can just go back and forth
until that disappears.

We go to the other side

here,

that's a little too far.

Let's go back down here.

That's good enough.

So we got a little chunk here that
bothers me.

And so

I'm going to go over here, and we're
going to, that is my, I don't know, the

names of all these things.

Folks, the poly goggle.

Has that gone gongle?

I don't know, to pronounce.

That

it's like a lasso, only it's sort of
straight.

So we're going to take a chunk of this,

and that's going to be command c
command b, command t,

we'll bring it over here,

we'll line it up,

and if it doesn't line up 100 percent,
because it's a little bit further away,

I go, command t,

and we're going to pull it.

Will go,

Photoshop, change things.

Hold a shift down.

Pull

to line it up.

There we go.

Ok.

I may have to change the value.

It may be too bright, but we're going
to go to my

brush, or my mask

in black, go to my brush on white,

and then we'll just paint in here,

and it looks like I'm a little off
there.

Ok?

So

what I'm going to do, to make it simple,

is we're going to say, commanding,

e

stamp,

and I'm on a stamp, that

you just finish it off.

Ok?

If there's

ten things to do, something in
Photoshop there's 100.

So let's get rid of this post, or let's
go back here and take a look at what

we've done.

So

I got rid of that post.

I got rid of this.

I'll work on the post first.

So let's zoom in here a little bit.

First thing i'll do is let's just clean
up

this

area here,

just to get it down.

Maybe you get a little bit of a value
change there.

We can

fix that later.

Oh don't close it.

All right, there's a little bit.

So a lot of times i'll do is i'll take
the fifty fish

opacity, and then i'll just clean that
up, like that.

That'll

blend that in really nice.

Ok.

So let's go to my bed spread here.

So we're going to take,

let's, just take this much here.

Please get a little bit on air up here.

Command c, command v, command t,

bring it down here.

Rotated, just a little bit.

Let's see how far we can go down here.

That's good enough, right?

So we definitely know that's going to
be too light.

So command l just brings up my levels,
and we're going to darken that

breadspread a little bit.

We can burn it down a little bit too,
if we have to.

So come back to my

mask, black mask,

a white brush,

my brush.

Yes, everything's there.

Now, what I'm probably will do here

is, I still got to darken it.

I'll probably go take my opacity down
now.

And as I come in here, i'll blend that
a little bit more,

and it's still too bright.

So we can take the burn tool.

We're at mid tones here, still

up, yeah, make sure I'm not on the mask
folks

very.

And I can just kind of match

the value there.

And

when I ended up

darkening, it darkened the wall part
too.

So we're going to go back over here to
my mask,

and we can

opacity.

We are going to

x.

Well, come on,

that's not going to work.

So let's go, command e, merge down,

get my stamp tool.

So I retouched this about

a month ago, the one I did before,

and I don't really don't have a clue on

what I did.

So now we're going to take

the stamp, ok, hundred percent.

And we're just going to fill in this
little section right here that you

won't see that

still.

Like, it's been a little more time in
here,

taking that a little

sectionale.

Okay, let's go down.

And,

yeah, that's pretty good.

Let's take it down to the same size as
over here.

Not exactly what I did before, but
pretty darn close.

We're going to blow out that a little
bit with a foggy in here at a minute.

All right.

So we got this little lamp back here
that bugs me.

So we're going to go to

our

stampspot,

healing brush,

and we'll just take out most of it

this way.

We're going to fix it.

So don't get too alarmed here.

I'm just taking the bulk of it out.

Ok, so I'm go back over here

then.

Look, all that good.

But what I'm going to do

is we're going to

take a section from

let's, go right here,

man, seek a man beat commented.

Bring it down here.

We're going to stretch it, hold us
shift down a little bit.

We can also take and

warp it.

So we'll

swing it around here a little bit.

So it kind of matches up.

Now, I use these techniques all the

time.

And so

it's good

if you're I'm going to take this down
to a past year.

It's good just to learn some of the hm.

I'll get on white.

And then it's going to bring this in a
little bit here.

I had to fix that top part right there.

And I'm using this stuff,

but for

clean it up all the time.

So, whips,

so long as my eye doesn't go to it,
when I'm looking at this image, it

doesn't have perfect,

because you won't know, I did this.

Ok, this is going to be tough.

And here,

wow,

because it's really a different value,
because it's gradated,

and I've got it on 100 percent, which I
shouldn't have.

So let's go down and value your.

We go,

smooth.

That end

small.

And I could change my

brush opacity ermitness

here in the minute.

But

it's kind of painful to watch someone
retouch.

When you say, oh, Joel, if you did
this, you could do it better faster.

And that's true,

there's something

that I always say about retouching.

And that is this,

when Adobe

goes out and profiles

someone that showcases Photoshop,

they don't show.

They don't showcase a

genius master retoucher, a Photoshop
user,

they showcase an artist.

That's what the world is looking for,
not

people that know every tool in
Photoshop.

So

that's what I would encourage you, is,
you have to be an artist.

That's the most important thing.

So I'm just holding the ship key down
here, going back and forth until that

starts to disappear.

And I screwed up just a little bit of
the skin here.

So we're going to bring that back right
along there.

All right,

I think you guys get the point here.

There's a little bit of a wobble in
there, and see where.

Let us go to, like

29 percent here.

And I can just keep going back.

That smooths it all out there.

And there's other way to do that.

Ok, we've got a little knob over here.

That really bugs me.

It's little knob right there.

My eye goes to it.

You don't like that?

Or even a clean that up?

And I fixed all this in here.

It's, this could take too long.

Same technique that I'm inusing now,
but I'm just going to show you

my last

few little

things that I do to finish this.

All right?

So I'm going to hold down the

shift command.

N.

And no, no, yeah, he said, we're going
to make just a blank layer.

And I'm going to take my brush at
thirty,

ish

white let's, make sure it's pure white,
here's

part of my problem.

Or we can just hit this little button
there and

goes over to pew light.

We're going to make it pretty big,

thirty.

So I'm going to click here.

That's kind of blasting a little bit of
light from the window.

We're going to click here, that'll kind
of blow out this little bed area over

here, which

kind of bugs me.

Click that, and click the corner up
here.

That maybe the very top up here.

Just click that.

So that gives it a little bit more of
an airy

light feeling, which really finishes
off.

Let's just do it at one corner of here.

And then we're going to go down here to

levels

and I'm going to check my levels.

We've got plenty of white here, right?

So I might pull my black down just a
little bit,

pull up my mid tones, just to tad
giving me that look

that I'm looking for.

Let's go to

black and white, and we're going to go
to luminosity on my blending mode,

just

to see if I can finish off

the skin tones in any directions here.

The blue does,

ok.

And then we're going to go to huge
saturation.

And we're going to go to master just
about minus of,

you know, I used to go around ten

reds.

Will mine is just a little bit eight,
and then yellows, maybe about eight.

that cleans up any reddish, yellowish
skin toned problems that I have.

And then

we,

oh, we're going to do one more vigne of
vignette.

So we're going to go to levels, go to
the gradient tool over here.

We go in the circular, it's the second
one, end up here on the very top.

And I'm going to see, I want to go to
black.

So I hit the x.

I get a black,

is, my foreground color pulled down
just a little bit right about there.

You can see over here there's a little
mask in there.

And we're going to pull it down so that

she gets a little bit more.

Like, don't your eye going to a phase?

So let's look at what I did before.

Get this out of here.

It's one not here.

So that's what I did before

I spent more time on it, obviously.

But you can see,

that's

kind of pretty darn close.

And if I was to go in here, I'd clean
that up a little bit,

maybe take that out there.

That kind of bothers me just a little
bit.

I don't think I took it out before.

No, I didn't.

Or I go back here and I add just a
little more,

where's my brush,

just a little more

brush

blast

of,

kind of like

lights coming through a little bit.

That kind of,

I don't want to offer, do it.

But when I did a vignette, it

did darken a little bit.

So,

tab.

Let's blow it up just a little bit.

There's my final image.

Once again, I think that

what I'd love to have you pull away
from this is what I do to my

background, to simplify

the overall field to an image.

Look at my portfolio,

almost everything in the background,
that is what I would call distracting's

taken out.

Now, if you go back, maybe ten years, I
may not have done

as much as I would do now.

I really work the image now, especially
when I do commercial ad campaigns,

I clean up everything.

There's no logos, there's no anything
that's distracting to the eye in my

background.

So I think that's part of the creative
process, at least for me it is.

And my clients like it.

And I think you will too.

So

grab an image maybe that, maybe go back
to an image that you

thought was pretty good, look at it and
say, oh, yeah, I see a few things in

there that can now fix.

So

I hope you enjoyed this tutorial