Complete Male Portrait Retouching Workflow: Photoshop and Lightroom #106

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- [Glyn] Okay, so in this video,

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I want to take you through
the retouching steps

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that'll take you from here to here.

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Okay, so this is the
final retouch picture,

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and I actually took this
whilst I was presenting

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for The Flash Centre in Elinchrom at

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the recent SWPP Event in London,
which was in January 2017.

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I promised those folks there

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that I'd take you through the retouching.

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Now, in regards to this picture,

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if you haven't seen it already,

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if you dive over to my web site,

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I've taken you through
a little blog post here

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which goes through exactly
how the picture was lit

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just using one Elinchrom Rotalux Octa.

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I'll also put the link to that
in the description part of

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this video over on YouTube, as well,

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but I want to take you through
some of the retouching steps

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to get to this final image here,

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when we've originally
started with this one here.

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So, if there's any techniques

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that I kind of brush over quite quickly,

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I'll include those at the
very, very end of the video

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so you can click on them
and actually look at

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those particular techniques
in a lot more detail,

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but I do intend to go
through this fairly quickly.

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All right, so let's have a
look at the picture, then.

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First of all, I don't have any

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kind of systematic kind of workflow

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where I always do certain
things in a certain order.

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Generally when I look at a picture,

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whatever it is that
sort of stands out to me

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that needs fixing, that's how I work

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and I'll work on that one first.

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Now, when I look at this one here,

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straight away we're presented,

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I was working very quickly,
didn't use the old grey card,

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so the white balance
is what I want to fix,

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so I'm just gonna go to the basic section

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here over on the right hand side.

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I'm using Lightroom.

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Click on the white balance tool,

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add a grey background behind,

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so I'm just gonna click to
the side of our model here,

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Louis, on the grey background,

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and that's gonna give me a nice

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starting point for the white balance.

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The next thing I want to do then,

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I want to crop it down.

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It's got this area in
the top left hand corner,

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so I want to get the crop tool

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by pressing R on the keyboard.

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I want to hold down my shift key,

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click on the top left hand corner,

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and drag downward so it actually

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drags it in the same
aspect ratio just there,

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so something like that will be fine.

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And then over the basics panel,

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what I'm going to do now is
just take the shadow slider

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and bring it up quite
a way just to sort of

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bring a bit more detail
into those shadows.

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You don't need to go too far,

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because it can not look too realistic,

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but maybe around about
the 50-ish kind of mark.

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Sometimes when I do that,

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I might need to bring the highlights down,

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but I don't think we really
need to do that in this image.

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Then, what I'm going to do
is I'm going to go down to

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the detail tab and add a
little bit of sharpening.

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Now, for me, my own tastes when

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I'm actually working on male portraits,

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is the amount that I use for sharpening

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is generally around about the 40 mark,

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and then I want to hold
down my option key on Mac

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or alt key on PC, click
on the masking slider,

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and it obviously goes white,

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meaning all of the
picture's been sharpened,

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and I'll drag it over
to the right hand side

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to bring in black, which is the areas

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that aren't being sharpened,

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and kind of get it to
a point where I think

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the areas that I want to be sharpened,

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mainly Louis and a little
bit on that stepladder there

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are going to be sharpened,
nothing on the background,

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which takes me around about the 80 mark,

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something like that,
on the masking slider.

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Now, if we move further on down,

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we'll go to lens corrections.

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What I will also do is I'll put a tick

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where it says remove chromatic aberration,

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and I'm also gonna put a little tick in

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the enable profile corrections, as well,

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and you can see, it just
reduces a little bit of

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that vignetting that we're getting

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on this particular lens here.

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Let's just take the vignette slider

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and drag that out just a little bit more,

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just to reduce it to around about there.

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Let's have a look what that does for us.

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That's gonna add it, so
let's take it to the right,

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just to decrease it just a
touch more, something like that.

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Now, one extra little thing I might do

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is just get my Wacom pen here.

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I'm going to click on the adjustment brush

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and I want to bring the
exposure up just a touch

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and I'm gonna paint over his face

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just to bring up a little bit more of

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that exposure on his face there.

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The lighting pattern is
exactly how I want it,

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and again, check out that video

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so you can see how I did that.

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Just want to bring a little bit more

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lightness into the face there

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so it draws the viewer's
eye straight onto it,

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so something like that is fine.

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Now, I'm going to send
this over to Photoshop now

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to carry on, do a few more little things.

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There isn't much that
we've actually done here,

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so I won't be sending it
over as a smart object.

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Instead all I'm going
to do is go to photo,

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editing, and choose edit
in Adobe Photoshop CC 2017.

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That'll then send the picture over

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as a normal, basic layer,
not a smart object,

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so I can then continue with my retouching.

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Okay, so here's our picture of Louis.

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Let's just zoom in on him now, so zoom in,

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and the first thing I want to do,

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I don't like to use the
spot remover in Lightroom.

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Between you and me, I find it quite laggy.

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It really does seem to
strain the computer,

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even though I've got quite
a high spec computer,

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it does seem to go quite slow.

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So what I want to do is
I'm just going to grab

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the spot removal tool from the toolbar

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over on the left hand side,

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and this will do a very, very quick job,

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just get rid of that little
mark on his nose just there.

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That's perfect.

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Just a little cheek.

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Nothing else I want to do.

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I don't want to make him look to perfect.

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Male portraits always look, in my opinion,

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when it's got a little bit
of kind of grunge in there.

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Not totally perfect, but that's fine.

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Now, the next thing I want
to work on is his eyes.

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I want to use a technique
that I call amazing eyes,

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and you'll see at the
very end of the video,

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there will be a thumbnail where
you can check out that video

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to show this technique
in a lot more detail,

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but what I want to do is I
want to go to the quick mask.

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There's a certain way that
you need to set quick mask up,

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so if you haven't seen that video,

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make sure you check it out.

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Then, I'm just going to get a normal brush

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and I'm going to just select the area of

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the eye that I want to brighten

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and also add a little bit
of colour in there, as well.

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So, just come over here.

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I like to use quick mask
because it's a very visual way

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of me actually adding into a selection.

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Just get [Inaudible]
there and a little bit in.

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Like I said, I'm going
through this quite quickly.

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Let's just go there.

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Okay, come out of quick mask,

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and we get our visible
marching ants selection.

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To brighten the eyes up, I'm going to use

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a selective colour adjustment layer,

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change the colours to neutrals,

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and to brighten them up,
first, we'll use a blend mode.

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And over on the right hand
side of the blend mode

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I'm going to use is linear
dodge, and when I click on that,

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you can see the eyes go
really, really bright,

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but the great thing is because

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we're using an adjustment layer,

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we've also got opacity
so we can bring it up

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or bring it down to get the
exact kind of look that we want.

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Now, that we're using
this selective colour,

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and you'll see this in that video

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at the very, very end of
this that you can click on,

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you could also then come
in and use the sliders

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to change the colour of the eye, as well,

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but this look pretty good actually.

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You can see his nice brown eyes.

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If I add a bit of contrast,
we'll go from neutrals to blacks

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and take the black slider
at the very bottom here,

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bring it over to the right just for

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a bit more contrast in there, like so.

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That's looking good.

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Let's just zoom out a touch.

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I might take that
opacity of this layer now

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down to around about maybe
50%, something like that.

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Actually, maybe 40 is good.

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Now what I want to do is I'm
going to add a blank layer

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and I'm going to call this one

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eye sharp, oops, eyes sharpness,

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and here, I'm going to
actually sharpen the eyes.

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I like to do this within Photoshop,

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and I'm going to use the sharpen
tool over in the toolbar.

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You can see we've got the blur tool,

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sharpen tool, and smudge tool.

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If I use the sharpen tool at the top now

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where we've got the options bar,

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obviously each tool has its own

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unique options that you can use.

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Got the blend mode set to normal.

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The strength, generally around about

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25 to 30 is what I'll keep it at,

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but because we're using a blank layer,

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we need to have some pixels
that Photoshop can sharpen.

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At the moment, all it's
seeing is a blank layer,

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so you need to make sure
at the very, very top here

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where it says sample all layers,

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put a little tick in there so it allows

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Photoshop to see below that blank layer

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and find some pixels below
that it can then sharpen.

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Once we've done that,
let's just have a click.

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We've got this sharpen tool, there we go.

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So now what I'm going to do
is just click down on the eye

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and brush over it without lifting off,

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one, two, three, four, five times.

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Whatever I do on that eye,
I'll also do on this eye,

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so click down without lifting off,

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one, two, three, four, five.

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Now, you might see on the video

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before and after, before and after.

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You've got to remember that when

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you're using the sharpen tool,

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it kind of works like a spray can,

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so if you imagine now when
using a spray can of paint,

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when you press down that nozzle
and you from left to right,

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if you don't let off
or release that button,

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the paint is going to build
up and build up and build up,

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and that's exactly the
same as the sharpen tool.

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Once you press down and keep
going over the same area,

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the sharpening effect
is going to increase,

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so whatever you do on on eye,

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make sure you do on
the other eye, as well.

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All right, so let's just again,
go in very, very quickly.

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The next thing I'll do is just

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maybe do some dodging and burning,

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so now what I want to do
is I want to go to layer,

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new, layer, and here we'll call it

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D and B for dodging and burning.

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I want to change the blend mode here

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from normal to soft light,

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so I'm going to do some
dodging and burning on skin,

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so I think of soft skin, so we're going to

248
00:08:35,491 --> 00:08:37,304
use this soft light blend mode.

249
00:08:37,304 --> 00:08:39,004
When we do that, we'll get
this little check box appears

250
00:08:39,004 --> 00:08:40,834
where it says fill with soft light,

251
00:08:40,834 --> 00:08:43,183
neutral colour 50% grey,
and we'll click OK,

252
00:08:43,183 --> 00:08:46,253
and we'll click OK in there to do that.

253
00:08:46,253 --> 00:08:47,376
Now, without that blend mode,

254
00:08:47,376 --> 00:08:49,114
all you're going to have is a grey layer.

255
00:08:49,114 --> 00:08:50,659
We need to have some pixels that

256
00:08:50,659 --> 00:08:52,348
we can make brighter or darker,

257
00:08:52,348 --> 00:08:54,415
because obviously we're
doing dodging and burning.

258
00:08:54,415 --> 00:08:56,116
This has now given us some pixels,

259
00:08:56,116 --> 00:08:58,297
but we can't see the person beneath it.

260
00:08:58,297 --> 00:08:59,910
That's why we need to change it

261
00:08:59,910 --> 00:09:02,528
from normal to something like soft light,

262
00:09:02,528 --> 00:09:04,154
which is a great one for doing skin

263
00:09:04,154 --> 00:09:06,450
because the grey goes, but
the pixels still remain

264
00:09:06,450 --> 00:09:09,726
so that we can now do
our dodging and burning.

265
00:09:09,726 --> 00:09:11,041
Now, I'm going to go and choose

266
00:09:11,041 --> 00:09:12,521
my dodge tool over in the toolbar.

267
00:09:12,521 --> 00:09:13,903
At the top of the options here,

268
00:09:13,903 --> 00:09:15,458
the exposure's set to 10%.

269
00:09:15,458 --> 00:09:19,061
I tend to go below 10% or around about 5%,

270
00:09:19,061 --> 00:09:20,438
something like that,

271
00:09:20,438 --> 00:09:22,110
and always make sure that
you put a little tick

272
00:09:22,110 --> 00:09:25,162
in this protect tones checkbox just there.

273
00:09:25,162 --> 00:09:26,816
Now, I'm not going to
go all the way through

274
00:09:26,816 --> 00:09:28,639
the actual dodging and
burning process here,

275
00:09:28,639 --> 00:09:29,655
but basically what I like to do

276
00:09:29,655 --> 00:09:32,624
is add highlights where
there's bright parts

277
00:09:32,624 --> 00:09:35,758
and darken down any
mid-tone or shadow areas,

278
00:09:35,758 --> 00:09:38,457
and that helps to add
contour to the picture,

279
00:09:38,457 --> 00:09:39,900
so let's just do a little bit,

280
00:09:39,900 --> 00:09:42,188
a little bit of highlight on
the side of his face there.

281
00:09:42,188 --> 00:09:43,645
Now, if I want to use the opposite tool,

282
00:09:43,645 --> 00:09:45,447
at the moment, I'm using the dodge tool,

283
00:09:45,447 --> 00:09:46,954
if I want to use the opposite tool,

284
00:09:46,954 --> 00:09:48,363
all I need to do is just hold down

285
00:09:48,363 --> 00:09:50,408
the option key on Mac or alt key on PC,

286
00:09:50,408 --> 00:09:53,737
and it automatically flips
me to the opposite tool,

287
00:09:53,737 --> 00:09:55,443
and that saves me from having to keep,

288
00:09:55,443 --> 00:09:57,848
having to change it over in the toolbar,

289
00:09:57,848 --> 00:10:00,481
so it's a really quick
way of working there.

290
00:10:00,481 --> 00:10:01,707
So let's just do this,

291
00:10:01,707 --> 00:10:03,697
and we'll darken down the eyebrows,

292
00:10:03,697 --> 00:10:05,197
something like so,

293
00:10:06,246 --> 00:10:08,626
a little shadow on that
side of the nose there,

294
00:10:08,626 --> 00:10:10,354
maybe that there, and
we'll just darken down

295
00:10:10,354 --> 00:10:13,591
a little bit of the old five
o'clock shadow just there.

296
00:10:13,591 --> 00:10:15,502
Now, I've only done literally
seconds worth there.

297
00:10:15,502 --> 00:10:17,276
I would spend a lot more time on this,

298
00:10:17,276 --> 00:10:18,988
but you can see when
we turn it on and off,

299
00:10:18,988 --> 00:10:20,759
if we turn that layer on and off there,

300
00:10:20,759 --> 00:10:22,768
you can see already in
seconds, we're getting

301
00:10:22,768 --> 00:10:25,016
some of the dodging and
burning effect coming in.

302
00:10:25,016 --> 00:10:27,416
All right, so let's double
click on the hand tool,

303
00:10:27,416 --> 00:10:29,443
go back to full screen.

304
00:10:29,443 --> 00:10:30,918
Now what I'm going to do is I'm going to

305
00:10:30,918 --> 00:10:32,518
add a texture onto the background,

306
00:10:32,518 --> 00:10:34,210
and this is the way that I save myself

307
00:10:34,210 --> 00:10:35,915
around about six or 700 pounds

308
00:10:35,915 --> 00:10:37,865
by not having to purchase one of

309
00:10:37,865 --> 00:10:41,371
these textured canvas
backgrounds, and they're fabulous.

310
00:10:41,371 --> 00:10:43,165
I do want to get one,
but because I'm mobile,

311
00:10:43,165 --> 00:10:45,582
it can be quite expensive
and they do get creased

312
00:10:45,582 --> 00:10:47,699
if you don't leave them
hanging up all the time.

313
00:10:47,699 --> 00:10:51,220
So one way that I tend to do
this or fake this look rather,

314
00:10:51,220 --> 00:10:53,553
is by using a texture, and
this has been photographed.

315
00:10:53,553 --> 00:10:55,124
This is literally just a piece of

316
00:10:55,124 --> 00:10:56,770
concrete taken with my mobile phone,

317
00:10:56,770 --> 00:10:59,582
so I've got mine stored
in my libraries here,

318
00:10:59,582 --> 00:11:01,376
so let's just bring this up.

319
00:11:01,376 --> 00:11:03,140
Let's just go to my textures,

320
00:11:03,140 --> 00:11:05,557
drag this down so we can see in there.

321
00:11:05,557 --> 00:11:07,225
There we go, this is the
one that I want to use.

322
00:11:07,225 --> 00:11:10,299
I've called it my faux oliphant,
fake oliphant background.

323
00:11:10,299 --> 00:11:12,566
I'm going to drag that into my picture.

324
00:11:12,566 --> 00:11:15,178
That'll go on top of Louis.

325
00:11:15,178 --> 00:11:16,434
Let's just close that down.

326
00:11:16,434 --> 00:11:17,955
Now, because I want to
use this as a background,

327
00:11:17,955 --> 00:11:20,144
we don't have to worry too
much about stretching it out,

328
00:11:20,144 --> 00:11:22,578
so I'm just gonna hold down my option key

329
00:11:22,578 --> 00:11:25,995
or alt key on PC and drag upwards like so

330
00:11:27,310 --> 00:11:29,085
so it drags it the opposite way, as well,

331
00:11:29,085 --> 00:11:32,738
just to fill that canvas up like so.

332
00:11:32,738 --> 00:11:34,520
Now, this has actually got a
little bit of colour in this,

333
00:11:34,520 --> 00:11:35,664
and for this to look good,

334
00:11:35,664 --> 00:11:36,934
you don't really want to have any colour

335
00:11:36,934 --> 00:11:38,909
when you're using textures to add them

336
00:11:38,909 --> 00:11:42,012
onto grey backgrounds, so
I need to desaturate this.

337
00:11:42,012 --> 00:11:45,084
Now, if I go to the image
mode, adjust and desaturate,

338
00:11:45,084 --> 00:11:47,609
you can see the desaturate
is actually greyed out.

339
00:11:47,609 --> 00:11:49,188
I can't use it, and that's because

340
00:11:49,188 --> 00:11:53,335
I've actually got this texture
stored from my cloud library,

341
00:11:53,335 --> 00:11:54,615
and you can see a little icon in

342
00:11:54,615 --> 00:11:55,910
the bottom right hand corner.

343
00:11:55,910 --> 00:11:57,663
This would also happen
if you actually brought

344
00:11:57,663 --> 00:11:59,937
the texture in as a smart object.

345
00:11:59,937 --> 00:12:01,377
What we actually need to do now
then is rasterize this layer

346
00:12:01,377 --> 00:12:04,321
to make it into a normal layer,

347
00:12:04,321 --> 00:12:06,576
and the way I'm going to do
that is go to the layer menu,

348
00:12:06,576 --> 00:12:10,670
come down, and we're going
to choose rasterize layer,

349
00:12:10,670 --> 00:12:13,799
and that will just take it a normal layer.

350
00:12:13,799 --> 00:12:15,798
Now we can go to image, adjustments,

351
00:12:15,798 --> 00:12:18,231
and you'll see desaturate
now is available to us.

352
00:12:18,231 --> 00:12:22,079
Click on that and it removes
the colour from there.

353
00:12:22,079 --> 00:12:24,254
To get this onto the background,
let's go from normal.

354
00:12:24,254 --> 00:12:26,255
I like to use overlay, and that puts it

355
00:12:26,255 --> 00:12:28,222
all onto that back
textured background there.

356
00:12:28,222 --> 00:12:30,056
You can see if I turn
that layer on and off.

357
00:12:30,056 --> 00:12:33,161
The problem now is it's
actually on Louis, as well,

358
00:12:33,161 --> 00:12:36,272
so what I'm going to
do is add a layer mask.

359
00:12:36,272 --> 00:12:39,303
I'm going to get a brush with
a black foreground colour

360
00:12:39,303 --> 00:12:41,171
and then all I'm going to do is just

361
00:12:41,171 --> 00:12:45,423
paint it off Louis so the
texture is not on him.

362
00:12:45,423 --> 00:12:47,767
So I'll very quickly just come in

363
00:12:47,767 --> 00:12:50,603
and paint this off him, like so.

364
00:12:50,603 --> 00:12:52,753
There we go, come down here.

365
00:12:52,753 --> 00:12:56,003
Something like that, it's looking good.

366
00:12:56,869 --> 00:12:58,507
Now, you could if you wanted to,

367
00:12:58,507 --> 00:13:00,071
to check where you've done this,

368
00:13:00,071 --> 00:13:04,076
just turn that, turn
that layer on and off,

369
00:13:04,076 --> 00:13:06,028
see if you can see it appearing anywhere,

370
00:13:06,028 --> 00:13:07,792
which I can just on this
bottom bit down here.

371
00:13:07,792 --> 00:13:09,096
Or another great way to see where

372
00:13:09,096 --> 00:13:10,575
you've painted and where you've missed

373
00:13:10,575 --> 00:13:13,224
is actually to click, or press rather,

374
00:13:13,224 --> 00:13:16,251
the backslash key on your keyboard,

375
00:13:16,251 --> 00:13:18,643
and when you do that, it
gives us this red overlay,

376
00:13:18,643 --> 00:13:19,949
almost like quick mask,

377
00:13:19,949 --> 00:13:21,554
to show you exactly where you've painted.

378
00:13:21,554 --> 00:13:23,461
Whoops, so I need to
just continue to paint

379
00:13:23,461 --> 00:13:25,307
just in some of these areas just here.

380
00:13:25,307 --> 00:13:27,088
I'm actually going to
leave it on the ladders.

381
00:13:27,088 --> 00:13:29,522
I think the texture looks
quite good on the ladders,

382
00:13:29,522 --> 00:13:31,270
and you can't really see
it that much, anyway,

383
00:13:31,270 --> 00:13:32,813
so just bring it down to there,

384
00:13:32,813 --> 00:13:35,400
paint that little bit off there, as well.

385
00:13:35,400 --> 00:13:39,359
That'll do me, and just
go in really quickly.

386
00:13:39,359 --> 00:13:41,241
Yep, that's looking good, so now,

387
00:13:41,241 --> 00:13:43,714
press the backslash key again
to come back to normal mode

388
00:13:43,714 --> 00:13:45,579
so now we can see when
we turn that on and off,

389
00:13:45,579 --> 00:13:47,757
we've got it pretty much
just on the background

390
00:13:47,757 --> 00:13:49,494
and obviously on that stepladder, as well.

391
00:13:49,494 --> 00:13:51,415
Now, I don't need to use
this at full strength.

392
00:13:51,415 --> 00:13:54,057
I can also take down the
opacity of this layer,

393
00:13:54,057 --> 00:13:56,402
but before we do, I want to
click on the thumbnail of

394
00:13:56,402 --> 00:14:00,810
the texture and go to
philtre, blur, gaussian blur.

395
00:14:00,810 --> 00:14:02,261
I'm just gonna blur it just a little bit

396
00:14:02,261 --> 00:14:04,700
just to fake that look of depth of field.

397
00:14:04,700 --> 00:14:06,237
So we've got our values of two,

398
00:14:06,237 --> 00:14:08,237
that's enough, okay on that,

399
00:14:08,237 --> 00:14:11,850
and then I think I'll take the
actual opacity of this layer

400
00:14:11,850 --> 00:14:14,324
down to around about maybe 50%.

401
00:14:14,324 --> 00:14:17,787
It doesn't need to be a lot,
but that's just right for me.

402
00:14:17,787 --> 00:14:19,562
Yep, liking that.

403
00:14:19,562 --> 00:14:21,116
All right, now the next
thing I'm going to do,

404
00:14:21,116 --> 00:14:22,944
I'm going to create a
merged or stamp layer

405
00:14:22,944 --> 00:14:24,414
to the top of the layer stack,

406
00:14:24,414 --> 00:14:26,345
and I'm going to call this one topaz,

407
00:14:26,345 --> 00:14:27,983
and this is the only plug in

408
00:14:27,983 --> 00:14:29,650
generally now that I tend to use.

409
00:14:29,650 --> 00:14:31,152
It's called topaz clarity.

410
00:14:31,152 --> 00:14:33,145
It's an effect that's very,
very difficult to replicate

411
00:14:33,145 --> 00:14:35,081
just by using Photoshop on its own.

412
00:14:35,081 --> 00:14:36,388
So let me just show you this.

413
00:14:36,388 --> 00:14:39,517
I'm going to go to philtre,
topaz labs, and topaz clarity,

414
00:14:39,517 --> 00:14:41,757
and there's a huge dialogue box here

415
00:14:41,757 --> 00:14:44,143
that's got loads and loads
of options available to us,

416
00:14:44,143 --> 00:14:45,867
lots of presets and lots of sliders.

417
00:14:45,867 --> 00:14:48,243
You see on the left hand
side here all the presets,

418
00:14:48,243 --> 00:14:50,682
right hand side, all
these particular sliders.

419
00:14:50,682 --> 00:14:52,714
We can actually dial in the
settings that we want here.

420
00:14:52,714 --> 00:14:54,626
Now, out of all these sliders here,

421
00:14:54,626 --> 00:14:56,397
I generally only use the very top two,

422
00:14:56,397 --> 00:14:58,859
micro contrast and low contrast.

423
00:14:58,859 --> 00:15:01,597
I'll take micro contrast around about 30

424
00:15:01,597 --> 00:15:04,330
and the low contrast pretty much halfway,

425
00:15:04,330 --> 00:15:07,183
so 50-ish, something like that will do me.

426
00:15:07,183 --> 00:15:08,605
And then once I've done that,

427
00:15:08,605 --> 00:15:10,436
that's pretty much what I always do.

428
00:15:10,436 --> 00:15:12,778
Click okay, that'll process it.

429
00:15:12,778 --> 00:15:14,158
You can see the progress bar at

430
00:15:14,158 --> 00:15:15,507
the bottom of the screen here.

431
00:15:15,507 --> 00:15:17,231
That's gonna build up and send this now

432
00:15:17,231 --> 00:15:19,207
back over into Photoshop,

433
00:15:19,207 --> 00:15:20,736
and it's then that I can
decide whether or not

434
00:15:20,736 --> 00:15:23,726
I've either done too
much or not quite enough,

435
00:15:23,726 --> 00:15:25,300
but we'll just wait for that
to finish processing it.

436
00:15:25,300 --> 00:15:27,214
Now, back into Photoshop,

437
00:15:27,214 --> 00:15:29,205
and we can see now if
I turn that on and off,

438
00:15:29,205 --> 00:15:31,052
I'm quite liking that, actually.

439
00:15:31,052 --> 00:15:33,009
Yeah, that's pretty good.

440
00:15:33,009 --> 00:15:35,937
Yeah, I might take it down to about 80%,

441
00:15:35,937 --> 00:15:38,055
something like that.

442
00:15:38,055 --> 00:15:39,467
Now then, the next thing I'll do is

443
00:15:39,467 --> 00:15:41,723
maybe a little bit of colourizing,

444
00:15:41,723 --> 00:15:43,343
and generally what I used to do before

445
00:15:43,343 --> 00:15:45,676
was use the nick collection.

446
00:15:45,676 --> 00:15:47,075
We had Colour Effects Pro 4

447
00:15:47,075 --> 00:15:50,009
that you can actually
download for free from Google.

448
00:15:50,009 --> 00:15:51,630
I'll put the link in the
description if you haven't got it.

449
00:15:51,630 --> 00:15:53,367
It's free, so why wouldn't you,

450
00:15:53,367 --> 00:15:56,357
but generally now I tend to use
what's called lookup tables,

451
00:15:56,357 --> 00:15:59,173
and again, there's a video where
I show you how I use those.

452
00:15:59,173 --> 00:16:01,000
Those are found in the adjustment layers

453
00:16:01,000 --> 00:16:02,734
up in the top right hand corner here,

454
00:16:02,734 --> 00:16:04,322
so we've got the second row down,

455
00:16:04,322 --> 00:16:05,947
it's the far right hand corner

456
00:16:05,947 --> 00:16:07,734
that looks like a three by three grid.

457
00:16:07,734 --> 00:16:09,565
And to give you an idea of
the kind of thing I did here,

458
00:16:09,565 --> 00:16:11,562
let's just click on the
colour lookup table here.

459
00:16:11,562 --> 00:16:13,345
I generally only ever use the top menu

460
00:16:13,345 --> 00:16:16,398
and we'll come down to something like,

461
00:16:16,398 --> 00:16:20,208
let's say moonlight or
something like that.

462
00:16:20,208 --> 00:16:23,216
I'm going to load the
opacity to around maybe 20%.

463
00:16:23,216 --> 00:16:25,923
Let's add another one,
and just play around now

464
00:16:25,923 --> 00:16:28,031
just to dial in some kind of a recipe,

465
00:16:28,031 --> 00:16:30,828
so I want this one to be
quite a cool-looking picture,

466
00:16:30,828 --> 00:16:34,994
so we can go horror
blue, what does that do?

467
00:16:34,994 --> 00:16:37,621
Maybe take that down to 10%.

468
00:16:37,621 --> 00:16:41,097
Okay, I might try just one
more, make it nice and cool,

469
00:16:41,097 --> 00:16:43,514
and we'll go to crisp winter.

470
00:16:45,795 --> 00:16:47,584
What's that one do for us?

471
00:16:47,584 --> 00:16:48,719
That's quite nice.

472
00:16:48,719 --> 00:16:50,167
Take that down to 20%.

473
00:16:50,167 --> 00:16:52,399
Let's just put all these
three into a group now.

474
00:16:52,399 --> 00:16:54,265
We've got the upper one selected there.

475
00:16:54,265 --> 00:16:55,678
I'm going to hold down my shift key

476
00:16:55,678 --> 00:16:57,297
and click on the first one,

477
00:16:57,297 --> 00:16:59,037
so now all three of them are selected,

478
00:16:59,037 --> 00:17:00,893
and then we'll go to the flyer menu

479
00:17:00,893 --> 00:17:02,485
up at the top of the layers panel there

480
00:17:02,485 --> 00:17:04,160
and choose new group from layers,

481
00:17:04,160 --> 00:17:08,327
and I'll call that LUT for
lookup tables, and click OK.

482
00:17:09,857 --> 00:17:13,253
So now I can click that on and
off just to see if I like it.

483
00:17:13,253 --> 00:17:16,594
Great thing is it's in a
group, I can also dial it down,

484
00:17:16,594 --> 00:17:18,503
so let's take it down to maybe 70%.

485
00:17:18,503 --> 00:17:20,291
It needs to be quite subtle.

486
00:17:20,291 --> 00:17:22,934
Something like that's looking good.

487
00:17:22,934 --> 00:17:24,928
All right, let's just
create one more merged layer

488
00:17:24,928 --> 00:17:26,369
to the top of the layer stack

489
00:17:26,369 --> 00:17:27,936
and just sort of do some
finishing touches now.

490
00:17:27,936 --> 00:17:29,676
I might just dive back over into

491
00:17:29,676 --> 00:17:32,209
the philtre and camera raw.

492
00:17:32,209 --> 00:17:35,622
Let's just see what we can do here,

493
00:17:35,622 --> 00:17:38,056
so we do need to bring up some shadows.

494
00:17:38,056 --> 00:17:39,479
It's got the shadow slider,

495
00:17:39,479 --> 00:17:40,880
bring that up just a touch maybe.

496
00:17:40,880 --> 00:17:42,739
That kind of works.

497
00:17:42,739 --> 00:17:44,102
And do you know, I might actually use

498
00:17:44,102 --> 00:17:45,531
an adjustment brush just one more time

499
00:17:45,531 --> 00:17:48,300
and might just put a bit more exposure

500
00:17:48,300 --> 00:17:50,127
back on that face again.

501
00:17:50,127 --> 00:17:51,632
Now, just so you know
that when you've got,

502
00:17:51,632 --> 00:17:53,832
in your camera raw here when
you've got all these sliders,

503
00:17:53,832 --> 00:17:55,498
you might have them all
over the place like this.

504
00:17:55,498 --> 00:17:57,385
If you want to set them
back to the defaults

505
00:17:57,385 --> 00:17:59,211
so they're all down the centre there,

506
00:17:59,211 --> 00:18:00,655
all kind of going back to zero,

507
00:18:00,655 --> 00:18:02,276
you can either double click on

508
00:18:02,276 --> 00:18:04,724
each of the little dials
there to bring them back,

509
00:18:04,724 --> 00:18:06,221
but to do them very quickly all at once,

510
00:18:06,221 --> 00:18:09,262
just go to the menu at the
top right hand corner of

511
00:18:09,262 --> 00:18:10,865
camera raw just at the top here,

512
00:18:10,865 --> 00:18:13,369
and it says reset local
correction settings,

513
00:18:13,369 --> 00:18:15,332
and you'll see all those
sliders when I click on that,

514
00:18:15,332 --> 00:18:16,684
they all go back to zero,

515
00:18:16,684 --> 00:18:18,134
so it's a nice quick way of doing it.

516
00:18:18,134 --> 00:18:20,080
So, we've got that adjustment brush.

517
00:18:20,080 --> 00:18:21,710
Let's just bring up the
exposure a tiny amount

518
00:18:21,710 --> 00:18:25,255
and we'll just paint over
the face just a little bit,

519
00:18:25,255 --> 00:18:29,338
just there like that, so
we'll go there, dial in.

520
00:18:30,860 --> 00:18:33,067
Something like that's looking pretty good,

521
00:18:33,067 --> 00:18:34,294
and then we'll click OK.

522
00:18:34,294 --> 00:18:36,964
Now there were a few other
little things that I did,

523
00:18:36,964 --> 00:18:40,629
one of them, you'll bring
over my cartoon painting look.

524
00:18:40,629 --> 00:18:42,733
I generally add that to
about 99% of my pictures.

525
00:18:42,733 --> 00:18:44,483
I did do that with this one,

526
00:18:44,483 --> 00:18:47,600
but I reduced the strength
of it down quite a lot,

527
00:18:47,600 --> 00:18:49,136
but I do like to add that effect in.

528
00:18:49,136 --> 00:18:50,768
There is a video on that, as well,

529
00:18:50,768 --> 00:18:52,706
and I'll put that in the description part,

530
00:18:52,706 --> 00:18:54,259
but that's pretty much it.

531
00:18:54,259 --> 00:18:55,737
That pretty much takes you all the way

532
00:18:55,737 --> 00:18:57,238
through the retouching.

533
00:18:57,238 --> 00:18:58,490
We didn't do much in Lightroom,

534
00:18:58,490 --> 00:19:00,299
but if we just look at the original image,

535
00:19:00,299 --> 00:19:02,582
this is what's brought us from Lightroom.

536
00:19:02,582 --> 00:19:04,646
We've added the selected quality work on,

537
00:19:04,646 --> 00:19:06,238
oops, let's just do that.

538
00:19:06,238 --> 00:19:07,337
Don't know what's going on here.

539
00:19:07,337 --> 00:19:08,454
Let's just turn those off.

540
00:19:08,454 --> 00:19:10,961
We then worked on the eyes
and then we sharpened them.

541
00:19:10,961 --> 00:19:13,297
We did a bit of dodging
and burning, not much.

542
00:19:13,297 --> 00:19:15,639
We added a texture on the
background and we blurred it.

543
00:19:15,639 --> 00:19:19,687
Use of topaz clarity,
little bit of colouring,

544
00:19:19,687 --> 00:19:21,391
and then some final touches in camera raw

545
00:19:21,391 --> 00:19:23,086
bringing back in the shadows.

546
00:19:23,086 --> 00:19:24,685
If you've got any questions, by all means,

547
00:19:24,685 --> 00:19:26,577
drop a comment in the
comment section there

548
00:19:26,577 --> 00:19:28,205
and I'll definitely make
sure I get back to you,

549
00:19:28,205 --> 00:19:29,382
but I hope that's useful.

550
00:19:29,382 --> 00:19:33,549
Check out the video at the
end, and I'll see you later.