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    Digital Photo Retouching JK

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    175 views97 pages

    Digital Photo Retouching JK

    Uploaded by

    Олим Ширинов
    Digital Photo Retouching JK

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    DIGITAL PHOTO RETOUCHING BEAUTY, FASHION & PORTRAIT PHOTOGRAPHY a} F IVALS TT WE ASSIST GLOBAL TALENT WITH PROMOTION AND EMPLOYMENT OPPORTUNITIES Mad Artist Publishing (MAP) believes everyone deserves exposure, Our non bias De aeepeue seems ncn reo MMe ener] the world has been changing lives of artists film makers, sculptors, photographers, Eterna PAT a Acca COKE Copyright © 2073, All rights reserved By Madcap Media Inc. & Mad Artist Publishing (MAP) as a compilation. All logos, artworks, Videos, images, names, articles and materials included in this book are published and used with permission of the respective copyright owners and credited as such. Rights to the individual images, drawings, texts, articles, logos, trademarks and videos within this book reside with Oe ieee ee rea Reon ema does not necessarily reflect the opinions and views of MAP. and its partners. The photographers confirm that the work is their original creation and have received all necessary releases to feature their worksin this publication. Based upon the owners! confirmations and to the Publisher's actual knowledge, these photos were produced by the listed photographers. MadArtistPublishing com and Madcap Media Inc. does not guarantee or assume responsibility for verifying the ownership een os Tene sy ee Ma Nur eeu eG Uva Me heauty ena conventions. No part of this book may be reproduced, stored in aretrieval system, or transmitted in any form, electronic, mechanical, or by other means, without written permission of the publisher. Every effort has been made to fulfil requirements with regard to reproducing copyright material, The author and publisher will be glad to rectify any omissions at the earliest opportunity. Views expressed within this book do not necessarily effect Prsveteteieiceuse tain eine ee wean re maton ‘Address your questions or inquires to madartistpublishing@gmail.com. TABLE OF CONTENTS 1. COVER: NICOLE KEIMIG (MODEL) 2 COPYRIGHTS 3. TABLE OF CONTENTS: 4 ACKNOWLEDGEMENTS 5 TORI TRACY (MODEL) 6 FOREWORD FROM AUTHOR & EDITOR 7 AJAWARREN (MODEL) ‘8 MAD ARTIST PUBLISHING 9 DON'TMISS A THING! 10 CATHERINE MULDOON, MISS VIRGINIA USA 2012 111. CREATIVE RETOUCHING ESSENTIALS IN A DAY EBOOK. 12 IMAGE DETAILS & TIPS. 13 TORI TRACY (MODEL) 14 TORITRACY (MODEL) 15 TORITRACY (MODEL) 16 ALEXANDRA GRISHINA (MODEL) 17 SHOOTING ON LOCATION 118 SARAH STEPANEK (MODEL) 19 MODEL & PHOTOGRAPHER SYNERGY 20 IMAGE DETAILS & TIPS 21 ORCHID MEI (MODEL) 22 LEVI FRERICHS (MODEL) 23, TORITRACY (MODEL) 24-28 COVER IMAGE RETOUCHING WORKSHOP 29. COVER IMAGE (FINAL + TIME LAPSE VIDEO) 30 BRIAN MICHAEL RHINEHART (MODEL) 31 SHOOTING IN STUDIO. 32-33. PRO RETOUCHING SECRETS REVEALED 61. NICOLE KEIMIG (MODEL) 34 IMAGE DETAILS &TIPS 62 PHLEARN.COM 35 ELISA YU LAU (MODEL) 63 TOTALLY RADI 36-37 PHOTOGRAPHING & RETOUCHING FACES (64-65 7 DEADLY MYTHS OF INTERNET COPYRIGHT 38-39 TYLABERTOLLI (MODEL) 66 PHOTO.NET ‘40. MARIA YOUNG (MODEL) 67 7 DEADLY MYTHS OF INTERNET COPYRIGHT 41. SARAH STEPANEK (MODEL) 68-69 GUEST ARTISTS INDEX 42. IMAGE DETAILS & TIPS 70-71 EMILY SOTO, FASHION PHOTOGRAPHER 43, NATALIA CHIGIREVA (MODEL) 72-73 JEAN OSIPYAN, PHOTOGRAPHER & GRAPHIC DESIGNER 44 COVER IMAGE VIDEO RETOUCHING WORKSHOP 74-75 SUE BRYCE, GLAMOUR & PORTRAIT PHOTOGRAPHER, ‘45. SARAH STEPANEK (MODEL) 76-77 ANASTASIA VOLKOVA, FASHION & PORTRAIT PHOTOGRAPHER 46-47 CREATIVE RETOUCHING MAIN STEPS 78-79 NATHALIA SUELLEN, DIGITAL ARTIST & PHOTOGRAPHER 48, NATALIA PEREGUDOVA (MODEL) 80-81 JANE QUEEN, PHOTOGRAPHER & DIGITAL ARTIST 49. ALICIA MATTERN (MODEL) 82-83 MENACHEM KRINSKY, DIGITAL ARTIST 50-51 PHOTOGRAPHING & RETOUCHING HAIR 84-85 ASHLEY LEBEDEV, PHOTOGRAPHER & DIGITAL ARTIST ‘52. IMAGE DETAILS & TIPS 86 DIADELOS MUERTOS, FEAT. KORTNYE HURST 53 MARCO LEROC (MODEL) 87 RESOURCES & INSPIRATION URLS ‘54-55 FERNANDA ROMERO (SPREAD) 88 FROM AMATEUR TO PRO IN A WEEK EBOOK 56 TORI TRACY (MODEL) 89 KORTNYE HURST (MODEL) 57. AJA WARREN (MODEL) ‘90-91 MODELS.COM: MODELING AGENCIES & ENDLESS INSPIRATION. 58 WORKING WITH CUSTOM ACTIONS 92 ENCHANTED FOREST EDITORIAL 59 WORKING WITH CUSTOM BRUSHES 93 TORITRACY (MODEL) 60 IMAGE DETAILS & TIPS 94 THE ART OF SELF-PROMOTION BY MARCIN MIGDAL CAEN OTHERWISE Si ATID TE OWNERS OF HE VDD Libs RIT TA CMT CNIS AND S MEANT FUR WOLCATOONALFURPONS ORL SUPPORT IN MAKERS ND THERES OLSON PLEASE REPORT ARY AORN NK TORWOGADARTISI PU INN DM erCONTACTQUULSARUZNENRCDN Met: DgiPhtoRexching Plhed& Desgnd colbert lth Mad Att Publsing and Maen Wig 3 Mad Artist Publishing would like to acknowledge the following for their contributions to this book Guest Artists & Affiliations: re yew UO CU eS IN oe nase A nae) CPEs cer PDO EUR TS NCC a Lu eI ar en aC mene Te Ruel Cue cm SRT ay Lee Catherine Muldoon (Miss Virginia USA 2012), Fernanda Romero (model, singer & Hollywood actress), Tyla Bertolli (The X-Factor Australia 2011 Finalist), Ashley "Rae" Weisz (America's Next Top Mode'’s Cycle 13 contestant), Sherri Jesse (beauty expert, internationally published celebrity stylist and makeup artist), Burlesque Performer Miss Orchid Mei, Mikala Vandenbroucke (makeup artist, hairstylist and educator), Krunoslav Stifter (professional retoucher and educator, Croaria), eC ei Eagar ae a sree Man SNC m cs tc oS David L. Amkraut (Los Angeles). Book Credits: OTM ser CDA on er SUE ec ON es R28 MeN cate Ferme eanes re tend ce yA ene Rerg eae a cee eer Pineda amen eae) Video Editing & Promotions by Julia Kuzmenko McKim, Marcin Migdal & Madcap Media Inc. Editor Tanya Egan Gibson rsa RLY od Allof the additional staff during the photo shoots. Eee ce ee eee er) Pa ene en eee ae ee RO eer nee Cus Fee Ree ean cu Een es Suen Ne ee Deter erence na ca eter Eee rcan leo Rt cn ea earn olor Does Det hades ‘my new playaround riaht from my frst introduction to it And soon my main job started Een er Even though it wasn’t an easy decision, | took a leap of faith and quit my job to go to Australia to study Photography and Digital Imaging. | started marketing myself and erate tee agi tata ee tt Le re cp ee eR cer WA ue econ) Reiter mer tei ale tione ht erreeeeeo ne) shoots for local record studios, modeling agencies, and advertising agencies. [not only ea Cee eure a ehh renee ede) cauiteriraratec nen ener eS nee ee este ar eect) opin ur eon courte ete enor eae os Reteoe ri Camere eee) [acerca clear te eae) eM ees sty ue cee eS CaM a saeaeeT Hai's How Russia, Canadan Hoirdesser, ard many more in the past year. One of my fe rueet Sh ou eRe ae her eane ar Sacre ea Ie eae ead and skils with aspiring photographers from all over the world through my retouching cere oe sobs This book was created as an inspiration source with many beautiful images, photography and retouching tips, and an illustrated text and video workshop for Uo rac edie a ae nace So enjoy my collection of photos as well a the work and insights from our brillant guest. Breer ol seng eae Crea) Peete Se In ees reaeeuy ey Teese aM te cee DO Do eat LUE Jullas one of those rare talents who I just Incedibe at everything she does. im honoced ‘0 collaborate on this book with her. Id like to also thank all ofthe great guest photo- ‘graphets and models Ive met during the creation of this book for trusting me in Pee et ee eon Te ‘There isa void in the art community and industry that needs to be filled, and ifyou enjoy any form of creative rs then | require your attention and asistance. There aremanymincs Peer eae ae na ayes ree Erasure Noun Ta ure es Ress Pome earthen teen imine eet imaginetion. Support MadAtistPublshing.com and alvays remember, everyone deserves exposure! fm a forward thinking Creative Art Director with 13 years of experience in advertising, ee as once a ea eee aa \wotked in Front-end Web Development and Art Director roles for top advertising agencies that include Dentsu Boss, TMP Worldwide, Loyalty One, Robert Half International. Ive produced web & printed collateral for Toyota, AOL, Dell Air Miles, Husky Energy, General ‘Mill; Canada Post, York University and others. As Chief information Officer at Eureka Media | formed and led software technology teams to build and brand sophisticated IPTV Roar Mioatara se aoa ‘Asan Interactive Director of ATVN Ive architected and supervised development oF online CContent Management Systems for web software products. Ive conceptualized architecture and frontend design of large online creive and educational commurities. suchas Sketchoholiccom and Schoolism.com.|n201 launched and matketed Mad Artist Publishing (Non-profit organization), publshed 16+ titles globally and grown a Youtube COSI SIOE ett ee ee Ra SL ness Soke aD etl seen os ee ea ene eterna Tees ele Ca eee ee 1 Peerage ee eae ee www. MADARTISTPUBLISHING.com YES! OUR NEW BUUKS|URE HAS ARRIVED! OH..WE ALSD MAKE KICK-ASS BOOKS AND GET YOUR WORK PUBLISHED DIGITAL PHOTO RETOUCHING BEAUTY, GASHION iO) aN gM ASs aaah . aR GET 25/ OFF THE PRINT VERSION OF THIS BOOK DON'T MISS A THING! Dee RATE LTS ate eta UNDERLINED TEXT ARE CLICKABLE LINKS THAT WILL TAKE YOU TO WEB PAGES cd PS US eyo e a TRO ear) DUS a OU el eee as ah) eC ae USN URS aa Thy UU PaO TEU aT aA THIS INTERACTIVE EBOOK ISFOR YOU IF YOU ARE ONLY BEGINNING vou, JOURNEY INTO THE DIGITAL PHOTO RETOUCHING WORLD. "; LOF THE TOOLS ANDPANELS PHOTOS wor S10 OFFER F YOUONLY WANT TO MASTERor MPaovEouRPuoT RETOUCHING SKILLS LL | YOU ToGETACLEAR UNDERSTANDING AS TO W MILIAR ST TIRELESSONS YOW WiLL Li TONS NG Pa aU TNT UE eta CSL Teast) CSce NICOLE TECHNICAL PRODUCTION: Caron $0 with Canon 24-70mm L 28 lens, Adobe Photoshop CS4 Mac, Waco Intuos (sm) Mac 27" Exposute 1/160, Aperture £7130, Focal Length 70 mm, ISO Speed 100 ‘COMPLETION: 2 1/2 HRS TO COMPLETE FEBRUARY 2012, OMAHA, USA MODEL: Nicole Keimig, wwn-facebook com/NicoleKeinig "MAKEUP & HAIR: Miksa Vandenbroucke, wirn.mikaljean.com. There's no question about whether or not a pen tablet can improve your retouching. A pen feels natural in your hand, its pressure and tit sensitive, and itis alvays more precise. The surface of your tablet is mapped to your screen, so that every dot on your tablet has a ‘matching dot on the screen. It takes a few days to.a couple of weeks to completely get used to working with a pen, but as soon as you get the hang ofit, you will never look back. RECOMMENDED SOURCE: wew.omshaimageproductions.com/blog/2012/08/nacom-table-ve mouse TORI TECHNICAL & PRODUCTION: Caron $0 with Canon 24-70mm #28 ens, Adobe Photoshop CS4 Mac, Wacom Intuos lr) iMac 27” Exposute 1/125, Aperture 18.4, Focal Length 70 mm, ISO Speed 100 ‘COMPLETION: 1 HRTO COMPLETE - FEBRUARY 2012, OMAHA, USA [MODELL Tor Tracy with Factor Women, Chicago, www facebockcomoritracymodel [MAKEUP & HAIR: Mikal Vandenbrevcke, wirn.mialjean com No matter how good your retouching skils get, remember that the process of producing a ‘great image starts with your idea and ability to communicate it to your team, as well as your lighting and composition skills. Before you release the shutter, take a moment to consider your alternatives (lighting, camera settings, level and angle) and fix all the details you can. (trzzy hair, smeared makeup, vrardrobe malfunctions) to reduce post-production time. Aim to always get things right in camera and ban the phrase “tl fix it in Photoshop’ from your vocabulary. AJA TECHNICAL & PRODUCTION: Caron SD with Canon 24-7omm Lf28lens, Adobe Photoshop CS4 Mac, Wacom Intuosé lr), MacBookPro 15° Exposute 1/1000, Aperture 2.8, Focal Length 65 mm SO Speed 100 ‘COMPLETION: 11/2 HRS TO COMPLETE -OCTOBER 2010, DENVER, USA [MODEL Aja Warren, wnvefacebookcom/ajanarren "MAKEUP & HAIR: Brandy Rich, worm femmaaristy.com ‘Add new or duplicate layers at every stage of your retouching, Work on top of your image ‘without altering the original (background) layer. You will have more control over the intensity of the changes you're making by adjusting layers’ Opacity, and more freedom and flexibility beyond the default 20 states that the History panel allows you. RECOMMENDED SOURCE: wwv-photochopusercom MISS VIRGINIA USA TECHNICAL & PRODUCTION: Cenon 5D Mark I ith Canon 70-200mmn 15 £28 lens, Adobe Photoshop C4 Mac, Wacom Intuos4 (Mec 27" Exposure 1/200, Aperture {8.0 Focal Length 175 mm, ISO Speed 100, ‘COMPLETION: 2 HRS TO COMPLETE MARCH 2012, OMAHA USA "MODEL: Catherine Muldoon, www#.misewrainiausa.com "MAKEUP & HAIR: Shel Jesse, wiv. sherjessee.com PHOTOGRAPHY: Brod Lovel werw.bradiovellphotoarephycom POST PRODUCTIONS JultaKuzmenke McK, wun jullakuzmenko.com, Take little breaks every now and then when working on a portrait for a long time. After a while everything can appear to be a problem to be retouched. Leave your image for 5-10 rminutes, then come back and look at it with fresh eyes. I's very important to know when to stop end not over-retouch, and the more you practice the easier it will become. TORI TECHNICAL & PRODUCTION: Caron SD with Canon Somm f1.8lang, Adobe Photoshep CS4 Mac, Waco Intuos (sm) Mac 27” Exposute 1/1250, Aperture 1/6, Focal Lenath 50 mm ISO Speed 100 COMPLETION: | HRTOCOMPLETE- APRIL 2012, OMAHA, USA MODEL Tor Tracy with Facto: Women, Chicago, nwa facebook conor tracysmodel "MAKEUP & HAIR: Milla Vandenbrouce, wurn.mikaljean.com Use Actions and keyboard shortcuts to work faster. re-recorded Actions allow you to apply complex multiple steps with a single mouse click. You can create your ovrn custom Actions or download those that other digital artists and photographers share on the Web (check out page 58 for my Beauty Actions). RECOMMENDED SOURCE: wirwsmashingmagazine.com/ac/ohotoshoo/ 12 secre ates aren inal Pot Rtncing Pablshed&Desgnedin colaboation wih Mad Arts Publshing and March Mil Foneeneer eer meet er tee Saeed ‘SHOOTING ON LOCATION. Every experienced pro photographer strives to get things right in camera and reduce post-production time whether they are retouching their work themselves or ‘outsource retouching services, ‘Sure, shooting on location can sometimes be challenging because you may not have contro} over the existing light, but getting your camera settings right may help you ‘void making a lot of simple mistakes right offthe bat and savea|ot ofpost-production time and costs: 1. Camera LCD monitor. If your previous pphoto shoot was outdoors on a sunny day ‘and you pumped up your camera LCD monitors brightness and forgot to chang: ft back to normal, you may greatly ‘nderexpose your imagesin the next shoot If the lighting conditions ate significantly different. Your images will look much brighter on the camera monitor than they actually are. Happened to me quite a few timesand costa lot of post-production time ‘and ruined photos, 2. White Balance. We have to adjust White Balance on our cameras for the color temperature of a particulr light source in ‘order to photograph colors as accurately as. possible, There area few waysto set correct White Balance, such as using a gray or white card or setting custom Whi Kelvins, but_ most digital SLR’ cameras contain a variety of White Balance presots that do a great Job. Using Auto White Balance may saem like saving time during the photo shoot, but it may In post-production due tots in You need to be especially careful with your WB settings if you shoot in JPEG (not recommended though’). personally choose the White Balance presets SO speed. Remember that the “faster” the ISO speed setting (higher numbers), the more the image quality may suffer, [always ‘tart withthe ISO speed set to 100-200and ‘will aise it only when | absolutely have to (eq, can‘tuse fesh). 4. File format. There are myriads of discussions and blog posts on the “Raw vs. JPEG" topic on the Web, and you can figure ‘out what works best for you by comparing how much fiexbilty each format givesyou, 1 personally choose Raw, because actually JPEG gives you no flexibility, it only allows Yyou to squeeze more compressed shots on your memory card. Shooting with natural or continuous atfical light allows you to open up the aperture (maller F-stop numbers) and achieve very shallow depth of field. Th ‘makes images look soft and throws th: background a great deal out of focus. Iti also usualy easier to retouch such photos than the crisp sharp studio images. {prefer such lighting when | shoot Boudorr, Editorial or Portraits. MODEL & PHOTOGRAPHER SYNERGY Every time create a great image, | thank my ‘team for making it possible. One of the main peopleon the set with whom Ineed to have the strongest connection and mutual understanding Is the model. | usually become friends with models | shoot, but there are some things that can make or break artistic friendship between a photographer anda model. Everything your model does or doesn’t do ean directly affect your post-production time and results, so learn to be very selective with your models. First and foremost, your ideal model should take your direction well and be able to ‘emote - there are no such Photoshop skills to help you add emotions to her face and dynamic to her pose, ‘Abo. itis common to expect a good model to: ¥_ Always be on time, Nobody likes to ‘work with unreliable models and divas. ¥ Inform the photographer or her agent if she s running late for a photo shoot. Very often photographers are also the Art Directors and Coordinators of their collaboration projects and commercial assignments, and are most likely to find someone else to work with next time if a ‘model has bad communication skils or is dificult to reech. Y Wear clear nal polish unless otherwise required for the shoot. Make sure to have clean hair with no producti it when she shows up fora photo shoot. ¥ Look after her lips and apply lip Softener to prevent them from chapping, especially before a Beauty photo shoot Remove body hair. Any hair on arms and legs willbe visible in the studio lights {@s well as in natural light, ifthe light source is behind the model. I's a difficult and very time-consuming task to remove body hair in Photoshop. | love and praise models who take care fit before a photo shoot with me. itsimply shows that they respect and value my time. I'sa delicate topic, and not every photographer wiltalk about It directly with his or her models, but | believe it should be communicated. The same applies to her upper lip halt, Which should be taken care of a couple of days in advance to avoid skin irritation J Groom her eyebrows before a Beauty photo shoot. Y Have nude underwear and strapless bras for any Fashion or Beauty photo shoot Itrmakes itso much easier for stylists to put the model in any outfits during the shoot. J Never dye her har, use a tanning bed, or spray tan the day before a photo shoot. Things can go awfully wrong! “Stettosnecon Messe Hen: Dial Retouching Pubhed & Designed inclaboraten wh Mod Ait Publsing andre Mido! 19 TORI TECHNICAL & PRODUCTION: Canon SD with Canon 2¢-70mm L238 lent, Adobe Photoshop CS4 Mac, Wacom lntuoss (sm), IMac 27" Exposure 1/125, Aperture f8., Focal Length 70 mm 150 Speed 100 ‘COMPLETION: 1 1/2 HRS TO COMPLETE FEBRUARY 2012, OMAHA USA MODEL: Tor Tracy with Factor Women, Chicago, wwrufacebook convtoritracy-model [MAKEUP & HAIR Mikale Vndentroucke, wirwamikalejen.com ‘Always work with small brushes and zoom in as often as possible. We want to avoid leaving, any evidence that the image has been retouched, which is easier achieved when working ‘zoomed in at 100-200% for the areas that require a very delicate touch. Use keyboard shortcuts to change your tool size as you go: J and [ keys will Increase and decrease ‘supported tools size (rush, Healing Brushes and Clone Stamp tools). Holding the Shift key while using the same hot keys will affect brush hardness. TORI TECHNICAL & PRODUCTION: Canon SO Mark Ilwith Canon 16mm MACRO 28 ens, Adabe Photoshop CSS Mae, Wacom IntuoeS Touch (med, iae27" Exposure 1/125, Aperture#/13, Focal Length 10 mm 180 Speed 100 ‘COMPLETION: 1 1/2}1RS TO COMPLETE DECEMBER 2012. MAHA, USA MODEL: Tor Tracy wth Factor Women, Chicago, wanwfacebookcomitr tracy. model MAKEUP & HAIR? tala Vandanbroucke, vaumilsan om Practice, practice practice! Reading about new techniques and watching retouching tutorials will nt make your retouching better, but practicing regularly and mastering them wil Your technical skis are the connection between your eyes and your hand through your brain, an you need to trainall three participants well. Practice net until youcan get it right, ut unt you can’t get it wrong, Observing a lot of great art and photography wil also help you sharpen your aesthetic judgment. ALEX TECHNICAL & PRODUCTION: Canon SD with Canon 24-70mm 2 lens, Adobe Photoshop CS4 Mac \Wacorntuas3 (med) MacBook Pros” Exposure 60, Aperture #26, Fee Length 34 mm 60 Speed 1250 COMPLETION: 11/2 HRS TO COMPLETE FEBRUARY 2011, MOSCOW, RUSSIA MODEL: Alexandre Grshina ‘The amount of RAM (random access memory) you have installed on your computer will determine how effictently Photoshop will perform. Set Memory Usage to $0-55% (PC) or 70-75% (Mac) in Preferences > Performance and observe the efficiency status in the Info Panel (check ficiency in the Panel Options forthe readout to appear) Any number below 100% indicates that Photoshop will work asterifyouallovrit to use more RAM. However fits ‘Memory Usage s set too high, It may slow down your computer's overall performance, since its operating system will have to compete with Photoshop for available RAM. SARAH TECHNICAL & PRODUCTION: Canon $0 with Canon SOmm f14lens, Adobe Photoshop C54 Mac, Wacom Intuos3 (med), MacBook Pro 15° Exposure 1/160, Aperture £722 Focal Length 80 mn, ISO Speed 100, ‘COMPLETION: 11/2 HRS TO COMPLETE- NOVEMBER 2011, OMAHA, NE DESIGN & STYLING: Daniel Munoz Fazhien [MAKEUP & HAIR: Heather Andersen Dolezal [MODEL Sarah Stepanek with Ford Models, Chicago Remember that working on an image set against a black or white screen may interfere with the way your brain perceives colors and contrast. In Interface Preferences in Photoshop. ‘choose medium gray for your Standard Screen and Full Screen mode colors. RECOMMENDED SOURCE: wiwyphotoshopessantalscom/basis/intortacexs6/ ORCHID MEI TECHNICAL & PRODUCTION: Caron $0 with Canon SOmm f1-Alens, Adobe Photoshop CS4 Mac, Wacom intuos3 (med), MacBook Pro 15° Exposure 1/320, Aperture £4 Focal Length 50 mm, ISO Speed 400 ‘COMPLETION: 2 HRS TO COMPLETE - NOVEMBER 2010, DENVER, CO "MODEL: Burlesque Performer Orchid Mel Learn to use temporary Adjustment layers. The Curves Adjustment layer can help you find specs, stray hairs and sensor dust which might be invisible in your onscreen image, but show up in prints. Pro retouchers call it a Solar Curve. A temporery Channel Mixer Adjustment layer set to Monochrome with color channel sliders adjusted in a specific way helps assess color ‘values when retouching skin. I's especially helpful when using Dodge & Burn techniques (see page 47). You will find these temporary Adjustment layers in my Beauty Actions (page 56). Sethi rs Maes. Kamerho Mtin:Oal Potting Published & Desanedin colaboaton wit ld Ait Publshirg and March Mg we {1 EXPOSURE & COLOR CORRECTION There are a few powerful RAW converters, with Camera Raw ‘and Adobe Lightroom being probably the most popular. luse both, depending on the type of assignment I'm working on. (for editing many images at a time - Lightroom; for just one image Camera Ravi), and always start with correcting overall color, brightness and contrast of the image. When the ‘dynamic range is very wide in a photo (shadows are too derk, while highlights are too bright), | export a few exposure versions of it from the RAW converter to make sure all the problematic areas are well exposed and contain detail So, in this case, | exported one PSD file with the photo ‘exposed for the skin, one for the eyes (brightest), and one for the background (darkest). 24 @ THEBEST OUTOF EACH LAYER amallabout being efficient and doing things fast, soluse File> Scrjpts> Load Fles Into Stacksto quickly addall three PSDs | have just exported into one master file. I placed the layer with the least ‘extreme exposute at the bottom of the stack and added Layer Masks to the fother two. | then pressed Command (CTRL) + 1 to invert the color of the ‘masks to black to conceal the phxels of those layers and painted over the back ‘masks with a soft white brush to reveal the perfectly exposed parts of each layer. (B SILKYSKIN | used the Frequency Separation technique (ee page 47) toclezn upthe skin. | always zoom in and work with a larger soft Healing Brush on the Low Frequency Layer (colors & tones), evening out the skin, and then work with a smaller and harder Healing Pro Secrets ‘CUSTOM BRUSHES I USE ‘mel spactled brush fr tere ing pes (igtal kn Pores tage seecld ih for lor Brush targeting litle Imperfections Bend bye okewp Bere. and stray halt strands on the High Frequency Layer (texture). a Opry eo rush fr rendering har stands | wc C7 + rele or eebrow fats Sands. me ‘iy universe bh op use fer varous tess fiom painting in ‘lashes o outning fal ea ttre (Uinversa Bas) ya Freee Seren Skotos 3 |Luse Clone Stamp in the areas where | need to preserve straight ines and pre- ‘vent colots from smearing and bleed- Ing into each oth Sampling of the Healing Brush Too! and the Clone Stamp Tool should be set to Current Layer when using the Frequency Separation technique. [rina Smet: (Covenscer =) ¥ | | @ UPPERLIPHAIR “Those litle upper lip halts are the bane of your Makeup Artist's ‘existence during the shoot foundation gathers eround the hairs’ roots, lip. color gets smudged, etc), and then yours in post production. \When planning a Beauty photo shoot, depending onthe situation, it, ‘sometimes makes sense to ask the model f she could wax her upper lip a day or two before the shoot. However if that’s not an option, here's how you can solve this problem in Photoshop. ‘Add a new layer and change ts Blending mode to Lighten (fthe hairs are darker than the skin) oF Darken (ithe halts are catching on the. light and are brighter than the skin). Work with a small soft Healing Brush, sample from the nearest skin colors, and make sure your tool Sampling is not set to Current Layer. Scher Mas. uamerho MnO Potting Publshed & Desanedin colaboaton wt id Ait Putlshirg and March Mg In this case, though, I had to remove not ‘only the singular has, but also clean up. the entireareaabove the upper lip.ladded 2 new layer set to Lighten, and picked up the Clone Stamp Tool. When working with ‘Clone Stamp on skin you need to be very ‘careful choosing the type of the brush and the source area you're cloning from. To avokd creating a patch of skin with no texture, | use alittle trick ower the Opac- ity ofthe top layer, on which | was cloning, to the point that Ican see through itll. I then merge it with the layer underneath, duplicate the merged layer, and repeat the entire procedure one or two more times: clone, lower Opacity, merge layers. ‘The difference between this method and cloning everything in one go is that the second and third time you will only be working on the areas that still require some more editing. Chances are that by simply blending the two layers after the first round of cloning, everything wil look ‘great already, and you might not even need to repeat. When the skin fm working on is too uneven and lend up smoothing the tex- ture alittle too much, I recreate skin pores by painting them in using a small spackled ‘custom brush (see page 24).| usually useit 2s the Brush Tool and sometimes in the form of the Clone Stamp Tool UNDESIRED sHADOWS When working with female portals | always emove the shadows on the sides of the nose. They are what make a face look tired, aged and les attractive. I often use the Patch Tool for this task, source from brighter skin with nice texture and apply itover the shadow. To make the transition between the brighter skin into the darker skin smoother, | also source a few patches from ahigher (darker) area on the cheok and cover the area fm patching “Sexoenecon Mate: lahueenko Mean: Dio Fete Receding Pblhed &Designed in colabzaton with Mod As Pubishing ond More Mie After the entire shadow Is patched up, | lower the Opacity of the layer, just like | did the previous step when cloning. | then ‘merge the top two layers, duplicate the re- sulting layer again, and repeat the entire process one or two more times. I then add some digital pores with the spackled ‘custom brush ifthe skin looks too soft G EVES EYE MAKEUP There are many ways to make the eyes stand out in @ portat. | usually start with clezning ary visible blood vessels, redness and contact lenses shadows fiom the whites ofthe eyes. mainly use the Healing Brush tool, zooming in very close to the eyes and sampling from the clean neigh- boring areas IF there is a blood vessel that comes very close to the eyelid othe lis, or any other tea of different colo, | itch to the Clone Stamp Tool and use ton avery low Opacity to avoid smudging of the colors. IF the modet’s eyes are overly red and look tied, | add a Hue/Saturation Adjustment layer, change Master setting to Red, and then subtract Seturation and add Lightness by adjusting respective sliders. These ma- nipulations surely affect the entire imege, so after the whites of the eyes look less red anda litte brighter, invert the Layer Mask attached to the Hue/Seturation Adjustment layer to black (Command/CTRL + 0) and paint on the mask over the whites with soft white brush, IF find that the redness is not completely dgone, | select the actual Adjustment Layer ‘again and tweak the Saturation and Light- ‘ness some more until I get the result | am after. Ithen add a new layer, change its Blending ‘Mode to Overlay, and paint with asoft white brush under the pupil to brighten theirs. Painting with white on an Overlay layer not ‘only brightens the colors, but it also satu- rates the underlying colors a bit, unlike the Soft Light Blending Mode. That's what ‘makes itlookas if youhave added light into theeyes when you brighten the risby using an Overlay Blending Mode and a white brush. Ithen move on to the eyelashes and darken their roots by adding a new layer set on ‘Multiply Blending Mode. | sample color from the existing eyelashes, and paint over the roots and the areas that the makeup atist missed or couldn't reach. at Eye mekeup alvrayslooks neat and finished when there are no gaps left between the lashes. Pro Secrets DIGITAL FALSE EYELASHES | love dark long eyelashes in my Beauty images, period. When | work with a ‘makeup artist on the set, always askherto apply false eyelashes and to be very generous with mascara, But when I can't ‘make sure that partis taken care of before the pictures are taken, | add volume into the lashes in post-production. You may have a diferent taste for eye makeup, but with many yeots of experience in Beauty photography, | can assure you that long dark lush eyelashes are never too much forafemale face, when applied carefully. There are a few ways to digitally enhance eyelashes in Photoshop. You can find lots of eyelash brushes on the Web (see page ‘59 for my Custom Brushes). You can paint them in with a simple hard brush (you would do a better job using a pen tablet for such a task) or create and stroke Paths Using the Pen Tool. But | choose yet another way, which | really love for its flexibility and the small amount of time required for ts application. Fs Pi The eyelashes | use are located in separate JPEG files. | drag each eyelashes imege ‘over onto my working file and change the Blending Mode of the neve layers to Multi- ply to get rid ofthe white backround. | then access the Free Transform Tool (Command/CTRL + 7) and drag. rotate and warp each eyelash image to position it perfectly to where the model's natural lashes are. When working with brighter or high key portraits, | adjust Opacity of the eyelash layers to make sure they blend well with the natural ones. 7 SKIN TONE CORRECTION ‘This step can be done at any point after you've cleaned up the skin, before or after retouching eyes and lips. In this portrait | wanted the models skin to be paler than it actually was, so | needed to brighten and desaturate the blush on her cheeks. | added a Curves Adjustment Layer and first brightened midtones by dragging the Curve up in the center. then applied a Layer Mask, inverted its color to black (Command/CTAL + 1) and painted with a soft white brush over the existing high- lighted areas on her face. For the skin tone correction | added a couple of Selective Color Adjustment Layers and tweaked the Reds in one and Neutrals in the other. (BuwexrOR| sowusTocnTs [RUSBRUSHE Seectne olor (ton moe @raaeve COroioree Loften try applying various Blending Modes and adjusting Opacity of the Adjustment Layers for better results. In this photo, the layer containing color comections in the Reds was set to Screen Blending mode, while the layer containing adjusted Neu- trals was set to Soft Light Blending Mode to add a litle contrast back, since the Screen layer softenedit sightly.l then adjusted the Opacity of both layers to lower their inten sity. When the skin tone was finally what | wanted it to be | grouped both Selective 26 Color Adjustment layers, added a Layer Mask to the group, and inverted itscolorto black (Command/CTRL. + 0, then painted with a soft white brush over the areas to which I wanted to apply these acjust- ments. Tips & Tricks SPEED UP YOUR WORKFLOW ‘Y/_Instead of switching your Brush to the Eyedtopper Tool, hold ALT to sample colors, when the Brush Tool s selected. v Press Command/CTRL + G while holding Shift when two or more layers are selected to put them into a Group. ¥ Command/CTRL + J will quickly duplicate your active layer or selection, J Command/CTRL + T will let you quickly access the Free Transform Tool Femember to make a selection using any of the Selection Tools before working with the Free Transform Too! ¥_ALT+ Command/CTRL + R wil ake youto the Refine Edge menu dialog tchelp you adjust the edges of your selection. This isa very useful function that is often over- looked by photogrephers and retouchers. Press [ or] keys to reduce or Increase the size of the tool respectively (supported by Brush, Clone Stamp, Healing Brushes) ¥ Press any number from 1 to 0 to change Opacity of a tool from 10% to 100% (supported by the Brush and Clone Stamp Tools) For even more control, press 2and $ to get 25% opacity, and so on. Burs Lips don't abways requite a lot of time for retouching. When the model is wearing bright lp gloss, ll Ido is add a litle shine toit by painting with @ white brush (the hardness and the type of the brush will depend on the hardness of the existing highlights) on a new Overlay layer. In this photo shoot we used a dark purple lip- stick The challenge with this type of makeup is that the color starts bleeding Into the skin around the lip line after ‘you've been shooting for awhile, Ifthere is alot ofitte fine lines or smudg- 6 around the lips, I use a Clone Stamp or simple Brush with my universal brush tip (Gee page 24), lower its Opacity, zoom in and brush over the dark smudges, sam- pling from the nearest clean skin. The Healing Brush Tool wouldn't be very help- fulin ths situation, ast would only mixup ‘the skin color with the dark color of the lips. 11go over the lip line from the inside with Clone Stamp or a simple Brush with the same universal brush tip. If | only need to fill in the gaps in the lipstick, | work on a new layer set to Normal Blending Mode, but fd lke to enhance the lipstick color, | add a new Overlay Layer and work with the Brush Tool on lower opacity (10-15%), sampling right from the existing color of the lipstick IFT happen to smooth the skin around the lips a litle too much, | add some texture back by brushing over those areas with the small spackled brush (see page 24). Pro Secrets ADDING INTERESTING DETAILS Jom 2 big fan of Digital Art s0 when it ‘comes down to painting interesting de- tallsin,|don'thestate too long, Ofcourse, such skills area ttle more complex than simple retouching, and one needs to have {good understanding of light, shadows and colorin digital painting to moke those details look believable. In this particular image, it wasn'ta difficult task: only wanted to enhance the golden ‘eyelashes that the model already had. | added anev layer set on Normal Blending Mode, sampled the main color from the ‘existing eyelashes, and elongated them with 2 hard brush, set on lower Opacity 035%). To make them stand out even more | adéed some darker orange strokes on an- ‘other new ayer set on Color Dodge Blend ina Mode. Lusually don't try to be 100% precise with such delicate tasks 2s | go. instead, | Quickly apply brush strokes to see where im going with this, and then group allthe Isyers painted on, cover with a mask and fine-tune the detail, painting with a black (conceal) and white revea) brush on the mask @ Neck ‘The wonderful Patch Tool to the rescue I duplicate my top layer twice to be Scher Maes. Kamerh Mtn Oa Pot tong Publshed & Desanedin colsboaton wt id Ati Publshirg and March Madd able to perform patching and merging on ‘the two top layers, and still keep a copy of ‘the image retouched up to this stage Intact on the layer underneath them, just Jn case I don't like where 'm getting with my patching. If you don’t usually merge ‘your working layers as you progress with. ‘your retouching, you may want to Stamp ‘them (Alt + Shift + Command/CTRL + &) for this step. {then work on the top layer, sourcing my. ppatches from the clean neighboring skin and covering the hair on the neck. | work with smaller patches, trying to avoid cre- ating any pattern or repeating any of the patches - that would be a clear evidence that the image has been retouched, and we definitely don't want that! ‘After I patch most of the neck covered by the messy hair, | lower the Opacity of the top layer (to 50-60%), so that the second. duplicate layer becomes visible and | start seeing the hair Ive just covered up through my patches again. Don't worry, that’s exactly what we want. {At this point | merge the top two working layers and duplicate the resulting layer ‘once again. You can still see some of the haar and skin creases, but not as much as before, and there's still plenty of skin tex- ‘ture let to continue patching, | usually repeat this entire round of ac- tions two or three times, depending on the results, The lower the Opacity of the patched layers I choose, themore rounds! ‘might have to go through. ‘After most of the hair is covered up with patches, the neck looks cleaner, but the shadows and highlights are ll messed up, so my next step is to restore the dimen- sionsthere. ‘The Clone Stamp Tool usually is the ideal instrument for tasks like this because it simply copies pixels from the source area to the destination. But In this particular situation, it would be more time consum- ing to try to match the colors and textures of the two, since we're alming to create a imix of shadows and highlights here. So 1 7 pick up my favorite universal Brush again (see page 24) and sample from the brighter areas on the shoulder to add some highlight on the neck where the messy hair was replaced with skin Patches, Lalso sample colors from the shadow on the back of the neck, to make sure the transition between the brighter skin and the shadow is smooth ‘As usual, before | merge down the new layer! adjust Opacity of this ayerand see how much | can blend it into the image underneath. This also helps me to avoid leaving obvious brush strokes on the newly painted skin, My final step here will be a litle touch of Dodging & Burning (see page 47) to en- hance shadows and highlights even more. | work on 2 new layer filled with 50% gray and set to Soft Light Blending Mode, enhancing highlights by painting, with a soft white brush and shadows with black. Its acceptable to work with other colors besides black and white for this type of Dodging & Burning. However, keep in mind that you will add another hue into the color you're painting over, ot just darken or brighten it. So use it only when you need to introduce a new color into the existing ones. As always, | finish this step by toggling the Dodging &Burning layer visibility, ad Justing its Opacity and merging with the underlying layer. v SS ) v “Steoenecom Mate: lahueenko Mean: Dio Peto Receding biked & Designed in colabaaton wih Mod As Pubishing ond Moc Mid 2 1@ ADDING TEXTURE BACK 1 always do my best and affect as little skin texture as possible, but sometimes it's just @ matter of making a responsible decision to use a faster skin retouching technique and sacrifice some texture instead of working on 200-300% zoom to keep the texture intact. In most cases ke most photographers, really can't afford investing a lot of time into retouching just one image. So what can we do if we have ended up softening or completely losing skin texture in some areas of the image? There are a few ways to solve the problem, of course. Yes, Photoshop is that powerfull ve described one of them in steps 4 and 5 (see page 25). However, Using custom brushes for restoring texture snotalays the best retouching solution, and it requires a litte more of digital painting skis. tis great for quick small fixes, but when youneed to add texture over 2 latger area, custom brush strokes may look sloppy and ruin your phot. Sohere comes another great tick torescue the lost skin texture (see Tips & Tricks: Restoring Texture ‘ontherigh), The texture created with the Noise Fiterand softened withthe Emboss Stylzing Filter can be Used to re-create face and body skin toture. MD FLYAWAY HAIRS: ‘The Healing Brush is my go-to tool for removing flyaway hairs that are visible against either the background or skin. Isetit to very Tow Hardness and the lowest ‘Spacing, sample righty the hair ‘and work with a very small brush, Just slightly larger than the width ff the hal. When 'm getting closer to the contrast edges and lines, however, | switch to the Clone Stamp Tool,lowerits Opac- ity and cover up the hair with a few strokes. My universal custom brush is an ideal instrument for this task ips & Tricks RESTORING TEXTURE Add a new layer by pressing Command/CTRL + Shift + N and choose Soft Light Blending Mode right in the dialog bos, then check the “ill ith 50% gray" option. v Add noise to your gray layer via Filter > Noise > Add Noise. Make sure it's set to Monochromatic, and Gaussian Distibution You can decide on the Amount ‘number by looking at how itis af fecting your image - make sure the Preview option is checked. It should be noticeable and approx ‘mately match the size of the pores in the photo. Don't worry if you don't get it exactly right the fist few times thatyou run this procedure. You will know what Amount works best after you practice applying it a few times. ¥ Go to Filter > Stylize and choose Emboss. Try matching the direction of global light in your image by rotating the radius hand in the little dial, or by typing in the ‘Angle degree. Move the Height and Amount sliders and see what works. best for your current image. There ‘are no constant numbers fr this be- ‘cause the size of pores as wellas the distance from the camera are differ- ent in every image, but if you want ‘an average effect when recording your Action, try 2 for Height, and 30% for Amount. vf One last tweak will make the new digital skin texture look even ‘more organic, Go to Filter > Noise > Median and move the Radius sider back and forth to see how it's affect- Ing the skin In your portrait. Every Image is unique, so you will have to decide on the Radius number based (on your own judgement. vf If you test and like this tech: nique, feel free to use the Digital Skin Texture Action | created to speed up my retouching (see page 58), 12 AFeWrINaLToucHEs Afterall the details were fixed inthe image, Iran another round of global Dodging & Buming, This time ladded a couple of Curves Adjustment Layers vith thai Curves pushed up in midtones (ighten) ard down (darken) and covered them with black Layer Mask, then palnted with a white lage sft brush ‘over the highlights and shadows wanted to enhance [selected and dupicated (Command/CTRL+ ono the lowers inthe model oral wreath rotated ‘and tweaked it with the Free Transform Tool (Command/CTRL + 7) to make sureit did't look exactly like the original flower, and moved it to where | felt ike a flower was missing. ‘One ofthe final steps l usually perform with every single images color grading. There are mytiad of Photoshop Action and Plgins that are designed specifically for reting artistic colors out there and | often utilize the wonderful Radlab Plugin. But sometimes | simply use Selective Color or Gradient Map Adjustment Layers, seperately or combining the two. There's always an elementof improvisation at this stage like tweeking Blacks Neutrals or Whitesin the Selective Color Adjustment Layer r trying various ‘Load Files Into Stacks to open all conversions in one PSD_ file (see Vidco I of the Workshop on page 44). LAYERS & MASKS Place the layer exposed for the largest area of the image at the bottom of the layer stack - it will be your base layer. Cover the rest of the layers with black Layer Masks. Paint witha white soft brush (10-30% Opacity) over the areas you'd like to reveal on each layer. When all the well-exposed ‘areas are unmasked, flatten the image. A LITTLE SHARPER Before getting down to altering xls, | apply a quick, very subtle sharpening layer. Dupli- ate your background layer, set Its Blending Mode to Over- lay, and apply the High Pass filter. Adjust Radius by check- Ing the eyes to make sure you don't over-sharpen the image. ‘Alternatively, use the Sharpen All Action (see page 58). aL SKIN SCIENCE Now it’s time to get much closer to your portrait. Zoom in to about 100% when working on skin. Use small brushes. Make sure you know the difference between Healing Brushes and the Clone Stamp Tool to be able to pick the right tool fora specific task. Use the Patch Tool to clean up larger areas of skin. Ifyou are still working with 2 mouse, do yourself favor ‘and get a pen tablet! SCULPT & SHAPE Liquify Filter Is an amazing tool that allows you to Virtually reshape your models’ bodies and faces. We must be very careful with thistool and apply very subtle adjustments to avoid breaking natural proportions and stretching pixels, Make sure that after Liquifying you compare your current image to the underlying layers by toggling the top layer’ sibility -it's vry easy to unintentionally change one’s appearance and ruin an image with significant or sloppy Liquify Tool manipulations, FACE & MAKEUP After the skin is cleaned off of blemishes, oily skin patches and prominent pores brighten the shadows under the eyes and ‘on both sides of the nose, as well as any shadows that make the skin look Uneven and bumpy (see pages 37 and 58). * Add life to the eyes: paint with a white semi-hard brush on a new Overlay layer over the bottom half ofthe iris. Remove blood vessels from the whites of the eyes with the Healing Brush or Clone Stamp Tool, while painting on a new layer set to Lighten Blending Mode, + Clean up and enhance eye makeup: darken eye shadows above upper eyelids on a new Multiply layer with a larger spackled brush (see pages 37 ‘and 59) to visually enlarge the eyes. Shape up the eyebrows with the help of the Liguify Filter and darken them slighty if needed. Paint in or add digital eyelashes. * Clean up the lips outline with the Clone Stamp Tool. Enhance highlights con the lipsand the tip of the nose by painting with a vnite brush ona new Overlay Layer. Remember to alvays adjust Opacity of the working layer if the applied changes look a litle intense. 46 sttonecon estes: Kumente Min: Dito toting Pubibed& Designed in colbboaten wit Mad st Publsing andMercin dol DIGITAL HAIR STYLING ‘Any seasoned Beauty and Fashion photographer or retoucher will tell you how importantitis to calm the models fizzy hair and make it look rightin, the pre-production stage, but if it just so happened that you didn't catch, those flyavvay hairs, here’s what you can do in post-production: ‘Y_Usea soft Healing Brush to attack the flyaways that are visible against the background or cross the modet’ face. Switch to the Clone Stamp Too! when you get closer to the areas with a few contrast colors or lines and. facial features. Lower the Opacity of the tool to build up colors with a few brush strokes for precise application (watch video on page 51) Use the Clone Stamp Tool on 100% Opacity to remove the hairs that (ross over other hair strands and breaking up the overall low ofthe hai Zoom in to 100-200% (this will depend on the size of the head in the image you're retouching) and work with very small brushes. Corrections you make on such a scale won't be visible in the inal image. ‘Add some extra shine to the locks by painting over the existing highlights ‘with a large soft white brush on a new layer set to Overlay slending Mode, ‘Adjustthe Opacity ofelther your brush or the Overlay layer to lower the n- tensity of the manipulation. ‘BEFORE YOU SAVE AND PUBLISH YOUR IMAGE Use a temporary Curves Adjustment layer to make sure you don't Tiss spots, sensor cust or stray haits on the background before you finalize, submit or print your retouched images especially photographed In studi). Add a few Curve points, drag them in the opposite directions, and watch for the specs to showr up. After the stubborn artifacts are located, aid a new layer undemeath the Curve and pick up a soft Healing Brush. Make sure t's set to sampling from Currant & Below layers. The size ‘of your tool should be just a litle bigger than the spots you're targeting. ‘Sample ight near them and work on yournew layer under the temporary Curves Adjustment Layer. Delete the temporary Curve layer after the bbackground is spotless (check out the Solar Curve Action on page 58, ‘¥ Save your master fie in PSD format (my persona choice: 300dpi, 8 bits/channel, sRGB colorspace for web, RGB mode) Flatten layersand save a couple offilesin high and low resolution in JPEG or TFF formats (my per- sonal choice: 3084p JPEG or TIFF fr print and "ppt PEG for web yes image resolution does notafect your on-screen images) Sharpen the pertsof the image that contain lotof details: eyes lis, hair highlights, accessories and garments. Sharpen each file (print and web versions) separately before saving, as diferent sizes require different amount of sharpening (check out the Sharpen Parts ‘Action on page 58. Pro Secrets ‘SKIN RETOUCHING TECHNIQUES ‘There are many skin retouching techniques out there, ‘and each has many versions because every photo- Photoaraphy NATALIA TECHNICAL & PRODUCTION: Caron SD with Canon Somm {1.8 lang, Adobe Photoshep CS4 Mac, Wacom Intsos4 (sm), MecBook Pro 15° Exposute 1/200, Aperture f/14, Focal Length 50 mm, 1S0 Speed 100 ‘COMPLETION: 1 HRTO COMPLETE - SEPTEMBER 2011, MOSCOW, RUSSIA MODEL: Natalia Perecudova Experiment with Gradient Maps, Selective Color and Hue/Saturation Adjustment layers, and various Blending Modes. Remember that you can control the intensity of your manipulations by adjusting the Opacity of those layers. RECOMMENDED SOURCE: wu /ashiontography.net ALICIA TECHNICAL & PRODUCTION: Canon SO with Canon Som. lens, Adobe Photoshop CS& Mac acorn ntuoes lm) MacBook Pre 15° Expoeure 1/125 Aperture, Focal Lang SD me S0 Spaeé 320 COMPLETION: 112 HRS TO COMPLETE JULY 2011, OMAWE, USA MODEL: Aca Mattern Make sure to know the differences among Photoshop retouching tools. The Clone Stamp tool simply copies pixels from the source area tothe destination area. The Healing Brush Tool keeps the copied texture from the source area intact and mixes the colors of the source area with those ofthe destination area, The Spot Healing Brush allows you to quickly remove litle blemishes without sampling. RECOMMENDED SOURCE: Retouching Photoshop Tools vdeo tutorial from my ‘Essentits* eBook ANNIE TECHNICAL & PRODUCTION: Canon 50 with Canon Somm 1lens Adobe Photoshop CS4 Mac, Wacom Intuos (sm), MacBookPro 15° Exposure 1/1600, Aperture (1.8, Focal Length 80 mm SO Speed 100 ‘COMPLETION: 1 HRTO COMPLETE -JUNE 2010, MOSCOW, RUSSIA MODEL: Annie Nesterenko Ifyou spend a lot of time in front of your computer retouching, you need to make sure that ‘your working conditions, workspace and working habits are healthy. Watch your posture and take smell breaks often - looking at the screen can worsen your eyesight over time and staying in a seated position fora long period of time can affect your back. use. high-density foam roll to massage my back and shoulders every morning to prevent back pain. RECOMMENDED SOURCE: High Density Foam Rollers on Amazon MARCO LEROC TECHNICAL & PRODUCTION: Caron SD with Canon 7omm £28 lang, Adobe Photoshep CS4 Mac, Wacom Intuos4 (sm), MacBook Pro 15° Exposure 1/89, Aperture /28, Foca Lencth 70 mm, [SO Speed 100 COMPLETION: 1 HRTO COMPLETE - AUGUST 2011, OMAHA, USA MODEL: Marco LeRoc, Author, Maney Coach Good photographers invest a lot of time in researching for thelr upcoming photo shoots, ‘working outa shot-ist, and pre-visualizing main ideas, framing, ighting setups. !learned that only in the past couple of years and realized that | had been hugely underestimating the power of preparation and pre-visualization. | now use Pinterest boards to put reference images together for each photo shoot and share them with my team in advance. RECOMMENDED SOURCE: wimn:pinterestconvfuliomekimn 52. stetheoecra ses Ju Kumenko Min: Digtal Pte Rtoting Published Designedincoaboatin with Mad Ast Fubshig ard arc Mig LRT nto Wrest ed Ce ee EO eet ae te Herren era eran er Watch this video ‘tutorial onhoy | use my Beauty. ‘Actions Wrest ats fons cg is Te ee eee simplify retouching and decrease the time it requires, and now it’ time that you eee a ea en ee one ‘you up for a good start right now and right here. Teen ee ea et Re book, they are my Digital Photo Retouching Actions (Beauty Actionsatn) and my Beauty Custom Brushes (Beauty_Brushesabr) - both located in the Bonus Goodie eee ad tee ae en) recommend that you give them @ good try. I've developed and improved them over the years and | use them as | work on every single image. So, please don't take eae eae ees eee ae Peete Se Scene ae Ee a Neca ey To install the Actions and have them appear in the Actions panel in your Photoshop you can either double click on the Actions file Beauty_Actions.atn) or load the set through the Actions panel options menu. Click onthe litle icon in the top right comer ofthe Actions pane (see illustration below), choose Load Actions Se ene cats Commands need ee ee ee Cee Rae layers. They may get confused if you try playing them when groups or Adjustment ere ee Ce te en es rere (Command (Control) + Option (ALT) + Shift + ) and then run any of these Actions from the stamped layer at the top of the Layers panel. Make sure to watch the video tutorial on how | use these Actions in my retouching (dlickon the Video icon at the top of this page) before you start using them. oe a ee a ee eet ee eee a ee NLU Ce ns ‘These Actions are based on one same sharpening technique. The only diffe ee Sharpen Parts Action also adds a black ee ee cues Se to always adjust the Opacity of the sharpening layer - every image is eee ene Ce ua @ Frequency Separation Techni- que preset. You've already read about ety See ee en eee eee) Se ee) Pe ee emo De eas @ Silky Skin and Sculpt & Contour. These Actions are both based on the Dee eC ea Sea eee rae as eg Skin Action for pixel level Dodging & ae Cee Frequency Separation Action when the SEN eau rary black & white layer helps me to see eee skin. And Sculpt & Contour is great for global Dodging & Burning, when Ineed ea esc highlights to resurrect a photo with fat lighting or add some extra volume into cs Cee acca is based on the technique described on eee ae ne Ree ere ea ee Cee Ree when retouching very problematic skin Cee eee Rae scars, aged or dehydrated skin, etc) ina limited amount of time and this Action comes in very handy. Cee acon) my model's skin looks too pink. This ee ee ad Se Rae So er ee ee ge Oe rom onai ced oa @ Temporary Solar Curve. run this Action at the end of my retouching to Cet cea Pm a eee Rr mor ee ene ee Cras ae ee eee eT spots and flyaways are removed, you «an delete the temporary Curve. Peer] Ce IGE ust 9 Seen Reece Ree Rea De meer namo Croce ee ge See a eRe rere erreur Ty Saeco ead Manager, and they are good for many Ce ee Germ Ree Benue Nee ON nea digital painting, | realized that the first thing digital artists did was create their Crete ete he for the type of art that they produced. See ee oes Sea eR catty for the medium they are utilizing - oils, See eee UB ech Tee ee es ee eT ee esc gece a that can better re-create the surfaces and textures of what gets worked on in these types of photography most of al skin, halt, makeup and fabrics (outfits) cee Re eee | new brushes and add them to the lis of ea ee cc Te eee Cat Brushesabr) in the Digital Goodie Bag erm CR ic) book folder you've downloaded), then ith Ce ee ea ee ee eae Rees brushes in your Brush Preset picker. C eg eed eee eet ay menu. Click on the little Options icon in Re ecg Sad picker (see illustration below), choose Load Brushes and then locate the new brushes file (abr). Se eee ee mec) replace your current listof brushes with ee Crome d Seems ee Ee et ee aes Peau a en recommend setting your Brush list to display Large Thumbnails, Large List or Se ued oe ee ee tees Sea ed ed name or stroke behavior, and those Cee a eect] the brush tip you're looking for quicker cir CPO WE cea) custom brushes by drawing your new cee cd Ce eT ed See aan Ce ne eerie) PSE ett gti CUCM See Pee eset ee ne Ree cue en Bento SO Re ees oe] ee oc as this texture, just remember that when eee ee RRS ee Lemay preset, and everything that is not oa ee ae Ree cd brush even at 100% Opacity. Ne ecg Edit > Define Brush Preset, name it and ete Cae en ee ee ee ee Brush Preset picker. eo el CT ae eee et ren ae eo ey Pee ee eas PEE ee eae ee ee ee re er ae ee eee ees brush tp. ee ee ee) modifying brushes at the Photoshop Help website and watch the video below on how to use the custom ere eee CC ae em ey Ne ee Rel Pe RS aes oe een Re as to share them with you. MEE free Reg end BOs) ee eee een eee eet nd FERNANDA ROMERO TECHNICAL & PRODUCTION: Caron $0 with Canon Somm f1.8 lang, Adobe Photozhep CS4 Mac, Waco Intuos (sm) Mac 27° Exposute 1/160, Aperture 14, Foca Length 50 mm 150 Speed 400 ‘COMPLETION: 1 HRTO COMPLETE - MAY 2012, LOS ANGELES, USA MODEL: Ferranda Romero -model singer Hollywood actress, ww fernandaromero.com "MAKEUP & HAIR: Marco Ochoa Register on various photography websites. Be open to constructive criticism, but don't let negative opinions get you down Learn from the feedback your images are getting and try to understand what your viewers like or cisike and why. Even though we atiss create our art for ourselves at the end of the day, we need our audience and followers’ support. RECOMMENDED SOURCE: wew-500pecom/JulisKuzmenko TORI TECHNICAL & PRODUCTION: Caron SD with Canon Somm f1.8lang, Adobe Photoshep CS4 Mac, Wcors Intsos (sm) Mac 27° Exposute 1/100, Aperture 11.6, Focal Length 50 mm 1S0 Speed 800 COMPLETION: 1 HRTOCOMPLETE~JUNE 2012, OMAHA, USA MODEL: Tor Tracy with Factor Wornen, Chicago, ww facebook comtoritracymodel LIGHTING ASSISTANT: Selby Tits Ifyou just started working with a pen tablet, give it at least one or two weeks for your eyes, hand and brain to become better coordinated. Don’t give it up too soon, as there are too ‘many advantages to retouching with a pen instead of a mouse. Try drawing various shapes. on ablank canvasin Photoshop, and get into the habit of using keyboard shortcuts with your lefthand fingers while your tight hand is holding the stylus. AJA WARREN TECHNICAL & PRODUCTION: Canon SD with Canon 26-7omm L #28 ens, Adobe Photoshop CS4 Mac, Wacom Intuos lr) iMac 277 Exposute 1/200, Aperture 1/14, Focal Length 70 mm 150 Speed 100 ‘COMPLETION: 11/2 HRS TO COMPLETE MAY 2012, LOS ANGELES, USA [MODEL Aja Warren, wnvefacebookcom/ajajwarten MAKEUP & HAIR: Samantha Ward, wurw.samanthawaré.com LIGHTING ASSISTANT: Joe Goger, wwwjoegogercom Don't underestimate the basics of traditional and digital painting if you are striving to become great at photography and retouching. Start with learning more about pictorial balance, composition, negative space, proportion and the Golden Mean. Move on to the basics of portraiture in traditional arts, study the lighting setups for different types of portraits in photography, and learn digital painters’ tools and tricks, NICOLE TECHNICAL & PRODUCTION: Canon 50 with Canon Somm 1lens Adobe Photoshop CS4 Mac, Wacom intuos fm) iMac 27° Exposure 1/125, Aperture 1/10, Focal Length 70 mm, 1$0 Speed 100 ‘COMPLETION: 1 HRTO COMPLETE -JULY 2012, OMAHA USA. "MODEL: Nicole Keimig, www facebook.cominicelokeimig LIGHTING ASSISTANT: Selby Tits (One of the first and very important skills we acquired in our Australian Photogrephy course \Was the ability to breakdown lighting in images taken by other photographers. t's absolutely necessary for visual artists because it helps to understand the light behavior better. Notice shadows, highlights, rim lights and catch lights in photos and try to figure out what light ‘modifiers were used, what their positions and direction were. [RECOMMENDED SOURCE: 8 Tis On How To “ead” Light in Photography FLAMES EDITORIAL TECHNICAL & PRODUCTION: Caron SD with Canon 24-7omm L 28 ens, Adobe Photoshop CS4 Mac, Waco Intuos (sm) Mac 27° Exposute 1/125, Aperture 728, Focal Length 70 mm 1S0 Speed 320 (COMPLETION: 11/2 HRS TO COMPLETE JULY 2012, OMAHA, USA MODEL: Tor Tracy with Facto: Women, Chicago, nwa facebockconoritracysmodel LIGHTING ASSISTANT: Selby Tits We artists are sensitive human beings and when we push too hard, we can easily burn out. Don't fight, don't try to be strong and get through it just take a break when you are feeling Lninspited. Spend a day or a week away from your camera and your computer. Give yourself some rest and aftera vhilelook through art books or magazines that give you inspiration, or surf the Internet looking at beautiful images. Trust me, you will get the sperk of inspiration aftera litle break, and most likely you will stat again ata whole new level. ‘Sito cr Mss Kuenko Minit towing Published & Desgnedincolaboation wth Aled Ast Publhig ard arc Mig (3) PHLEARN Phieam's mission is to provide the skills, confidence and encouragement for creative individuals to pursue their oe 25O 000 dreams, overcome their fears, and live their passions. We 2 want to provide you with the technical knowledge to make People Watch Phleam your vision become a reality AND the confidence to oraft your art true to your vision. And we want to do it all with a huge smile, because having fun is fun. vet 6 000 3 We've worked at creating multiple resources to assist you Tutorials Sold on your way. Tune in for our daily episodes and articles that include Phamily Edits, where a user submitted image gets a makeover, contests, interviews with a wide spec- A 50 trum of individuals from across the industry, photo batties, ' and inspirational images from around the web. Free Episodes FREE Tutorials these icons are clickable, you will be taken to the respective video pages Everyone who works at Phiearn is also a photographer, meaning we understand what photogra- phers want. That is why we created Phiearn, we wanted to build a place we would love! Even if you have never used Photoshop, we provide you with the knowledge and confidence to become a pro for free. Photoshop isn't much without photos, so don't worry we cover the photogra- phy as well, Sign up for our newsletter for free updates! PRO Episodes these icons are clickable, will be taken to the respective video pages We put extra effort in making very complex techniques and ideas clear. You start will the RAW files. and follow through every single step to the completed image. Feel free to pause, rewind, and fast forward the videos to fit your learning style. We provide every- thing you need to follow along. Think of the free Phlearn episodes as movie trailers, and the Phle- am PROs as the full length features. 62 stetdeoecra ses ut Kumenko Men: Digtl Pte tong Published Designedinclaboutin with lad At Pubshing ard arc Mia TOTALLY nun company in California that wants to make you a happier photographer. mate Layer and adjust 80 one-click styles in infinite combinations, guided by instant previews. Create a look that's all your own. — Easy, natural beauty retouching. Your Photoshop action toolbox for flawless skin and vibrant eyes. Say goodbye to the tedium of cloning and hours of airbrushing Download my FREERadLab Recipesand \watch avideo tutorial onhowtoimport IA them (+ Free Radlab Demo URL) () CREATIVE SOFTWARE. oo HAPPY PHOTOGRAPHERS. GETTOTALLYRAD.COM | FACEBOOK.COM/GETTOTALLYRAD 7 DEADLY MYTHS OF INTERNET COPYRIGHT DISCLAIMER: The folowing i 2 summary of important information regarding the use and misuse of photos on the intemet. It not specific legal ace. Copyright sa specelzed fed oflaw, ane there are sometimes exceptions tothe mks you havea spericcoprightcancerm.you should corsa lawyer ith expertise ncopyrghtisses conceming the use and misuse ofphctason the Itemet Pro Rule Of Thumb: fyoudo not have specific permission, preferably written, from the owner of a photo, you cannotlegally cisplay ton a website, postitto the Usenet, copy it send it around by Email or other means, make photos derived from it, sell it, or otherwise exploit it. MYTH #1 “donot need to register my photos: have copyright at the instant I snap the shutter.” the copyright office, because I ‘automatically’ This s 2 serfous misunderstanding of the law. Yes, you do own copyright without reaistration. But fyou want to protect your photos from theft, you should register them with the Copyright Office before you publish or distribute them. you register your photos, you gain powerful remedies againstinfingers. These can include: + Gwillpenalties ('damages") The pirate is on the hook for up to $150,000 for each misused photo + Attorney's fees:infringer has to pay your attomey's hourly fees and all costs such as copies, postage, fling fees, etc. + Restraining orders, Preliminary and Permanent Injunctions against the infringer, and even seizure of the pirate's computer equipment in some cases. ‘An important practical point is that ifthe photos are registered, you might find an attomey to take the case on "contin- gency," which means he takes the risk of gambling on awin, rather than you paying him by the hour. Faced with alawsuit (ver registered images-and an injunction which would likely mean being put out of business forever: many pirates will Quickly settle up and pay. By contrast if you did not register your photos, itis almost impossible, as a practical matter, to nailan infinger. To get any damages tall, you have to prove how much the pirate mace off your particular photos, orexactly how much money the theft cost you. Either is almost impossible to prove. And you do not recover attorney's fees so the cost of the lawsuit would fer outweigh your possible recovery So, f you have registered your work, you are in good shape to "convince" an infringer to stop, or to successfully sue him. Ifyou have not registered, you probably cannot do anything about pirates. MYTH #2 “i got the photo off the Usenet (newsgroups), so it is in the ‘Public Domain.” ‘The above demonstrates a misunderstanding of the term ‘Public Domain’. The term has the specific legal meaning that no one controls the photo, anyone can use itas he wishes. There are two ways for a photo to fall into the public domain. + The owner clearly gives up his rights, such as by signing a document saying, "Inow give up my copyright and irrevo- cably place this workin the public domain’, OR + 75Years have passed since the owner died. When an ovmer postsa photo to Usenet, he does not lose his rights anymore than he would by publishing the photo ina ‘magazine oron his own website. When an ovmner posts to Usenet, the only license he gives is for replication and transmis- sion within the Usenet system. There have been many copyright cases involving websites which obtained their content from the Usenet - and courts have awarded fines in the millions of dollars against the pirates. Inaddition, photos are often posted to Usenet against the owner's wishes, for example the many infringing copies of work ‘owned by Playboy, Penthouse, and top photographers. Such posts are themselves violations of copyright. Obviously ifthe original post to Usenet was illegal -as many are - subsequent copying and misuse is equally illegal. In short. taking photos from Usenet and using them elsewhere such as on a website is copyright infringement, and you risk the severe penalties of piracy. 64 sietdooecra ses Ju Kumenko Hn: Dit toting Published Designedinclaboatin wit Mad Ast Fubshing ard Marcin Mil BY ATTORNEY DAVID L. AMKRAUT MYTH #3 "My website or blog post is ‘Fair Use,’ so | haven't violated copyright.” "Fair use" isa legal defense" to copyright. twas created to allow use of copyright material for socially valuable purposes such as commentary, parody, news reporting, education and the like, without permission of the copyright holder. A typi-

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