Removing blemishes is certainly one of the reasons we retouch portraits. And when you’re retouching beauty shots, you don’t want to leave any of them unhealed. Unmesh Dinda a.k.a. PiXimperfect shares a simple trick you can use while removing blemishes in Photoshop. It helps you see them better, and even see the ones that are not obvious at the first glance.
Once, the idea of rotating my canvas when retouching was jarring to me. I knew it was something my peers were doing but I just couldn’t be bothered to try it myself.
After a few one on one lessons where I was “forced” to do it by David Neilands, I actually found a surprising improvement in not only the end result but also in identifying problems quicker with fewer revisions.
Rotating the canvas is actually a technique that was popularised by Pratik Naik of Solstice Retouch. The guy knows his stuff, he won retoucher of the year last year!
No matter who we are, our skin isn’t perfect. It’s just a fact of life. The odd zit here and there, a little scratch, perhaps a single stray hair. There’s always something. So, for portraits, temporary blemishes usually need a quick touch up. Fortunately, such issues are easy to fix in Photoshop. Or, more accurately, Photoshop offers us several easy fixes.
In this video, Nathaniel Dodson from Tutvid shows us five different ways to get rid of them. Each of the techniques shown has its advantages as well as its down sides. Nathan talks through make the most of them and overcome the potential problems. He also explains how these techniques can be used on other images besides portraits, such as landscapes.
Do you use Photoshop for your portrait photos? Silly me, of course you do. We all do, and that’s fine. But do you draw a line between acceptable and unacceptable amount of retouching? Do you merely emphasize people’s natural beauty, or are you the one who makes them look beautiful? Scott Kelby – photographer, retouchist, the editor and publisher of Photoshop User Magazine, gives a fantastic and inspiring talk on this topic. Why do we retouch people in Photoshop? And do we know what our job as retouchists is?
If you are doing a still image and want to add some burning skins effects, this video will show you a quick 10 minutes way to do so. You start with a “blank face”, we chose a model on a white background, but any face will do.
To get the scorched texture we used a tree bark (from here) and to get the fire inside we used a fire effect from here. It’s a 7 minutes video, and by the end of it you will have a new tool in your photoshop arsenal.
The healing brush tool in photoshop is one of more powerful tools the editing software has to offer. It is often used to clean skin, repair walls, or do any kind of work that requires repairing a texture without changing the color and luminosity of an area. Stefan of RAW.Exchange was kind enogh to send us three tips on how to properly use the healing brush tool.
Another week, another quick tutorial. This week I am going to show you how to turn skin pale in Photoshop. The image I will be using to showcase this is one of my older edits. It is a dark art image, but this effect could be used the same on any image, for example a fashion image. This is a trick I learnt a few years ago from watching Calvin Hollywood’s tutorial dvd Calvinize. Be sure to check his work out as it is awesome! In this tutorial I will be using different percentages of opacity, but it is the same technique.
I had to shoot in an environment without HSS (Didn’t have my Citi600 with me) and I didn’t have my Hoya ND16 filter with me either. Which meant that I couldn’t effectively overpower the ambient light coming off the stage to get rid of the blue on the model’s skin.
This led me to trying a few solutions, albeit badly until Stefan Kohler hooked me up with this ridiculously simple and awesome solution for fixing colour problems while retaining all of the micro details in contrast etc (which you lose when you use Frequency Separation for low level skin etc).
Being a pretty diverse tool, Photoshop suggests many ways to accomplish each task. And each has its pros and cons. One of the more powerful tools in photoshop is masks. It is probably also one of the more complex tools. We are going to tackle making today, and hopefully making them a bit less complex.
If you split an image into its most basic components, you can look at each pixel as the sum of the following info:
- Color Tone
If we look at a black and white photo for example, one only element present in the photo is brightness. So any three-dimensionality is determined exclusively by the (relative) brightness of neighboring pixels. Our brain is trained to “think” that bright pixels are located closer to us, while dark pixels are more likely to be further away.