– [Glyn] Okay, so in this video, I want to take you throughthe retouching steps that'll take you from here to here.
Okay, so this is thefinal retouch picture, and I actually took thiswhilst I was presenting for The Flash Centre in Elinchrom at the recent SWPP Event in London,which was in January 2017.
I promised those folks there that I'd take you through the retouching.
Now, in regards to this picture, if you haven't seen it already, if you dive over to my web site, I've taken you througha little blog post here which goes through exactlyhow the picture was lit just using one Elinchrom Rotalux Octa.
I'll also put the link to thatin the description part of this video over on YouTube, as well, but I want to take you throughsome of the retouching steps to get to this final image here, when we've originallystarted with this one here.
So, if there's any techniques that I kind of brush over quite quickly, I'll include those at thevery, very end of the video so you can click on themand actually look at those particular techniquesin a lot more detail, but I do intend to gothrough this fairly quickly.
All right, so let's have alook at the picture, then.
First of all, I don't have any kind of systematic kind of workflow where I always do certainthings in a certain order.
Generally when I look at a picture, whatever it is thatsort of stands out to me that needs fixing, that's how I work and I'll work on that one first.
Now, when I look at this one here, straight away we're presented, I was working very quickly,didn't use the old grey card, so the white balanceis what I want to fix, so I'm just gonna go to the basic section here over on the right hand side.
I'm using Lightroom.
Click on the white balance tool, add a grey background behind, so I'm just gonna click tothe side of our model here, Louis, on the grey background, and that's gonna give me a nice starting point for the white balance.
The next thing I want to do then, I want to crop it down.
It's got this area inthe top left hand corner, so I want to get the crop tool by pressing R on the keyboard.
I want to hold down my shift key, click on the top left hand corner, and drag downward so it actually drags it in the sameaspect ratio just there, so something like that will be fine.
And then over the basics panel, what I'm going to do now isjust take the shadow slider and bring it up quitea way just to sort of bring a bit more detailinto those shadows.
You don't need to go too far, because it can not look too realistic, but maybe around aboutthe 50-ish kind of mark.
Sometimes when I do that, I might need to bring the highlights down, but I don't think we reallyneed to do that in this image.
Then, what I'm going to dois I'm going to go down to the detail tab and add alittle bit of sharpening.
Now, for me, my own tastes when I'm actually working on male portraits, is the amount that I use for sharpening is generally around about the 40 mark, and then I want to holddown my option key on Mac or alt key on PC, clickon the masking slider, and it obviously goes white, meaning all of thepicture's been sharpened, and I'll drag it overto the right hand side to bring in black, which is the areas that aren't being sharpened, and kind of get it toa point where I think the areas that I want to be sharpened, mainly Louis and a littlebit on that stepladder there are going to be sharpened,nothing on the background, which takes me around about the 80 mark, something like that,on the masking slider.
Now, if we move further on down, we'll go to lens corrections.
What I will also do is I'll put a tick where it says remove chromatic aberration, and I'm also gonna put a little tick in the enable profile corrections, as well, and you can see, it justreduces a little bit of that vignetting that we're getting on this particular lens here.
Let's just take the vignette slider and drag that out just a little bit more, just to reduce it to around about there.
Let's have a look what that does for us.
That's gonna add it, solet's take it to the right, just to decrease it just atouch more, something like that.
Now, one extra little thing I might do is just get my Wacom pen here.
I'm going to click on the adjustment brush and I want to bring theexposure up just a touch and I'm gonna paint over his face just to bring up a little bit more of that exposure on his face there.
The lighting pattern isexactly how I want it, and again, check out that video so you can see how I did that.
Just want to bring a little bit more lightness into the face there so it draws the viewer'seye straight onto it, so something like that is fine.
Now, I'm going to sendthis over to Photoshop now to carry on, do a few more little things.
There isn't much thatwe've actually done here, so I won't be sending itover as a smart object.
Instead all I'm goingto do is go to photo, editing, and choose editin Adobe Photoshop CC 2017.
That'll then send the picture over as a normal, basic layer,not a smart object, so I can then continue with my retouching.
Okay, so here's our picture of Louis.
Let's just zoom in on him now, so zoom in, and the first thing I want to do, I don't like to use thespot remover in Lightroom.
Between you and me, I find it quite laggy.
It really does seem tostrain the computer, even though I've got quitea high spec computer, it does seem to go quite slow.
So what I want to do isI'm just going to grab the spot removal tool from the toolbar over on the left hand side, and this will do a very, very quick job, just get rid of that littlemark on his nose just there.
Just a little cheek.
Nothing else I want to do.
I don't want to make him look to perfect.
Male portraits always look, in my opinion, when it's got a little bitof kind of grunge in there.
Not totally perfect, but that's fine.
Now, the next thing I wantto work on is his eyes.
I want to use a techniquethat I call amazing eyes, and you'll see at thevery end of the video, there will be a thumbnail whereyou can check out that video to show this techniquein a lot more detail, but what I want to do is Iwant to go to the quick mask.
There's a certain way thatyou need to set quick mask up, so if you haven't seen that video, make sure you check it out.
Then, I'm just going to get a normal brush and I'm going to just select the area of the eye that I want to brighten and also add a little bitof colour in there, as well.
So, just come over here.
I like to use quick maskbecause it's a very visual way of me actually adding into a selection.
Just get [Inaudible]there and a little bit in.
Like I said, I'm goingthrough this quite quickly.
Let's just go there.
Okay, come out of quick mask, and we get our visiblemarching ants selection.
To brighten the eyes up, I'm going to use a selective colour adjustment layer, change the colours to neutrals, and to brighten them up,first, we'll use a blend mode.
And over on the right handside of the blend mode I'm going to use is lineardodge, and when I click on that, you can see the eyes goreally, really bright, but the great thing is because we're using an adjustment layer, we've also got opacityso we can bring it up or bring it down to get theexact kind of look that we want.
Now, that we're usingthis selective colour, and you'll see this in that video at the very, very end ofthis that you can click on, you could also then comein and use the sliders to change the colour of the eye, as well, but this look pretty good actually.
You can see his nice brown eyes.
If I add a bit of contrast,we'll go from neutrals to blacks and take the black sliderat the very bottom here, bring it over to the right just for a bit more contrast in there, like so.
That's looking good.
Let's just zoom out a touch.
I might take thatopacity of this layer now down to around about maybe50%, something like that.
Actually, maybe 40 is good.
Now what I want to do is I'mgoing to add a blank layer and I'm going to call this one eye sharp, oops, eyes sharpness, and here, I'm going toactually sharpen the eyes.
I like to do this within Photoshop, and I'm going to use the sharpentool over in the toolbar.
You can see we've got the blur tool, sharpen tool, and smudge tool.
If I use the sharpen tool at the top now where we've got the options bar, obviously each tool has its own unique options that you can use.
Got the blend mode set to normal.
The strength, generally around about 25 to 30 is what I'll keep it at, but because we're using a blank layer, we need to have some pixelsthat Photoshop can sharpen.
At the moment, all it'sseeing is a blank layer, so you need to make sureat the very, very top here where it says sample all layers, put a little tick in there so it allows Photoshop to see below that blank layer and find some pixels belowthat it can then sharpen.
Once we've done that,let's just have a click.
We've got this sharpen tool, there we go.
So now what I'm going to dois just click down on the eye and brush over it without lifting off, one, two, three, four, five times.
Whatever I do on that eye,I'll also do on this eye, so click down without lifting off, one, two, three, four, five.
Now, you might see on the video before and after, before and after.
You've got to remember that when you're using the sharpen tool, it kind of works like a spray can, so if you imagine now whenusing a spray can of paint, when you press down that nozzleand you from left to right, if you don't let offor release that button, the paint is going to buildup and build up and build up, and that's exactly thesame as the sharpen tool.
Once you press down and keepgoing over the same area, the sharpening effectis going to increase, so whatever you do on on eye, make sure you do onthe other eye, as well.
All right, so let's just again,go in very, very quickly.
The next thing I'll do is just maybe do some dodging and burning, so now what I want to dois I want to go to layer, new, layer, and here we'll call it D and B for dodging and burning.
I want to change the blend mode here from normal to soft light, so I'm going to do somedodging and burning on skin, so I think of soft skin, so we're going to use this soft light blend mode.
When we do that, we'll getthis little check box appears where it says fill with soft light, neutral colour 50% grey,and we'll click OK, and we'll click OK in there to do that.
Now, without that blend mode, all you're going to have is a grey layer.
We need to have some pixels that we can make brighter or darker, because obviously we'redoing dodging and burning.
This has now given us some pixels, but we can't see the person beneath it.
That's why we need to change it from normal to something like soft light, which is a great one for doing skin because the grey goes, butthe pixels still remain so that we can now doour dodging and burning.
Now, I'm going to go and choose my dodge tool over in the toolbar.
At the top of the options here, the exposure's set to 10%.
I tend to go below 10% or around about 5%, something like that, and always make sure thatyou put a little tick in this protect tones checkbox just there.
Now, I'm not going togo all the way through the actual dodging andburning process here, but basically what I like to do is add highlights wherethere's bright parts and darken down anymid-tone or shadow areas, and that helps to addcontour to the picture, so let's just do a little bit, a little bit of highlight onthe side of his face there.
Now, if I want to use the opposite tool, at the moment, I'm using the dodge tool, if I want to use the opposite tool, all I need to do is just hold down the option key on Mac or alt key on PC, and it automatically flipsme to the opposite tool, and that saves me from having to keep, having to change it over in the toolbar, so it's a really quickway of working there.
So let's just do this, and we'll darken down the eyebrows, something like so, a little shadow on thatside of the nose there, maybe that there, andwe'll just darken down a little bit of the old fiveo'clock shadow just there.
Now, I've only done literallyseconds worth there.
I would spend a lot more time on this, but you can see whenwe turn it on and off, if we turn that layer on and off there, you can see already inseconds, we're getting some of the dodging andburning effect coming in.
All right, so let's doubleclick on the hand tool, go back to full screen.
Now what I'm going to do is I'm going to add a texture onto the background, and this is the way that I save myself around about six or 700 pounds by not having to purchase one of these textured canvasbackgrounds, and they're fabulous.
I do want to get one,but because I'm mobile, it can be quite expensiveand they do get creased if you don't leave themhanging up all the time.
So one way that I tend to dothis or fake this look rather, is by using a texture, andthis has been photographed.
This is literally just a piece of concrete taken with my mobile phone, so I've got mine storedin my libraries here, so let's just bring this up.
Let's just go to my textures, drag this down so we can see in there.
There we go, this is theone that I want to use.
I've called it my faux oliphant,fake oliphant background.
I'm going to drag that into my picture.
That'll go on top of Louis.
Let's just close that down.
Now, because I want touse this as a background, we don't have to worry toomuch about stretching it out, so I'm just gonna hold down my option key or alt key on PC and drag upwards like so so it drags it the opposite way, as well, just to fill that canvas up like so.
Now, this has actually got alittle bit of colour in this, and for this to look good, you don't really want to have any colour when you're using textures to add them onto grey backgrounds, soI need to desaturate this.
Now, if I go to the imagemode, adjust and desaturate, you can see the desaturateis actually greyed out.
I can't use it, and that's because I've actually got this texturestored from my cloud library, and you can see a little icon in the bottom right hand corner.
This would also happenif you actually brought the texture in as a smart object.
What we actually need to do nowthen is rasterize this layer to make it into a normal layer, and the way I'm going to dothat is go to the layer menu, come down, and we're goingto choose rasterize layer, and that will just take it a normal layer.
Now we can go to image, adjustments, and you'll see desaturatenow is available to us.
Click on that and it removesthe colour from there.
To get this onto the background,let's go from normal.
I like to use overlay, and that puts it all onto that backtextured background there.
You can see if I turnthat layer on and off.
The problem now is it'sactually on Louis, as well, so what I'm going todo is add a layer mask.
I'm going to get a brush witha black foreground colour and then all I'm going to do is just paint it off Louis so thetexture is not on him.
So I'll very quickly just come in and paint this off him, like so.
There we go, come down here.
Something like that, it's looking good.
Now, you could if you wanted to, to check where you've done this, just turn that, turnthat layer on and off, see if you can see it appearing anywhere, which I can just on thisbottom bit down here.
Or another great way to see where you've painted and where you've missed is actually to click, or press rather, the backslash key on your keyboard, and when you do that, itgives us this red overlay, almost like quick mask, to show you exactly where you've painted.
Whoops, so I need tojust continue to paint just in some of these areas just here.
I'm actually going toleave it on the ladders.
I think the texture looksquite good on the ladders, and you can't really seeit that much, anyway, so just bring it down to there, paint that little bit off there, as well.
That'll do me, and justgo in really quickly.
Yep, that's looking good, so now, press the backslash key againto come back to normal mode so now we can see whenwe turn that on and off, we've got it pretty muchjust on the background and obviously on that stepladder, as well.
Now, I don't need to usethis at full strength.
I can also take down theopacity of this layer, but before we do, I want toclick on the thumbnail of the texture and go tophiltre, blur, gaussian blur.
I'm just gonna blur it just a little bit just to fake that look of depth of field.
So we've got our values of two, that's enough, okay on that, and then I think I'll take theactual opacity of this layer down to around about maybe 50%.
It doesn't need to be a lot,but that's just right for me.
Yep, liking that.
All right, now the nextthing I'm going to do, I'm going to create amerged or stamp layer to the top of the layer stack, and I'm going to call this one topaz, and this is the only plug in generally now that I tend to use.
It's called topaz clarity.
It's an effect that's very,very difficult to replicate just by using Photoshop on its own.
So let me just show you this.
I'm going to go to philtre,topaz labs, and topaz clarity, and there's a huge dialogue box here that's got loads and loadsof options available to us, lots of presets and lots of sliders.
You see on the left handside here all the presets, right hand side, allthese particular sliders.
We can actually dial in thesettings that we want here.
Now, out of all these sliders here, I generally only use the very top two, micro contrast and low contrast.
I'll take micro contrast around about 30 and the low contrast pretty much halfway, so 50-ish, something like that will do me.
And then once I've done that, that's pretty much what I always do.
Click okay, that'll process it.
You can see the progress bar at the bottom of the screen here.
That's gonna build up and send this now back over into Photoshop, and it's then that I candecide whether or not I've either done toomuch or not quite enough, but we'll just wait for thatto finish processing it.
Now, back into Photoshop, and we can see now ifI turn that on and off, I'm quite liking that, actually.
Yeah, that's pretty good.
Yeah, I might take it down to about 80%, something like that.
Now then, the next thing I'll do is maybe a little bit of colourizing, and generally what I used to do before was use the nick collection.
We had Colour Effects Pro 4 that you can actuallydownload for free from Google.
I'll put the link in thedescription if you haven't got it.
It's free, so why wouldn't you, but generally now I tend to usewhat's called lookup tables, and again, there's a video whereI show you how I use those.
Those are found in the adjustment layers up in the top right hand corner here, so we've got the second row down, it's the far right hand corner that looks like a three by three grid.
And to give you an idea ofthe kind of thing I did here, let's just click on thecolour lookup table here.
I generally only ever use the top menu and we'll come down to something like, let's say moonlight orsomething like that.
I'm going to load theopacity to around maybe 20%.
Let's add another one,and just play around now just to dial in some kind of a recipe, so I want this one to bequite a cool-looking picture, so we can go horrorblue, what does that do? Maybe take that down to 10%.
Okay, I might try just onemore, make it nice and cool, and we'll go to crisp winter.
What's that one do for us? That's quite nice.
Take that down to 20%.
Let's just put all thesethree into a group now.
We've got the upper one selected there.
I'm going to hold down my shift key and click on the first one, so now all three of them are selected, and then we'll go to the flyer menu up at the top of the layers panel there and choose new group from layers, and I'll call that LUT forlookup tables, and click OK.
So now I can click that on andoff just to see if I like it.
Great thing is it's in agroup, I can also dial it down, so let's take it down to maybe 70%.
It needs to be quite subtle.
Something like that's looking good.
All right, let's justcreate one more merged layer to the top of the layer stack and just sort of do somefinishing touches now.
I might just dive back over into the philtre and camera raw.
Let's just see what we can do here, so we do need to bring up some shadows.
It's got the shadow slider, bring that up just a touch maybe.
That kind of works.
And do you know, I might actually use an adjustment brush just one more time and might just put a bit more exposure back on that face again.
Now, just so you knowthat when you've got, in your camera raw here whenyou've got all these sliders, you might have them allover the place like this.
If you want to set themback to the defaults so they're all down the centre there, all kind of going back to zero, you can either double click on each of the little dialsthere to bring them back, but to do them very quickly all at once, just go to the menu at thetop right hand corner of camera raw just at the top here, and it says reset localcorrection settings, and you'll see all thosesliders when I click on that, they all go back to zero, so it's a nice quick way of doing it.
So, we've got that adjustment brush.
Let's just bring up theexposure a tiny amount and we'll just paint overthe face just a little bit, just there like that, sowe'll go there, dial in.
Something like that's looking pretty good, and then we'll click OK.
Now there were a few otherlittle things that I did, one of them, you'll bringover my cartoon painting look.
I generally add that toabout 99% of my pictures.
I did do that with this one, but I reduced the strengthof it down quite a lot, but I do like to add that effect in.
There is a video on that, as well, and I'll put that in the description part, but that's pretty much it.
That pretty much takes you all the way through the retouching.
We didn't do much in Lightroom, but if we just look at the original image, this is what's brought us from Lightroom.
We've added the selected quality work on, oops, let's just do that.
Don't know what's going on here.
Let's just turn those off.
We then worked on the eyesand then we sharpened them.
We did a bit of dodgingand burning, not much.
We added a texture on thebackground and we blurred it.
Use of topaz clarity,little bit of colouring, and then some final touches in camera raw bringing back in the shadows.
If you've got any questions, by all means, drop a comment in thecomment section there and I'll definitely makesure I get back to you, but I hope that's useful.
Check out the video at theend, and I'll see you later.